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

Posts Tagged ‘Rajendra Krishan


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

Blog Day : 3620 Post No. : 14428

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 69 # Singer – Kishore Kumar #
(Voice of Kishore Kumar in Seventies)
———————————————–——————–

‘5 Rifles’ (1974) – (‘पांच रायफल’) as the movie’s Censor Certificate mentions it or (‘५ रायफलें’) as the movies titles mention it – was produced, directed and written by IS Johar. It was a Shanker BC presentation for Delux Productions (India). The movie has a ‘U’ certificate, still its online version requires a confirmation of age 🙂 I don’t know why? anyway I had to watch only the title credits for information 😉 . The film was passed by censors on 09.08.1974.

It had Ambika Johar, Rakesh Khanna, Shahi Kapoor, Anil Johar, Kamal Kapoor, Veena, Sapru, Satyadip, Murad, Keti Irani, Keshto Mukherjee, IS Johar, Ravi, Ram Avtar, Chanda, Qamar Sarhadi, Nazeer Kashmiri, Kedar Sehgal, Bairam, Bali Jajani, Omi, and Master Anu. Editing for this movie was done by M.S. Shinde. DR Thakkar and Faruk Kaiser were the associate directors of this movie. Darius Gotla was the Executive Producer of this movie, whereas Seeroo Daryanani (I think it is one person only) was the associate producer.

This movie had total six songs, including the famous qawwaali – “Jhoom Baraabar Jhoom Sharaabi” which is already posted on our blog. The qawwaliis written by Nazaan Sholapuri while Aziz Nazaan was the composer and the singer. For the remaining five songs, four are written by Rajendra Krishna and one by Indeevar. Music is composed by Kalyanji-Anandji. The movie titles under singers mention the name of Asha Bhonsle and Kishore Kumar only.

HFGK Vol V liststhe following songs in the for this movie,

  • Wo kya cheez hai maharaj… duniya ke banaane waale ne (Kishore Kumar)
  • Pyaar ke patang ki dor jiske haath hai (Kishore Kumar, chorus)
  • Jab se sarkaar ne nashaabandi tod di (Kishore Kumar, chorus)
  • Teraa husn Allaah Allaah teraa roop Raam Raam (Kishore Kumar)
  • Malmal mein badan mora chamke (Asha Bhonsle)

and for the famous qawwaali included in this movie it mentions a note;

In this movie one popular qawwali ‘Jhoom baraabar jhoom sharaabi (Singer-Composer: Aziz Nazan/Lyricist – Nazan Sholapuri) was picturized on Ambika Johar in this movie.

I wonder how Ambika Johar would have felt lip syncing this qawaali in thick and heavy set male voice. 😉 In his write-up presenting the above qawwaali song Atul ji has already mentioned the following-

In reality, this qawwaali was not created for this movie. This qawwaali was created by Aziz Nazaan for his mushairas. He was the singer as well as the music director of this qawwaali. 

However, after going through details of this movie mentioned in HFGK Vol-V, I was curious to know where the credit for this qawwaali have been mentioned in the titles of this movie. It appears in the ‘Assistants’ section – for ‘music assistants’ – mentioning Babla as ‘assistant’ and Parte as ‘arranger’, Conducted by Frank Fernand, followed by mentioning that ‘Jhoom Baraabar Jhoom’ by ‘Courtesy the Gramophone Co. India Ltd and Aziz Nazan, lyrics Nazan Sholapuri’, and as we all know that ironically the film today is identified with this famous qawwaali only and its other songs didn’t even get noticed or are remembered today if I am not wrong.

I could not find information about the plot / story of the film. A comment on the internet from a reader suggests that the movie was about a fictitious story set in the backdrop of the battle for freedom. The story is about a kingdom in an unspecified time era, which conquered by a foreign power, and the efforts of the royal family and a handful of activists to wrest back their freedom.

I had vague memories of watching this film in my childhood with my parents. However, I only remember the ‘monkeys with the rifles’ and over the years after that, reading about this film, I got to know that there were the ‘look-alikes’ of ‘Rajesh Khanna’ and ‘Shashi Kapoor’ in this film. But the one memory that has been permanently associated with this film’s name is the famous ‘qawwaali’. It was very popular in those years and continues to be so for many years. It was frequently heard over loud speakers then.

Almost six years back I came across this song sung by Kishore Kumar and on checking I find that this was from this movie ‘Five Rifles’. Listening to this song give a me a feeling of hearing it many years back on radio or elsewhere. I had shared this song with Atul ji then, but somehow it remained to be posted for this day today 🙂

So, fortunately I get to share this song from this movie sung by Kishore Kumar which is a ‘patriotic song’ in disguise of a romantic song. On screen it is lip synced by Rakesh Khanna who is also trying to enact the mannerisms of the Superstar Rajesh Khanna. The situation of the song; (after watching this part of the movie having this song)

Rakesh Khanna a ‘deshbhakt’ is in jail where the officer Khotu’s wife ‘Madam Khotu’ (?) (don’t know who the actress is) is having a crush on him, goes to meet him and get him released from the jail. Since, her husband is eyeing over Rakesh’s fiancée Rajkumari – of Rakesh Khanna. So, she is doing a ‘tit for tat’ to her husband. She takes our hero to her ‘mahal’ and orders him to sing a song praising her beauty.

‘Mr. Rakesh, hamaare husn ki taarif karo’ … warna ‘khatm kar diye jaaoge’

As our hero is still not ready to surrender her, she gives him a final call

Tumko apni jaan bhi pyaari nahin’

‘Mujhe apne desh se jyaada kuchh bhi pyaara nahin’

 ‘Jhooth mat bolo’ …

Madam Khotu finally gets the hero’s ‘mangetar’ there,

‘Agar iski zindagi chaahte ho to …’

On the other side, the ‘mangetar’ also threatens the hero of losing his love if he sings a song. As our hero is in a dilemma, his eyes fall upon the map of India on the wall behind Madam Khotu’s ‘sinhaasan’. This gives him an idea, and he improvises, singing a ‘patriotic song’ for the country, disguised as a song praising Madam Khotu’s ‘beauty’.

Here is this beautiful song sung by Kishore Kumar and composed by Kalyanji-Anandji. Lyrics are by Rajendra Krishna. And I think I can mention this here that after the qawwaali of this film was posted on the blog on 30th Jun 2009, this song is coming on to the blog today after a gap of almost NINE years.

Wishing herewith all ‘Eid Mubarak’ today let us now enjoy this song …

[Author’s Note: – I had noted one additional stanza at the time of sending this song in 2012, and noted that its video is not available. This additional stanza is given after the main song. I could not find its audio or video even now. Also, I do not remember the source of this additional stanza now.]

[Ed Note: We already have a category on this blog named “Dance Under Duress”; with this song, we now introduce a similar category “Sing Under Duress”. 🙂 ]

 

Song – Tera Husn Allah Allah, Tera Roop Ram Ram (Five Rifles) (1974) Singer – Kishore Kumar, Lyrics – Rajendra Krishan, MD – Kalyanji Anandji

Lyrics

teraa husn allaah allaah
teraa roop raam raam
teraa husn allaah allaah
teraa roop raam raam
ek main hi nahin
tere karodon ghulaam
ek main hi nahin
tere karodon ghulaam
teraa husn allaah allaah
teraa roop raam raam
teraa husn allaah allaah
teraa roop raam raam

tu jo palke jhukaa dein
himaalaa jhuke
tu jo palke jhukaa dein
himaalaa jhuke
tu isharaa kare
gangaa jamunaa ruke
teri julfen sanwaare
kashmir ki hawaa
teri julfen sanwaare
kashmir ki hawaa
dhoyein kanyakumaari
tere paanv sadaa
tere kadmon ki dhool ko
sitaaron ka salaam
teraa husn allaah allaah
teraa roop raam raam
teraa husn allaah allaah
teraa roop raam raam

tu meraa ishq hai
meraa imaan hai
tu meraa ishq hai
meraa imaan hai
main teri jaan hoon
tu meri jaan hai
teraa deewaana hoon ye
dikhaadoonga main
teraa deewaana hoon ye
dikhaadoonga main
teri aawaaz pe
sar kataa loongaa main
teri khaatir main pea loonga
zehar kaa bhi jaam
teraa husn allaah allaah
teraa roop raam raam
teraa husn allaah allaah
teraa roop raam raam

(following lyric’s audio/video not found)

aaj kitney dilon pe teraa raaj hai
ye teri saadgee hi teraa taaj hai
kya ajantaa ki main
tujhko moorat kahun
tu banaaras ki subah
aavadh ki hai shaam
teraa husn allaah allaah
teraa roop raam raam
ek main hi nahin
tere karodon ghulaam

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————
तेरा हुस्न अल्लाह अल्लाह
तेरा रूप राम राम
तेरा हुस्न अल्लाह अल्लाह
तेरा रूप राम राम
एक मैं ही नहीं
तेरे करोड़ों गुलाम
एक मैं ही नहीं
तेरे करोड़ों गुलाम
तेरा हुस्न अल्लाह अल्लाह
तेरा रूप राम राम
तेरा हुस्न अल्लाह अल्लाह
तेरा रूप राम राम

तू जो पलकें झुका दें
हिमाला झुके
तू जो पलकें झुका दें
हिमाला झुके
तू इशारा करे
गंगा जमुना रुके
तेरी जुल्फें सवारे
कश्मीर की हवा
धोएं कन्याकुमारी तेरे पाँव सदा
तेरे क़दमों की धुल को
सितारों का सलाम
तेरा हुस्न अल्लाह अल्लाह
तेरा रूप राम राम
तेरा हुस्न अल्लाह अल्लाह
तेरा रूप राम राम

तू मेरा इश्क है
मेरा ईमान है
तू मेरा इश्क है
मेरा ईमान है
मैं तेरी जान हूँ
तू मेरी जान है
तेरा दीवाना हूँ ये
दिखा दूंगा मैं
तेरा दीवाना हूँ ये
दिखा दूंगा मैं
तेरी आवाज़ पे
सर कटा लूँगा मैं
तेरी खातिर मैं पी लूँगा
ज़हर का भी जाम
तेरा हुस्न अल्लाह अल्लाह
तेरा रूप राम राम
तेरा हुस्न अल्लाह अल्लाह
तेरा रूप राम राम

(पंक्तियाँ, जिनकी दृश्य-श्रव्य कड़ी नहीं मिली)

आज कितने दिलों पे तेरा राज है
ये तेरी सादगी ही तेरा ताज है
क्या अजन्ता की मैं
तुझको मूरत कहूँ
तू बनारस की सुबह
अवध की है शाम
तेरा हुस्न अल्लाह अल्लाह
तेरा रूप राम राम
एक मैं ही नहीं
तेरे करोड़ों गुलाम

 

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

Blog Day : 3505 Post No. : 14085

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

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

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

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

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

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

Thinking of Jija ji today on his anniversary

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

Lyrics

baaba-leeka

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

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

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

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

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

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

बाबा-लीका

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

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

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

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

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


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

Blog Day : 3496 Post No. : 14053

It would be late 1960s, early 1970s – फिल्में देखने का चस्का चढ़ा था। Did not have much more than some fanciful fancies at that time, and very little understanding. I would fancy the heroes, especially Dev Anand, Rajendra Kumar etc. And I would have lasting crush on the leading ladies; generally lasting for a few weeks. I would fancy them to be my leading ladies 😉 – Sadhna, Asha Parekh, Mumtaz, Saira Banu etc.

Besides these two types of fancies, there was, yes one more. This was not so much of a fancy, rather it was more of an abhorrent fright. Of a special person when he appeared on the screen. And a panic would run through the mind and I would clutch a parent’s hand and whisper “oye, Pran aa gaya”.

Such was the dread in the minds of us pre teen kids. Whenever we saw him enter the frame, our hearts were like – now something bad is going to happen. He is going to bully someone, he is going to beat up someone, he is going to insult someone, he is going to cheat someone, he is going to put his weight on a lady and make her scream. . . Ah yes, these were the type of stereotype images that were associated with Pran, and we despised him for all our childhood.

Fast forward now to mid 1990s. I was in the US, and had a long stint in the city of Lansing in Michigan, working on a state govt. project. Lansing is comparatively a small town, despite the fact that it is the capital of Michigan state. There were only two other things besides the state government – the state university and a cornflakes factory owned by Kellogs. And being in Michigan, we were snowed in for six months, and chilled out for another four. We just got a warm season for two months – July and August.

So there was not much to do in that town, other than concentrate on your work. For me, there was a grand saving grace. The small town had a big video library of Hindi films, run by a Pakistani national and a very dear friend, to date – Akbar Bhai. It was not long before I became his best customer, and just for my sake, he would communicate with other dealers in the country and sometimes even travel out, to get the films that I would be requesting of him. I purchased two Toshiba VCRs, bought many packs of VHS tapes, and spent a lot of time copying videos of songs from the VHS tapes that I rented from him.

Sorry for this longish digression, I am coming to the point. The net is that for the few years that I spent in Lansing, I watched and replayed a ton of Hindi films that were available on VHS – of course my choice would taper off after 1970s. In one set of many weeks together, the movies that I rented from him, were a combination of many leading heros, and many genres. But all of them had one thing in common. The villain was Pran. In each and every one of these films, Pran would be getting a hiding of his life in the last 10 to 15 minutes of every film. After having sat through probably a score of films over a period of 4 to 5 weeks, my mind changed and started sympathizing with him. No matter what the film was, he would get beaten up black and blue at the end. And to add insult to injury, he was forced to apologize and plead for forgiveness, or summarily be taken away by the police.

Really telling you, I started to feel sorry for him. And I started to wonder. Day in and day out, he would be shooting films with his co stars, and on every set and every studio floor, he would be taking a beating in front of hundreds of onlookers, every single time. And my mind started to build upon a psychology of such an individual. Of course it did strike me somewhere within this analysis, that yes, money is also involved. But then I rationalized – if I were given money, just for getting beat up every week and in every film I worked in, I would throw away the money, and walk away. But the money angle aside, I used to wonder at this gluttony for punishment. In every film, he misbehaves with ladies, he cons his own family members, he bullies and beats up people. And then, he gets beat up real good for the happy ending of a film. And my mind was like – does this guy never learn? Does he never give up?

I never did see the film ‘Guddi’ (1971) in its first runs. I would get to see it many years later, maybe on Doordarshan or maybe on a VHS play. An inkling of the true nature of this gentleman – I encountered for the first time in this film. Kusum (a teenager, role played by Jaya), who is smitten with a crush for actor Dharmendra, is taken to Bombay by her uncle, Utpal Dutt, and is given a tour of the film studios – a view of how the films are actually made, and what these stars are in real life behind the scenes. So there is a scene, in which Jaya is with Dharmendra, and Pran walks by. They greet each other; and Kusum is hiding behind Dharmendra in fear. Dharmendra admires Pran’s wrist watch, and Pran immediately takes it off and presents it to Dharmendra. After Pran leaves, Jaya reacts strongly, insisting to Dharmendra to return the watch – “इस में कोई चाल है” is what she says. Dharmendra starts to laugh, and then explains. That Pran Saab in real life is an impeccable gentleman, a complete reverse of what his screen image is. He is an amiable, a very friendly, a very kind and a very helpful person.

Along with Guddi (Kusum), it was also a wiping away of a fanciful sheen in my mind, associated with the person called Pran. Then of course, from 1967 onwards, he had started appearing in character roles other than as a villain, and had a complete makeover of his outward personality over the next few years.

But that image has sustained, because the films exist. That is what typecasting does to you. In reality, Pran is somewhat of a popular name in north India, amongst Punjabi and Hindi speaking families. In the 1950s and 60s, the dread of his roles was so great that actually, families stopped naming their children with the word Pran, and its variations. The Gabbar Singh gloat about “बीस बीस कोस तक॰ ॰ ॰” was still to come many years later. 😀 😀

Today (12th Feb) is the birth anniversary of Pran Saab. I have picked this song from the 1964 film ‘Pooja Ke Phool’ for the anniversary remembrance today. Yes, there is a particular reason. It is one of the rare occasions, when Pran Saab has lip sync-ed a song, and danced on screen, from the era of his continued reign as the arch villain of Hindi films. Of course, after 1967 and ‘Upkar’, when he transitioned into character roles, and that too in a big and significant way, he got to perform many a song on screen. In fact, there was a period of time in 1970s and 80s that specific and meaty roles were written for him, and the screen performance almost always included a song lip synced by him. But in the era till the 1960s, he just has an occasional song assigned to him.

Although I have not made a definitive search for them, I recall the following; the duet “Jise Dhoondhti Phirti Hai Meri Nazar” from the film ‘Sheesh Mahal’ (1950); then the fun song from ‘Munim ji’ (1955) – “Dil Ki Umangen Hain Jawaan”. This latter song is also a unique piece of music – Pran Saab has sung for himself in this song. Yes, of course, the iconic “Hai Aag Hamaare Seene Mein. . . Hum Bhi Hain, Tum Bhi Ho” from the musical bonanza ‘Jis Desh Ganga Behti Hai’ (1960). Sterling performance, as Pran Saab rides two horses simultaneously, standing on the back of the horses, one foot on each horse.

And then we come to today’s song. The song is a dance sequence being performed by Gopikrishan Maharaj and Madhumati. In the three antaraa song, the middle antaraa turns out to be a fantasy play, as Pran, who is actually an audience on the side, daydreams himself to be performing the song, along with Sandhya Roy. the lady companion that I am not able to name. So the middle antaraa is performed on screen by Pran Saab and Sandhya Roy his lady companion. Now this performance, a folk dance type steps, trying to emulate someone none other than the great Gopikrishan Maharaj himself, is a type of performance that one does not associate with him (at least in this phase of his career), and none other that I have seen in any other film. I request our knowledgeable friends and readers on the blog to please add more such instances, if they are aware. And yes, the request also includes help to identify the actress who is his lady companion in this clip.
[Ed Note: The lady companion in this clip is identified as Bengali actress Sandhya Roy, as per the inputs provided by Shri Partha Chanda.]

‘Pooja Ke Phool’ is the typical south Indian family drama that is produced by the prestigious banner of AVM and directed by Bheem Singh. The extreme emotionalism of such family dramas, plus the complexity (zaniness??) of the plots and sub plots, sometimes makes this category of films insufferable. So in this film, Pran is the husband of the niece of Dharmendra. Forget the age factor, even the appearances of the characters do not do justice to them. To top it, he (Pran) is also having an amorous fling on the side. In this song, we see him come to see this street performance along with his lady love from the extra-marital affair. Dharmendra too, chances to be on the spot. He sees the two together, and walks away in anger. A little later in the film, the lady starts to demand rights and shares as a wife. She threatens to kill him. The two meet, and in the melee that ensues, the lady gets killed. Mohan Choti is an eyewitness. However, Dharmendra takes on the blame, just so that his niece’s life and home is not jeopardized. Case comes to the court. Ashok Kumar is the public prosecutor, and he has this personal thing against Dharmendra – he has ditched Ashok Kumar’s daughter, and married someone else. Now enter the daughter, Mala Sinha, who is also a lawyer. She comes to the court as the defense lawyer for Dharmendra. Despite his repeated confessions in the court, the case is made to continue. Dharmendra and Mala Sinha were an amorous pair once, but circumstances led Dharmendra to marry a blind girl (Nimmi). If all this does not sound too complicated yet, maybe it is time to watch the film itself. 😀 😀

Not saying too many things about the film, I must confess that I am quite bowled over by the music and the songs. The list if songs is quite impressive, as given below.

Meri Aankhon Se Koi Neend Liye Jaataa Hai 2861 28-Aug-10
Dil Todna Kisi Ka Ye Zindagi Nahin Hai 2886 1-Sep-10
Ab Do Dilon Ki Mushqil 2892 2-Sep-10
Meow Meow Meri Sakhi Achchi Achchi Meri Sakhi 3345 14-Dec-10
Sanam Apni Palkon Pe Tujh Ko 6824 9-Oct-12
Pehle Meri Aankhon Ke Chiraagon Ko Bujhaaya 12598 21-Nov-16
Banda Parwar. . . Raat Ke Andhere Mein Yun Chori Chori Chale Kidhar 14034 8-Feb-18

The songs of this film have been penned by Rajendra Krishan and the music is composed by Madan Mohan.

I would like to write about one more thing, related to this song. The choreography of this dance is done by Gopikrishan Maharaj himself. And that simply is excellent. The dance movements are very imaginatively sequenced, and very excellently executed, including the facial expressions and the twitching of eyebrows. The pace of the song and the pace of the singing is – fast. And the dance steps themselves are so energetic and so beautifully arranged. Pran Saab surely has his work cut out as he takes on the 2nd antaraa on screen.

So now let us enjoy this wonderful peppy dance number. And remember this very lovable villain of the Hindi cinema.

Song – Hey Jamaalo. . . O Mera Pyaar Meri Jaan Kabhi Aazma Lo  (Pooja Ke Phool) (1964) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Rajendra Krishan, MD – Madan Mohan
Mohammed Rafi + Asha Bhosle
Male Chorus
Female Chorus
All Chorus

Lyrics

aaaa aaa aaa aaaa
aaaaaa aaa aaaaaaa

hey jamaalo
o wah wah hey jamaalo
haan hey jamaalo
o wah wah hey jamaalo
o mera pyar meri jaan
kabhi aazma lo
o mera pyar meri jaan
kabhi aazma lo
hey jamaalo
hey wah wah hey jamaalo
hey jamaalo
hey wah wah hey jamaalo
ho ye hai teer ye kamaan
zara dil nikaalo
ho ye hai teer ye kamaan
zara dil nikaalo

ho ho ho
ho ho
ho ho ho
ho ho
o ho ho
o ho
ho ho ho
hoye hoye hoye

tere haathon mar jaayenge
naam jahaan mein kar jaayenge
marte marte dil ki jholi
pyaar se tere bhar jaayenge
o ho tere haathon mar jaayenge
bade dekhe marne waale
pyaar ka dum bharne waale
hey jamaalo
hey jamaalo
hey jama..aa..aalo
o mera pyar meri jaan
kabhi aazma lo
hey jamaalo
wah wah hey jamaalo
ho ye hai teer ye kamaan
zara dil nikaalo

ho ho
hummm hummm
ho ho
hummm hummm
o ho
hummm
hummm
o ho
hummm
hummm
hey..ey..ey

dekho kaise deewaane hain
pankh nahin aur parwaane hain
hum se ye kya chaal chalenge
apne jaane pehchaane hain
o ho dekho kaise deewaane hain
jaan le lo gham na hoga
ishq mera kam na hoga
hey jamaalo
hey jamaalo
hey jama..aa..aalo
o ye hai teer ye kamaan
zara dil nikaalo
hey jamaalo
wah wah hey jamaalo
o mera pyar meri jaan
kabhi aazma lo

jeete ji tum kyon maanoge
mar jaayenge pehchaanoge
jaan liya hai pyaar tumhaara
aao pakdo haath hamaara
o ho aao pakdo haath hamaara
muskura ke do sahaare
hum tumhaare tum hamaare
hey jamaalo
hey jamaalo
hey jama..aa..aalo
ho mera pyar meri jaan
kabhi aazma lo
hey jamaalo
hey wah wah hey jamaalo
hey jamaalo
hey wah wah hey jamaalo
ho ye hai teer ye kamaan
zara dil nikaalo
ho ye hai teer ye kamaan
zara dil nikaalo

hey jamaalo
hey jamaalo
hey jamaalo
hey jamaalo

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

आsss आss आss आsss
आssss आss आssssss

हे जमालो
ओ वा वा हे जमालों
हाँ हे जमालो
ओ वा वा हे जमालों
मेरा प्यार मेरी जान
कभी आज़मा लो
ओ मेरा प्यार मेरी जान
कभी आज़मा लो
हे जमालो
हे वा वा हे जमालों
हाँ हे जमालो
हे वा वा हे जमालों
हो ये है तीर ये कमान
ज़रा दिल निकालो
हो ये है तीर ये कमान
ज़रा दिल निकालो

हो हो हो
हो हो
हो हो हो
हो हो
ओ हो हो
ओ हो
हो हो हो
होए होए होए

तेरे हाथों मर जाएँगे
नाम जहान् में कर जाएँगे
मरते मरते दिल की झोली
प्यार से तेरे भर जाएँगे
ओ हो तेरे हाथों मर जाएँगे
बड़े देखे मरने वाले
प्यार का दम भरने वाले
हे जमालो
हे जमालो
हे जमा॰॰आ॰॰आलो
ओ मेरा प्यार मेरी जान
कभी आज़मा लो
हे जमालो
वा वा हे जमालों
हो ये है तीर ये कमान
ज़रा दिल निकालो

हो हो
हुम्ममम हुम्ममम
हो हो
हुम्ममम हुम्ममम
ओ हो
हुम्ममम
हुम्ममम
ओ हो
हुम्ममम
हुम्ममम
हे॰॰ए॰॰ए

देखो कैसे दीवाने हैं
पंख नहीं और परवाने हैं
हम से ये क्या चाल चलेंगे
अपने जाने पहचाने हैं
ओ हो देखो कैसे दीवाने हैं
जान ले लो ग़म ना होगा
इश्क़ मेरा कम ना होगा
हे जमालो
हे जमालो
हे जमा॰॰आ॰॰आलो
ओ ये है तीर ये कमान
ज़रा दिल निकालो
हे जमालो
वा वा हे जमालों
ओ मेरा प्यार मेरी जान
कभी आज़मा लो

जीते जी तुम क्या मानोगे
मर जाएँगे पहचानोगे
जान लिया है प्यार तुम्हारा
आओ पकड़ो हाथ हमारा
ओ हो आओ पकड़ो हाथ हमारा
मुस्कुरा के दो सहारे
हम तुम्हारे तुम हमारे
हे जमालो
हे जमालो
हे जमा॰॰आ॰॰आलो
हो मेरा प्यार मेरी जान
कभी आज़मा लो
हे जमालो
वा वा हे जमालों
हे जमालो
वा वा हे जमालों
ओ ये है तीर ये कमान
ज़रा दिल निकालो
ओ ये है तीर ये कमान
ज़रा दिल निकालो

हे जमालो
हे जमालो
हे जमालो
हे जमालो


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

Blog Day : 3493 Post No. : 14036

Noted film director and story / screenplay writer OP Dutta, passed away this day five years ago. He was 90 years when he passed away in 2012.

OP Dutta was born in the town of Gujranwaala in Punjab (now in Pakistan), in 1922. No information is available online about his early years and his education. In 1948, when he was just 26 years old, he directed the film ‘Pyar Ki Jeet’. This film was a major success, and it established Suraiya, the singer-actress as a super star.

He continued to direct films till the end of 1950s. The Hindi films directed by him are – ‘Hamaari Manzil’ (1949), ‘Surajmukhi’ (1950), ‘Ek Nazar’ (1951), ‘Parbat’ (1952), ‘Maalkin’ (1953), ‘Lagan’ (1955), and ‘Aangan’ (1959).

In the early 1950s he travelled to Pakistan and helped to set up a studio in Karachi. Till then, Lahore was the only center of film production in Pakistan. As a part of this effort, he also produced and directed the film ‘Anokhi’ from the studios in Karachi. Regulars may be familiar with this film, that has recently been discovered and is available in public domain. The heroine of this film is Sheela Ramani, and the music director is Timir Baran. This film was probably the earliest and maybe the only significant effort of collaboration between he film industries of India and Pakistan.

From 1960s onward, OP Dutta gave up direction and started writing for films – stories, screenplays, dialogues etc. Notable films from this phase of his career are ‘Chiraagh’ (1969), ‘Do Raaste’ (1969), ‘Mastaana’ (1970), ‘Jeet’ (1972), etc. Later on, he wrote stories and screenplays for some of the big hits  – ‘Kshatriya’ (1993), ‘Border’ (1997), ‘Refugee’ (2000), ‘LOC Kargil’ (2003), and ‘Umrao Jaan’ (2006).

Today’s song is from the 1955 film ‘Lagan’. From the first phase of his career, this film is the only one that OP Dutta had produced and directed (as opposed to the other films which he only directed for other production banners). The film was produced under the banner of OP Films, Bombay. The star cast of this film includes Nalini Jaywant, Sajjan, Shammi, Randhir, Om Prakash, David, Raj Mehra, Ram Avtar, Baij Sharma, Pandit Iqbal, Baby Naaz, Pappu, Shaam Lal, Uma Dutt, Shivraj, Parshuram, and Kanwar Kesho amongst others. The songs of this film are penned by Rajendra Krishan and the music is by Hemant Kumar. Interesting to note that Ravi is the assistant music director with Hemant Da.

One song of this film has already been showcased on our blog. Today’s song is a song of sadness and separation sung so wonderfully by Lata Mangeshkar. Listen and enjoy.

 

Song – Mujhe Nazar Se Utaar Kar Bhi (Lagan) (1955) Singer – Lata Mangeshkar, Lyrics – Rajendra Krishan, MD – Hemant Kumar

 

Lyrics

mujhe nazar se utaar kar bhi
na chain paaya to kya karoge
mujhe nazar se utaar kar bhi
na chain paaya to kya karoge
jisey bhula ke chaley ho dil se
jisey bhula ke chaley ho dil se
wo yaad aaya to kya karoge
to kya karoge
mujhe nazar se utaar kar bhi
na chain paaya to kya karoge

chalo ye maana bagair mere
tumhaari raaten jawaan rahengi
chalo ye maana bagair mere
tumhaari raaten jawaan rahengi
magar jo bhoole se mere khwaabon ne
aa jagaya to kya karoge
to kya karoge
mujhe nazar se utaar kar bhi
na chain paaya to kya karoge

tumhaari mehfil mein roz hogi
nai kahaani naya fasaana
tumhaari mehfil mein roz hogi
nai kahaani naya fasaana
jo baaton baaton mein naam mera
zubaan pe aaya to kya karoge
to kya karoge
mujhe nazar se utaar kar bhi
na chain paaya to kya karoge
jisey bhula ke chaley ho dil se
jisey bhula ke chaley ho dil se
wo yaad aaya to kya karoge
to kya karoge
mujhe nazar se utaar kar bhi
na chain paaya to kya karoge

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
मुझे नज़र से उतार कर भी
ना चैन पाया तो क्या करोगे
मुझे नज़र से उतार कर भी
ना चैन पाया तो क्या करोगे
जिसे भुलाने चले हो दिल से
जिसे भुलाने चले हो दिल से
वो याद आया तो क्या करोगे
तो क्या करोगे
मुझे नज़र से उतार कर भी
ना चैन पाया तो क्या करोगे

चलो ये माना बगैर मेरे
तुम्हारी रातें जवां रहेंगी
चलो ये माना बगैर मेरे
तुम्हारी रातें जवां रहेंगी
मगर जो भूले से मेरे ख्वाबों ने
आ जगाया तो क्या करोगे
तो क्या करोगे
मुझे नज़र से उतार कर भी
ना चैन पाया तो क्या करोगे

तुम्हारी महफिल में रोज़ होगी
नई कहानी नया फसाना
तुम्हारी महफिल में रोज़ होगी
नई कहानी नया फसाना
जो बातों बातों में नाम मेरा
ज़ुबां पे आया तो क्या करोगे
तो क्या करोगे
मुझे नज़र से उतार कर भी
ना चैन पाया तो क्या करोगे
जिसे भुलाने चले हो दिल से
जिसे भुलाने चले हो दिल से
वो याद आया तो क्या करोगे
तो क्या करोगे
मुझे नज़र से उतार कर भी
ना चैन पाया तो क्या करोगे


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

Blog Day : 3492 Post No. : 14034

‘Pooja Ke Phool’ from 1964, is a production from AVM, Madras. It is directed by A Bheemsingh. True to the colors of the family dramas emanating from the south, this film is not much different that the regular run-of-the-mill emotionally loaded films coming from there. This film however has a slight sinister twist, in that a murder is part of the storyline. There is a certain amount of drama built around the trial in the court and the effort to nail the true culprit – a task that is made extremely challenging by the fact that the hero Shankar (roled played by Dharmendra) repeatedly asserts in the court that he admits his guilt and should be punished. The heroine Shanti (role played by Mala Sinha) who is the lawyer defending Shankar, has her work cut out for her, to get the hero freed, when he himself doesn’t want to be.

Add to that another twist, that the hero and the heroine are actually not made for each other in this storyline – the hero is already a married person. Yes, there are confusions galore, as circumstances (and the director’s writ) do not allow this fact to be known till some time into the film. Which gives the director a chance to squeeze in a romantically naughty song like this one.

Well, the song itself is a wonderful creation, in the category of ‘please-don’t-go’ songs. The highlight of this song is the superb on screen performance of Mala Sinha. Her mannerisms and the execution of the entire song sequence is definitely a hallmark performance.

The star cast of the film includes Mala Sinha, Dharmendra, Sandhya Roy, Gopikrishan, Madhumati, Nana Palsikar, Mohan Choti, Umesh Sharma, Sulochana Chatterjee, Leela Chitnis, Ashok Kumar, Nimmi, Pran, Shivraj, and Mukri. All songs are penned by Rajendra Krishan and the music for them is created by Madan Mohan.

Enjoy this lovely naughty song, as the heroine is trying to impede the departure of the hero, as he tries to make a get-away in the middle of the night. Asking of questions and checking for logic is not allowed in some such scenarios. 🙂

Song – Banda Parwar. . . Raat Ke Andhere Mein Yun Chori Chori Chale Kidhar  (Pooja Ke Phool) (1964) Singer – Asha Bhosle, Lyrics – Rajendra Krishan, MD – Madan Mohan

Lyrics

banda parwar. . .

banda parwar
banda parwar
ho o o
raat ke andhere mein yun
chori chori chale kidhar
oye hoye hoye
raat ke andhere mein yun
chori chori chale kidhar
banda parwar

taar aaya dekhiye
aap ke sasuraal se

dekhiye na. .
abhi abhi ayaa hai

taar aaya dekhiye
aap ke sasuraal se
saas kunwaari aap ki
baithi hai sattar saal se
miley agar
aha ha
koi achha var
haa haa
miley agar
koi achha var
bechaari ka abaad ho ghar
banda parwar
o ho ho
raat ke andhere mein yun
chori chori chale kidhar
banda parwar

bura na maano to main poochun
jhoothon ke sardar se
ae
ae jhoothe
bura na maano to main poochun
jhoothon ke sardar se
apna sar kyon phod rahe ho
sapnon ki deewaar se
deewaane ho
ae
anjaane ho
ae ae
deewaane ho
anjaane ho
kya dekh rahe ho
aao idhar
banda parwar
o o o
raat ke andhere mein yun
chori chori chale kidhar
banda parwar

aap chhup kar
agar chale jaate
haal e dil hum
kabhi na keh paate
dil ki har baat
dil mein reh jaati
zindagi aansuon mein beh jaati

aap chhup kar
agar chale jaate. . .
haal e dil hum
kabhi na keh paate. . .
dil ki har baat
dil mein reh jaati
zindagi aansuon mein beh jaati
phir khwaabon ka
armaanon ka
phir khwaabon ka
armaanon ka
abaad kabhi na hota ghar
banda parwar
ho o o
raat ke andhere mein yun
chori chori chale kidhar
banda parwar
ho o o
raat ke andhere mein yun
chori chori chale kidhar
banda parwar

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

बंदा परवर॰ ॰ ॰

बंदा परवर
बंदा परवर
हो ओ ओ
रात के अंधेरे में यूं
चोरी चोरी चले किधर
ओय होय होय
रात के अंधेरे में यूं
चोरी चोरी चले किधर
बंदा परवर

तार आया देखिये
आप के ससुराल से

देखिये ना॰॰
अभी अभी आया है

तार आया देखिये
आप के ससुराल से
सास कुंवारी आपकी
बैठी है सत्तर साल से
मिले अगर
आहा हा
कोई अच्छा वर
हा हा
मिले अगर
कोई अच्छा वर
बेचारी का आबाद हो घर
बंदा परवर
ओ हो हो
रात के अंधेरे में यूं
चोरी चोरी चले किधर
बंदा परवर

बुरा ना मानो तो मैं पूछूं
झूठों के सरदार से

ए झूठे
बुरा ना मानो तो मैं पूछूं
झूठों के सरदार से
अपना सर क्यों फोड़ रहे हो
सपनों की दीवार से
दीवाने हो

अंजाने हो
ए ए
दीवाने हो
अंजाने हो
क्या देख रहे हो
आओ इधर
बंदा परवर
ओ ओ ओ
रात के अंधेरे में यूं
चोरी चोरी चले किधर
बंदा परवर

आप छुप कर
अगर चले जाते
हाल ए दिल हम
कभी ना कह पाते
दिल की हर बात
दिल में रह जाती
ज़िंदगी आंसुओं में बह जाती

आप छुप कर
अगर चले जाते॰॰॰
हाल ए दिल हम
कभी ना कह पाते॰॰॰
दिल की हर बात
दिल में रह जाती
ज़िंदगी आंसुओं में बह जाती
फिर ख्वाबों का
अरमानों का
फिर ख्वाबों का
अरमानों का
आबाद कभी ना होता घर

बंदा परवर
हो ओ ओ
रात के अंधेरे में यूं
चोरी चोरी चले किधर
बंदा परवर
हो ओ ओ
रात के अंधेरे में यूं
चोरी चोरी चले किधर
बंदा परवर


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

ना जाने क्यों॰ ॰ ॰ होता है ये ज़िंदगी के साथ
अचानक ये मन
किसी के जाने के बाद
करे फिर उसकी याद॰ ॰ ॰

Aah, Shyama. . . the vivacious, bubbly, chirpy, charming Shyama. That is the image that the mind always carries, of this spirited young lady, so full of life on the screen. Some memories and some reflections are so firmly engraved in the mind that it simply does not register or acknowledge the passage of time and the passing of eras. That is the beauty of these memories – that their beauty simply never fades away.

My very first encounter with her was the song “Mujhe Mil Gaya Bahaana Teri Deed Ka” (film ‘Barsaat Ki Raat’, 1960). I saw this song on Delhi TV, most probably in some edition of the Chitrahaar program. Shama (Shyama) is on screen with Shabaab (Ratna), her younger sister in the film. There is an exchange that leads to certain wrong impressions. Being secretly in love with Amaan (Bharat Bhushan), Shama interprets that conversation to be in her favour. And this happy song of an assumed fulfilment of love is the outcome. The expressions and the rendering of this love song trickled right into the mind and heart of a very young heart, and the lady on the screen became a favorite crush of mine.

A few years later, I would get a chance to see this complete film. And my heart was both joyous and asunder. I got to see more of her scintillating performance, especially the qawwaali “Ji Chaahta Hai Choom Loon Apni Nazar Ko Main”, in which she is brimming with excitement and delight. She makes you feel the thrill that she is experiencing, going in for the kill of the opposite party in the qawwaali competition. Her performance simply takes you along that joyous path of the victory of her singing group over that of Chand Khan’s (Khurshid Bawra’s) group. But then, I was also sad that in the final outcome, she is not the choice of the person she adores and worships. The film ends with her being the loser in the game of love. My heart wept for her, for her love was true and silent, and it made the sacrifice in face of knowing that her beau’s heart is smitten elsewhere. This film remains an all time favorite in my heart.

Then came other films, viewed some years later during college days. Films from the previous three decades were mostly showing as reruns in morning shows (9am to 12 am). We used to skip the morning classes in the college to go visit these unknown unseen films, for the love of that golden era. In that time, I would get to see ‘Aar Paar’ (1954), ‘Shart’ (1954), ‘Chhoo Mantar’ (1956), ‘Makkheechoos’ (1956), ‘Bhai Bhai’ (1956), ‘Sharda’ (1957), ‘Bhaabhi’ (1957), ‘Lala Rukh’ (1958), ‘Zabak’ (1961) and many more. The ‘puppy’ crush was long over and done with, but Shyama was a favorite actress – always would be ready to go see an unseen film, especially if Shyama was part of the cast of actors.

She was born as Khursheed Akhtar, in Lahore. Her date of birth is stated differently in different online sources. The anniversaries table on our blog gives the date as 12th June of 1935. Cineplot gives the date as 7th June, 1935. In his book ‘Beete Kal Ke Sitaare’, Shri Sriram Tamrakar quotes her birth date as 12th July 1933. There are other sources which are at variance with these dates too.

When she was two years old, her family moved to Bombay. Her father was a fruit merchant and had set up a shop in Byculla. With seven siblings, Shyama was part of a large family. School and studies never did interest her. Right from childhood, being a star on the silver screen was her dream. As a child, she had seen a film starring Ishwarlal and Khursheed (the famous singer-actress). She was very impressed by Khursheed’s singing and her acting. On seeing this role, a resolve started to form in her to become an actor. [Ed Note: This picture possibly could be ‘Shaadi’ (1941) or ‘Chandni’ (1942).]

As a young girl, she was quite mischievous and full of pranks. Her elder sisters would admonish her for being such a tomboy. In her own words (from an interview on Cineplot) she says that she always wanted a hungama, indulge in a little romance. But she was very disciplined and cultured too. She never smoked, or drank all her life. And she never appeared in a swimsuit throughout her career. She was very true to her Muslim upbringing and family traditions.

In 1944/45 she and her sisters and friends, one day went to see the shooting of a film at a studio in Dadar (Bombay). The shooting of the film ‘Zeenat’ (1945) was in progress. The specific sequence being filmed was the now iconic all female qawwaali “Aahen Na Bharin, Shiqwe Na Kiye”. As luck would have it, Shaukat Hussain Rizvi, the director of the film, wanted to have more girls to join the singing group. He asked this group of onlooker young ladies whether they would like to join the filming of this song. Without hesitation, Khursheed raised her hand. Rizvi Sb picked her to join the group and play the dholak. In the video of this song, one can see her sitting in the second row behind the main singers, wearing a traditional cap, with a dholak in her lap. The young lady got a billing in the star credits as Baby Khursheed. She was just about 10 years old.

Her father was very upset that his daughter had made this impromptu decision, and was set against her joining films. However, her mother and her sisters prevailed upon him and calmed him to get his consent to permit her to work in films. So out went the school and studies, and the little Khurshid started her career doing child roles and extras. By her own estimates, she probably has appeared 80 films in which she was just an extra or a chorus girl.

‘Nai Maa’ is a 1946 film, which Shyama herself indicates as being her first formal role as a child star. The film is from the banner of Prakash Pictures – the production house of the Bhatt brothers – Vijay and Shankar Bhai. With the consideration that there already were two actresses named Khursheed in the industry, Vijay Bhatt suggested for her to change her name to avoid same-name-confusions. He thought of the name ‘Shyama’. The young Khursheed happily took it on, and this name turned to be her career and her destiny.

Getting seriously into small roles as a child and a teenage artist, she did two very important things. One, she refused to be disheartened by the long succession of bit-roles and being a supporting cast member. Two, she took on to get trained in music and dance, and spent a good slice of her developmental years under the tutelage of the famous Badri Prasad, the multi-talented artist active in the industry at that time. Her perseverance paid off. Her roles started to get more prominent, and her co-stars the more famous ones. She appeared as the younger sister to KL Saigal in ‘Parwaana’ (1947). The same year, she also appeared as the younger sister of Motilal in ‘Beete Din’. On to 1949, and she was now the younger sibling of actor Shyam in the film ‘Kaneez’.

In 1950, she got a very prominent role as the wayward younger sister of Shyam and Karan Dewan in the film ‘Chhoti Bhaabhi’. The title role was played by Nargis (paired with Karan Dewan), but the role played by Shyama was pivotal as the rebellious daughter in the family, who is on the verge of eloping with Yakub, a self serving con-man. Then came 1951 – she was paired as the love interest of Balraj Sahni in ‘Hum Log’; and the same year, she got to play a prominent role in ‘Taraana’ as the third part of the love triangle completed by Dilip Kumar and Madhubala.

It was in 1952 that she was able to belie the popular adage in the industry – ‘once an extra, always and extra’. But this graduation was not without its moments of anxiety and a heart stopping near miss. IS Johar was looking for an effervescent and a lively young new face as the lead for his maiden directorial venture – ‘Shrimati Ji’. Familiar with Shyama and her capabilities from their earlier films together viz., ‘Chhoti Bhaabhi’ (1950) and ‘Ek Teri Nishaani’ (1949), Johar chose Shyama from a list of over 100 candidates for the role. Shyama was excited and happy with this groundbreaking development in her career.

But a scare was still in store, and the career that we see, was almost never. A couple of reels had been shot. One day on the studio floor, one of the financiers was present. On seeing Shyama, he made a curt remark that this girl is too thin to impress in a leading role, and walked away. One can imagine the turmoil that followed, with doubts appearing in the minds of the entire team. Shyama herself notes that she went home and cried all night – here was a once in a lifetime break that suddenly became so close to slip out of her fingers. After the crying session was over, she pulled herself together and made a resolve to address even this issue. Next day, she went out to seek medical help. Whoever would think of a thing like a diet to ‘gain’ weight? She went on a crash diet to do exactly this – gain weight. In a short period of time, she gained a reasonable amount of weight, and went right back in to complete the film.

One more significant episode occurred in the year 1951. Shyama was filming for ‘Sazaa’; she was the second lead to Nimmi and again, the third vertex of the love triangle that includes Dev Anand and Nimmi. The director and cinematographer of this film was Fali Mistry. Affections developed between the two, and two got married. Her family would have preferred a Muslim son-in-law. Fali Mistry being a Parsi, her father did not accept her new venture in life. She did get support from her mother, who was present at the small and quiet ceremony for the wedding. Her father  did not communicate with her for years. Shyama mentions in her interview that the ice between them was eventually broken when she gave birth to her first son, and went to him to get his blessings.

One of the understandings between Shyama and Fali was that she would continue to work in films. Apparently there were other suitors also, but as per herself, the proposals did not go further because the gentlemen did not agree to allow her to continue her work.

Through the 1950s, as well as early sixties, Shyama was in the top bracket of leading ladies in Hindi cinema. A golden period in her career, her popularity can be gauged by the fact that 82 of her films were released in the period from 1952 to 1960. In 1954 alone, 14 of her films came on the silver screen, and 13 in the year 1955. In all 27 films in a period of two consecutive years is a record in itself. An interesting aspect of her career has been that while she was in demand as the leading lady, she continued to do all kinds of roles, including second lead and even as a vamp. By her own admission, she was never too much hung up on being the leading lady, but was always more interested in the content of the role. In fact her only Filmfare award is for her performance in ‘Sharda’ in 1957 – as the best female actor in a supporting role. In the later part of 1960s, she transitioned into character roles and continued to work till the end of 1980s. Her last film as a character artist is ‘Hathyaar’ released in 1989.

Fali Mistry passed away unexpectedly in 1979, leaving behind a family of two sons and one daughter.

In the past 3, 4 days I was in travel myself, and was disconnected from the net for part of that time. Settling back after returning, as I processed through the email backlog, I got to see this message from Harish Raghuvanshi ji, informing about the sad demise of Shyama. She was 82, and as per her latest interviews some years back, she was quite satisfied with the full life she had led, and with her accomplishments on the silver screen.

As I sorted through the list of her songs as yet unpublished on our blog, searching for an appropriate song for this tribute, I came across this chirpy and playful song from the film ‘Ghar Basaa Ke Dekho’ from 1963. I had not heard it before. As I played this song, it struck me as so much Shyama herself, and I knew this is the song so suitable to go along with the write up about her. On screen, she leads the singing and dancing within a group of friends. Some of the faces are familiar, but I am unable to place any names. I request our knowledgeable readers and friends to help identify other actresses supporting Shyama in this song.

The words are from the pen of Rajendra Krishan and the lilting music comes from the mind of Chitragupt. The singing voices are of Suman Kalyanpur, Usha Mangeshkar and chorus. Shyama gets to lip sync most of the lines of Suman Kalyanpur, and the lines sung by Usha Mangeshkar are shared between more than one of the supporting ladies on screen.

A wonderful expression of a philosophy of life, that one can surmise from her interviews, was very dear to Shyama herself. The thought behind the bubbly vivacity in this song is just the same thought that first made her raise her hand unhesitatingly to Rizvi Sb’s query on who would like to join the filming of the group song (qawwaali song in ‘Zeenat’). That is Shyama.

Or to put it more correctly now – that was Shyama. Only the memories remain now.

bichhad kar chale jaao hum se kahin
magar ye na kehna mohabbat nahin

magar ye na kehna mohabbat nahin . . .

Dear Shyama, RIP – Rest In Playfulness, Always 🙂

[Acknowledgements: source material for the above article is referred from articles and interviews published on the blogs Cineplot, Beete Huye Din (by Shishir Krishna Sharma), Wikipedia, and a profile article in the book ‘Beete Kal Ke Sitaare’ by Shri Sriram Tamrakar.]

[Ed Note: This song also is a remembrance of Chitragupt; reviving memories of this prolific music director on the anniversary of his birth – 16th November.]

 

Song – Jidhar Jee Mein Aaya Udhar Hum Chale (Ghar Basaa Ke Dekho) (1963) Singer – Suman Kalyanpur, Usha Mangeshkar, Lyrics – Rajendra Krishan, MD – Chitragupt
Suman Kalyanpur + Usha Mangeshkar
Chorus

Lyrics

jidhar jee mein aaya
udhar hum chale
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

jinki kismet mein aish likha hai
aish karte hain aur jeete hain
jinki kismet mein aish likha hai
aish karte hain aur jeete hain
aah bharna hai jinki kismet mein
aah bharte hain ashq peete hain
zindagi kya hai ek hungaama
ek hungaama roz ho jaaye
kehkahon ke bagair kya jeena
zindagi kehkahon mein kho jaaye
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

aadmi ko mili hain kyon aankhen
dekh le jis qadar nazaare hain
aadmi ko mili hain kyon aankhen
dekh le jis qadar nazaare hain
baag tera hai phool tere hain
aur tere hi chaand taare hain
zindagi naam hain bahaaron ka
hum bahaaron ka ras nichodenge
zindagi ek baar milti hai
ek armaan bhi na chhodenge
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

zindagi teri ek hulchul hai
raqs hai saaz hain taraana hai
zindagi teri ek hulchul hai
raqs hai saaz hain taraana hai
ik jagah par qayaam kya karna
har chaman tera aashiaana hai
ek pal bhi na fikr mein beete
muskuraata ja geet gaata ja
aur duniya jo raah mein aaye
ek thokar usey lagaata ja
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

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

जिधर जी में आया
उधर हम चले
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

जिनकी क़िस्मत में ऐश लिखी है
ऐश करते हैं और जीते हैं
जिनकी क़िस्मत में ऐश लिखी है
ऐश करते हैं और जीते हैं
आह भरना है जिनकी क़िस्मत में
आह भरते हैं अशक पीते हैं
ज़िंदगी क्या है एक हंगामा
एक हंगामा रोज़ हो जाये
कहकहों के बगैर क्या जीना
ज़िंदगी कहकहों में खो जाये
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

आदमी को मिली हैं क्यों आँखें
देख ले जिस कदर नज़ारे हैं
आदमी को मिली हैं क्यों आँखें
देख ले जिस कदर नज़ारे हैं
बाग तेरा हैं फूल तेरे हैं
और तेरे ही चाँद तारे हैं
ज़िंदगी नाम हैं बहारों का
हम बहारों का रस निचोड़ेंगे
ज़िंदगी एक बार मिलती है
एक अरमान भी ना छोड़ेंगे
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

ज़िंदगी तेरी एक हलचल है
रक़्स है साज है तराना है
ज़िंदगी तेरी एक हलचल है
रक़्स है साज है तराना है
इक जगह पर क़याम क्या करना
हर चमन तेरा आशियाना है
एक पल भी ना फिक्र में बीते
मुसकुराता जा गीत गाता जा
और दुनिया जो राह में आए
एक ठोकर उसे लगाता जा
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले


This article is written by Raja, 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.

Today we pay tribute here on the blog to Mahendra Kapoor, one of the well-known voices of the golden era of Hindi music, on the occasion of his 9th death anniversary. There are many ways to start this tribute but, instead of “getting my eye in”, let me, Sehwag-style, straightaway go for it. By “it”, I mean the elephant in the room.
Read more on this topic…


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

Hullo to all in Atuldom

September 2, 2017. The lady who made the fringe-cut hair style popular would have been 76. Yes, I am talking of Sadhana and that hair style called “sadhana cut”. I am sure every girl of the 1960s and 70s would have sported the style at least once in her lifetime. Apparently this look was inspired from the British actress Audrey Hepburn (some more on this later).
Read more on this topic…


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.

Today’s song is a fun song from the film Khota Paisa (1958). It is sung by Rafi, Shamshad and chorus. The film was one of those in which Johnny Walker was the Hero opposite Shyama. Johnny Walker was on the peak of popularity during that period. The film was produced and directed by M.Sadiq, under his own banner Sadiq Productions, Bombay. Music was by Madan Mohan.
Read more on this topic…


This article is written by Raja, 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 9th of June is the birthday of our beloved Arunkumar Deshmukhji, often fondly referred to as our in-house encyclopaedia. 🙂

Arunji, it takes me great pleasure to wish you a very happy birthday on this occasion – and I say this on behalf of all Atulites for whom you are a very special person.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 14400 song posts by now.

This blog is active and online for over 3600 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1141
Total Number of movies covered =3957

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