Posts Tagged ‘Rajesh Roshan’
- In: "How did I forget to post this song earlier" song | Duet | expression of love | Feelings of heart | How come this song was not posted earlier | Kishore Kumar songs | Kishore Kumar-Lata duet | Lata song | Lyrics by Prakashchandra | Lyrics contributed by readers | Songs of 1970s (1971 to 1980) | Songs of 1975 | Theme song | Title song | Yearwise breakup of songs
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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 : |
5700 | Post No. : | 18218 |
Ameen Sayani (21 December 1932- 20 February 2024) recently left for the heavenly abode on 20 february 2024. It goes without saying that Ameen Sayani was easily one of the most important personalities in the field of HFM. Instead of coming up with a hastily prepared article as a tribute to Ameen Sayani, I thought that I should pay him a tribute by discussing Binaca geetmala, a programme that was a musical phenomenon of our times. When we think of Ameen Sayani, we think of Binaca geetmala and vice versa.
But while most of us have heard of both, our recollections may have faded with time or may be we may not have gone into much details. Here I would like to go into some depth of Binaca geetmala and discuss facts about it that we may or may not be aware of.
Binaca geetmala programme had started on 3 december 1952. It was a wednesday. It was half an hour programme on Radio Ceylon from 8 PM to 8:30 PM. It covered seven songs. It was not a countdown programme at that time. It just had a collection of popular songs. It was sort of like chitrahar programme of today. The very first song that was played in the programme was Tu Ganga ki mauj main Jamuna kaa dhaara (Baiju Baawra) .
Instead of creating their own original signature tune, part of the song Pom pom pom baaja boley (Aasmaan) was used as signature tune of the programme.
Five programmes were broadcast on five wednesdays of 1952. All were half an hour programmes. At that time Binaca geetmala was not the programme that it subsequently evolved into.
After nearly one year and half, the format of the programme underwent a serious change in the middle of 1954. It became one hour programme from 8 PM to 9 PM. It became a countdown programme that began to play songs based on their popularity. Sixteenth most popular sung was played first whereas the most popular song was played last.
The programme did not just cover popular Hindi movie songs, it also added new words to the language that people spoke. The word “geetmala” itself was a creation of Ameen Sayani. He also came up with word like “Paaydaan”. Subsequently as the programme evolved further, he created words like “sartaaj geet”, “punar praveshi geet”, etc.
As Binaca geetmala became a countdown radio show towards the middle of 1954, the next logical evolution was analysing the popular songs of the year to come up with the sixteen most popular songs of the year and play that list on the last wednesday of the year. 29 December 1954 was the first time when final programme of Binaca Geetmala was broadcast. Sixteen songs were played. There were songs composed by Naushad (3), Hemant Kumar (3), C Ramchandra (2), O P Nayyar (2). There were one composition each of Avinash Vyas, Salil Chaudhary, Timir Baran, Ravi, Anil Biswas and S D Burman. S D Burman had just one song, but his one song had the distinction of becoming the winner of inaugural Binaca geetmala final programme. The song was Jaayen to jaayen kahaan (Taxi Driver) . This song has two versions. Male solo was sung by Talat Mehmood and female solo by Lata Mangeshkar. Sahir Ludhianvi was the lyricist.
Till end of 1956, only one final programme was being broadcast. But from 1957 onwards two final programmes began to be broadcast covering twice the number of songs. Penultimate programme of the year typically covered song number 32 to 17, whereas the highest ranked songs of the year were covered on the next wednesday viz the last wednesday of the year. The number of songs was not strictly fixed. It varied from 15 to 18 or so in annual programmes.
Popularity of songs were assessed based on sales of record as stated in the programme. It is not clear what was the methodology. They apparently took details from retail sellers of records. How the details were collected and how data were compiled to come up with the list every week is not known to us. A record has more than one song in it. How it was decided which song of the record was more popular than the other is not known to us. All this data processing in those pre computer days must have been quite a task and I wonder if Ameen Sayani had people to assist him in these tasks. I wonder if any of our readers have any information about it.
The other method of assessing the popularity of songs was by taking the views of “shrota sanghs”. When I read this explanation, I feel that the list preparation may not have been very rigourous and objective, seeing the logistical, technical and other challenges of those days.
During the early days, the songs could get included in the Binaca geetmala weekly programmes as many times as they could be based on their popularity. But 1966 saw a major change. In that year, a limitaion was set that any song could be included for 18 times only and no further. It was then retired giving it the name of “Sartaj” geet. Unlike in the past when songs kept figuring in the programme for even two years (100 plus times), this limitation of cutting off a song from contention after one third of a year seemed unfair to many listeners. Ameen Sayani justified it by explaining that more songs got the opportunity to get represented in the programme by this new rule. The first song that was eased out of Binaca geetmala at the peak of its popularity by this new rule was Choo lene do naazuk hothon ko(Kaajal)(1965). Ultimately this song ended up as 13th in the final programme of the year.
I feel that record companies may have influenced this decision. If a popular song could be taken off from Binaca geetmala after one third of the year then potentially three times the number of songs would play in a year which meant potentially three times the number of records would sell. It is my guess. I request our knowledgeable readers to chip in with their opinions.
There were people who would try to note down the list of songs that were played in the programme. while most people would be unable to note down the lists from all programmes, there were some hardcore Binaca geetmala fans who would be able to note down the list of each and every programme. One such person was Mr Anil Bhargav of Jaipur. He noted down the list of songs played in all the 2081 programmes from 3 December 1952 till 4 april 1994, when the last Geetmala programme was broadcast.
Mr Anil Bhargav later wrote a book “Binaca Geetmala ka sureela safar” where he gives invaluable information about Binaca geetmala. I have used the content of this book heavily while collecting details on Binaca geetmala.
Personally I too tried to note down list of songs in weekly programmes but without much success because I missed out on listening to many programmes. It was the final programme that I (and lots of other music lovers) tried not to miss. I have given an account of how I got to listen to Binaca geetmala final programme of 1971 in this article:-, Zindagi ek safar hai suhaana (Andaaz).
Somewhere else, my would be brother in law was also into noting down the list of songs in Binaca geetmala. Much later, My wife got me some page from his notebook that contained the list of songs from the annual programme of 1971 or 1972. I have forgotten what year it was, as I have misplaced that sheet of paper. He by the way was a hardcore farmaish sender to Radio Ceylon, even though he was not from Jhumri Tilaiyya.
Incidentally, that brother in law of mine told me an interesting tale. They lived in Etarasi at that time in 1950s. He as a kid got a head injury while playing. He was urgently rushed to the nearest doctor who treated him and cured him. That Doctor was One Dr Nayyar, who was brother of music director O P Nayyar. 🙂
When one looks at the list of songs that appeared in the final programme of the various years, one notices some interesting facts. During the initial years, Hemant Kumar was the surprise topper among music directors. He had three songs in the final in the last week of 1954 and four songs in the final week of 1955.
By late 1950s , Shankar Jaikishan began to dominate. 1959 saw as many as 8 songs in the final being Shankar Jaikishan compositions. They repeated this feat in 1962 final as well. Laxmikant Pyarelal, who appeared in 1963 began to dominate towards the end of the decade of 1970s and beyond. They had 9 songs in the final wednesday of 1970. R D Burman had 8 songs in the final of 1973. All the songs in that final were composed by just four music directors, viz R D Burman (8), S D Burman (4), Laxmikant Pyarelal (4) and Kalyanji Anandji (3).
Just like we in our blog sometimes have dot days when no post appears, Binaca geetmala too sometimes failed to be broadcast on its appointed day and time. There were about 80 such occasions. Sometimes, older programme was played to fill in. For example the programme of 12 June 1974 was repeated on 19 june 1974 as well. Sometimes the day and time got changed. For excample the programme scheduled for wednesday 4 december 1974 was broadcast on sunday 8 december 1974 at 13:00 hrs in the afternoon. In case of DOT wednesdays, the list of songs of that missing wednesday was read out in the next programme.
There were about 35 occasions when Ameen Sayani was unable to record a particular programme and that programme was recorded by some other announcer. Manohar Mahajan ( about 20 programmes), Gopal Sharma, Shiv Kumar Saroj, Vijay Kishore Dubey, Bhajbhushan were the announcers. Personally I found it a let down because others were no match to Ameen Sayani as far as my opinion was concerned.
Year 1977 was silver jubilee year of Binaca geetmala. To mark the occasion, the two final episodes of the year had an enormously large number of songs, viz 42 songs, spread over two wednesdays. The final wednesday saw 21 songs being covered. The winner that year was Madan Mohan composition Koi patthar se naa maare mere deewaane ko (Laila Majnu) . It was the first and only time that a Madan Mohan composition reached the top of Binaca geetmala final but sadly Madan Mohan was not around to savour this success.
To mark the silver jubilee of the programme, three special programmes were broadcast on sundays (8 , 15 and 22 January 1978) between 11:00 hrs to 12:00 hrs where history of Binaca geetmala was covered. Special messages from important personalities were covered. This was a collectors’s item but sadly no recordings of these programmes were made available.
This year saw another major change in policy about playing of songs. From this year onwards, songs were allowed to play 25 times (instead of 18) before they were called “Sartaj” geet and retired. Till 18 times, the songs would be played fully and for the next seven occasions only their snippets (jhalki) would be played in the programmes. As a result, the number of songs being covered in a weekly programme became more than 16 songs, because of snippets of additional songs. “Ankhiyon ke jharokhon se(Ankhiyon ke jharokhon se)” became the number one song of the year in 1978.
The end of 1970s and beginning of 1980s saw the golden era of HFM coming to an end and the radio age too began to get eclipsed by TV at around the same time. Binaca geetmala slowly began to feel the heat. By that time Vividh Bharati radio stations had been set up in lots of places in India and they too had been allowed to air sponsored programmes. Under these changed circumstances, advertisers began to favour Vividh Bharati in place of Radio Ceylon (by now called SLBC).
On personal front, I too had begun to lose track of Binaca geetmala (as also Hindi movies). I do not feel that I may have missed much though, because the golden era of HFM was in any case behind us. Binaca geetmala kept being aired but Binaca geetmala of 1980s were not the same Binaca geetmala of yore. Binaca geetmala, in addition to being inundated by disco songs also opened its doors to non film songs. 12 August 1981 saw “Disco Deewaane” becoming the first non film song to get played in Binaca geetmala. Other songs of this album also began to get played in subsequent programmes and they even figured in the final programme of the year.
The songs that began to become the top songs in HFGK final programmes from 1981 onwards were quite lowbrow in quality in comparison to the songs of the past. 1981 topper was Mere angne mein tumhaara kya kaam hai (Laawaaris), 1982 topper was Angrezi mein kahte hain ki I love you (Khuddar) , 1983 topper was Shaayad meri shaadi ka khayaal dil mein aaya hai (Sautan). One can see that chaalu kind of songs had begun to find favour with music lovers.
Binaca geetmala on SLBC was renamed Cibaca geetmala with effect from 21 may 1986. It began to be broadcast on thursday from 27 october 1988 between 9 PM to 10 PM. From 6 april 1989, number of songs were reduced from 16 to 14.
All these were changes for the worse and these were signaling the decline of the programme in line with changing times. While the programme tried to continue gamely on SLBC, Vividh Bharti too saw Cibaca Sangeetmala being presented by Ameen Sayani from 6 november 1989. It was not quite Binaca geetmala. It was presented on Vividh Bharati (24 stations) on monday at 9 PM.
Finally, 4 april 1994 saw the last broadcast of Cibaca geetmala. That finally brought down curtains on an iconic radio programme that had a marathon run of 42 years (2081 programmes), almost all presented by just one individual namely Ameen Sayani. Ameen Sayani was 20 when he began the programme. He was 62 when the programme finally came to an end.
End of an era indeed.
I decided that I should discuss a Binaca geetmala finalist song with this writeup. When I began to search for songs that have figured in Binaca geetmala finals, I kept scanning songs after songs years after years beginning from 1954. I found that all the finalist songs from 1954 onwards have been covered in the blog. In fact, not just the songs, even the movies that the songs were from have been YIPPEED in the blog.
Finally my search ended in the list of songs in the year 1975. Here is a song from the Binaca geetmala final 1975.
When I reveal what song I am going to discuss, I expect regulars to gasp with surprise and exclaim how come this song was not posted till now.
The song is from “Julie”(1975). “Julie”(1975) was produced by A Chakrapani and B Nagi Reddy and directed by K S Sethumadhavan for Vijaya Productrions private Limited, Madras. This movie, billed as “A Bold daring true-to-life story of young love” had Lakshmi(aka Laxmi),Vikram (aka Vikram Makandar),Nadira, Utpal Dutt, Achala Sachdev, Rita Bhaduri, Jalal Agha, Rajendra nath, Om Prakash, Sridevi, Umesh Sharma, Master Satyajeet, J.N.Anand, Udaya Lakshmi, A.Abdul Hameed, C.J.Anand, Sulochana senior(aka Ruby Myers) etc in it.
“Julie”(1975) had five songs in it. Three songs have been covered so far. The last song from the movie was covered exactly 10 years and one month ago on 25 January 2014.
Here is this iconic song from “Julie”(1975). This song is sung by Kishore Kumar and Lata Mangeshkar. Anand Bakshi is the lyricist. Music is composed by Rajesh Roshan.
The song is picturised on Lakshmi(south fame) and Vikram.
Lyrics of the song and other details were sent to me by Prakashchandra.
This song was third in the Binaca geetmala final programme of 1975 (broadcast on 31 december 1975).
Today is the 5700th day of this blog. On this occasion, we pay our tribute to the great legend Ameen Sayani and thank him for providing us with decades of musical bliss. You will remain in our hearts all the time.
audio link (longer):
video link:
Song-Bhool gaya sab kuchh yaad nahin ab kuchh (Julie)(1975) Singers-Kishore Kumar, Lata Mangeshkar, Lyrics-Anand Bakshi, MD-Rajesh Roshan
Lyrics(Provided by Prakashchandra)
bhool gaya sab kuchch
hmm hmm mmm
bhool gaya sab kuchch
yaad nahin ab kuchch
oho o
hmm..mmm
hey aey hey aey
ek yehee baat na bhoolee ee
Julie ee ee
aa aaa aaa aa aa aaaa
I love you
aa aa aa aa aa aa
bhool gayee sab kuchch
yaad nahin ab kuchch
oho o
hmm..mmm…mm oho o o o ho o o o
ek yehee baat na bhoolee ee ee
Julie aaa aaa aaa aaa aaa
Julies loves you
aa aaa aaa aaaa
aa aaa aaaa
aa aaa aaa aaaa
aa aaa aaa aaaa
itna bhi door mat jaao oo
ke paas aanaa aa mushqil ho
ho o o ho
itna bhi paas mat aao oo
ke door jaanaa aaa mushqil ho
jaaney bhi do kahaa maano meraa
aisaa lagaa badan chhoo ke teraa
koyi chingaari chhoo lee eee
Julie ee ee
aa aaa aaa aaa aaa aaa
I love you
aaaa aaa aa aa aa aaaa
aisa na ho tadap tadap ke
ye pyaar pyaasaa aaa mar jaaye ae
ho o o o
aisa na ho hum donon ko
ye shaam ruswaa aa kar jaaye..ae
achchaa to main ye zid chhod doon bolo
achcha main ye qasam tod doon bolo
baat hai ye maamoolee ee ee
Julie ee
aaa aaa aaa aa aaaa aaa
Julie loves you
aa aaa aaa aaaa
aaa aaa aaa
bhool gaya sab kuchch
hmm hmm mmm hmmm mmm
bhool gaya sab kuchch
yaad nahin ab kuchch
oho o
hmm mm
hey aey ae ae
ek yehee baat na bhoolee eee
Julie ee ee ee
aa aaa aaa aa aa
I love you
aaaa aaa aa aaa
aaa aaa aaa
hmmm mmmm mmmm
ho o oo ho
hmmm mmm
hmmm mmm mmm
aaa aaaaa aaaaa aa
hmmm mmm mmmm mmm
Mujhse naaraaz ho to ho jaao
Posted on: February 19, 2024
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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5694 | Post No. : | 18212 | Movie Count : |
4889 |
‘Paapa Kahte Hain’ (1996) was produced by Plus Films (of Mahesh Bhatt and Amit Khanna) and was directed by Mahesh Bhatt. The cast included Jugal Hansraj, Mayuri Kango, Anupam Kher, Tiku Talsania, Navni Parihar, Alok Nath, Reema Lagoo, Suhas Joshi, Soni Razdan, Javed Khan, Dinesh Hingoo, Abhimanyu Singh, Sujata Kango, Johny Bakshi etc. The film was planned as a tele-film. However, when the main cast was finalised, it was decided to make it a feature film with Jugal Hansraj and Mayuri Kango in the lead roles. While Jugal Hansraj had already worked in a lead role in ‘Aa Gale Lag Jaa’ (1994), for Mayuri Kango, it was her first film in the lead role and her mother, Sujata Kango also acted in this film.
About 5 years back, I had read a newspaper report that a former Bollywood actor has taken over as the Industry Head of Google India. The actor turned out to be Mayuri Kango. Her journey from an actress in the popular song, ‘ghar se nikalte hi’ from the film in the mid-1990s to one of the top posts in the corporate world is interesting. Her journey is also an inspiration, especially for women who are not successful in their filmy career to try some other sector to have a successful career.
Mayuri Kango (B:15/08/1982) was born in Aurangabad (Now Chhatrapati Sambhajinagar). Her father, Dr Balchandra Kango is a member of the Communist Party of India and currently, he is the National Secretary. Her mother, Sujata Kango is a theatre and TV artists. Whenever in a play, if a role of a child actor was required, it was Mayuri who will get that role. Mayuri was a bright student who completed her schooling from Aurangabad.
After the end of her Board examination, Mayuri visited her mother who was temporarily staying in Mumbai for her theatre work. Saeed Akhtar Mirza, a renowned TV and film director, while meeting her mother, saw Mayuri. He took her in a title role in his off-beat film, ‘Naseem’ (1995). The film won National Film Award for Best direction and Screenplay for Saeed Akhtar Mirza. After her debut, while Mayuri was waiting for her Board exam results, she was offered a lead role in ‘Paapa Kahte Hain’ (1996) by Mahesh Bhatt who was impressed by her performance in ‘Naseem’ (1995). She agreed to work in the film thinking that since it was a tele-film, she will be freed in short time to continue her college studies. In the meanwhile, she got selected for IIT, Kanpur for the Engineering degree. However, when Mahesh Bhatt decided to make ‘Paapa Kahte Hain’ (1996) as a full-length feature film, she was required to devote more time for the film’s shooting both in India and abroad. Looking at the start of her filmy career, she decided to drop out of IIT and instead she chose to do BA.
Despite the popularity of its songs, ‘Paapa Kahte Hain’ (1996) failed at the box office. However, Mayuri got a number of offers for Hindi films. At one point of time, she had 15 films on hand, However, more than half of them got either shelved or remained unreleased. Her released films were ‘Betaabi’ (1997), ‘Hogi Pyaar Ki Jeet’ (1999), ‘Baadal’ (2000), ‘Jeetenge Hum’ (2000), ‘Paapa The Great’ (2000), ‘Shikaari’ (2000) and ‘Adharam’ (2006). None of these films attained box office success. Later, she worked in a Telugu film, ‘Vamsee’ (2000) in a supporting role. With no career progression in her filmy career, Mayuri shifted to TV serials during 2000-2003.
Mayuri got married to an NRI, Aditya Dhillon in December 2003 and then shifted to New York. Here, she completed MBA in Finance and Marketing in 2005. She started her new career in digital advertising. The couple had a son born in 2011. In 2013, they shifted back to India as her career was taking shape and she required the family support to look after her son. Her in-laws are staying in Gurugram which she made her base. Her Linkedin profile indicates that Mayuri Kango had worked as a managing director at a global marketing agency, ‘Performics’. She was also previously the Chief Digital Officer in marketing and advertising agency, ‘Zenith’. Since April 2019, Mayuri Kango has been a part of Google India Company where she is serving as the Industry Head, based in Gurugram.
Mayuri Kango is very active on the social media platforms as well as on TV interviews during which she shared her experience of working in the corporate sector as a former actress. Initially, she felt that her corporate clients were not taking her seriously because of her filmy background. Perhaps, they thought that beauty and brains did not gell together. But she was successful in dispelling this myth over a period of time to scale a new height in the corporate world.
The story of ‘Paapa Kahte Hain’ (1996) is as under:
Sweety Khanna (Mayuri Kango) lives with her mother Vinita Gandhi (Navni Parihar), maternal grandmother Shobhna Gandhi (Suhas Joshi) and Grandfather Taraknath Gandhi (Tiku Talsania). She is very rebellious and emotionally charged girl. As a result, she does not get along well within the family as well in the school. She sometime suspects that she is an illegitimate child of her mother because she is not supposed to talk about her father. All she knows from her grandfather is that her father had eloped with her mother, and he did not turned up when she was born. The relationship between Taraknath and Vinita is strained as she holds him responsible for keeping her away from her husband.
As Sweety is now grown up, Taraknath arranges a marriage for her, and the engagement is fixed. Vinita is not happy. It is at this juncture, Vinita reveals to Sweety that she had met her father in the Seychelles. She got married to him as a minor. Taking advantage of this, Taraknath forced her father to divorce her failing which he would inform the police. After divorce, Taraknath brought her mother back to India. Sweety’s dad never knew her address and hence never came looking. Taraknath did not inform Sweety’s father that Vinita was pregnant when she was divorced and was brought back to India.
After getting the vital information about her father, Sweety runs away to Seychelles on the day of the engagement. At the airport, Rohit Dixit (Jugal Hansraj) has come to receive one Swati Anand on behalf of a hotel guest, Kishan Khanna (Anupam Kher). When Sweety is questioned by immigration about her purpose of visit to Seychelles, she does not answer but in the spur of the moment she says Rohit knows her. She herself presents to Rohit as Swati and goes with him to the hotel. She convinces Rohit that she is Kishan’s daughter and Rohit gives her the keys to Kishan’s room who is away on holiday with Swati Sinha (Sony Razdan) on a date. The fact is that Kishan is staying in the same hotel but in a different room with Swati who is a divorcee.
To enable her to move around Seychelles for the search of her father, Sweety befriends Rohit and creates a feeling that she is in love with him. The secret is out when Kishan sees Sweety in his hotel room. To avoid being thrown out of the hotel room, Sweety creates a scene in public that she is the daughter of Kishan who is refusing to acknowledge as such because he has divorced her mother. Kishan’s companion, Swati leaves him when she finds that he has a daughter but continues to stay in the hotel in a different room. Kishan calls for police to get rid of Sweety from his room. However, because Sweety has been crying for long, Kishan feels sorry for her and allows her to stay.
Over a period of time, Kishan and Sweety have developed a sort of father-daughter relationship, both being unaware of the fact that they are father and daughter in real life. In the meanwhile, Rohit continues to accompany Sweety for the search of her father and in this she remains away from Kishan for few days without telling him. When she returns, Kishan is upset with her for not informing him. After some arguments, Kishan orders her to leave his room at the earliest. However, Kishan cools down next morning and promises Sweety to help her in search of her father. At the same time, Sweety’s fake lover affair with Rohit has turned into a real love between them.
In the meanwhile, Taraknath gets to know that Sweety is in Seychelles. He visits Seychelles and forcibly brings her back to India. Kishan and Rohit follows them in Mumbai. When Kishan meets Vinita, he realises that Sweety is his daughter. Taraknath follows up with the wedding of Sweety which he had arranged earlier. However, on the day of wedding, Kishan and Rohit play pranks which result in bridegroom’s family breaking the marriage. Taraknath is now in a pitiable situation. Kishan intervenes and make him understand that he cannot have everything as per his will. Taraknath’s entire family members support Kishan. Finally, Taraknath permits Sweety to marry Rohit.
From the story details, it appears to me that Manohar Shyam Joshi had originally written the story for a soap opera type of a TV serial, going by the many twists. There is a breakdown of logic once the story of the film shifts to Seychelles. Incidentally, it was a afterthought of the director to cover shooting in Seychelles. The film flopped at the box office despite the popularity of its songs.
The film had six songs written by Javed Akhtar and set to music by Rajesh Roshan. The most popular song from the film was ‘ghar se nikalte hi’ for which Javed Akhtar got the Filmfare Award for the Best Lyricist. However, I am presenting a different song, ‘mujhse naaraaz ho to ho jaao’ from the film to appear on the Blog. The song is rendered by Sonu Nigam and is picturised on Anupam Kher and Mayuri Kango.
The background to this song is that Mayuri is upset that Jugal is leaving Seychelles because she has showered her fake love on her for the selfish reason which he is now aware of. But now she is really in love with him. It is at this stage Anupam Kher tells her that there is no point in getting angry with or keeping distance from oneself.
I picked up this song mainly because this has a reminiscence of Madan Mohan’s compositions.
Video Clip:
Audio Clip:
Song-Mujhse naaraaz ho to ho jaao (Papa Kahte Hain)(1996) Singer-Sonu Nigam, Lyrics-Javed Akhtar, MD-Rajesh Roshan
Lyrics:
mujhse naaraaz ho to ho jaao
mujhse naaraaz ho to ho jaao
khud se lekin khafaa khafaa na raho
mujhse tum door jaao to jaao
aap apne se tum judaa naa raho
mujhse naaraaz ho to ho jaao
khud se lekin khafaa khafaa na raho
mujhse naaraaz ho to ho jaao
mujhpe chaahe yakeen karo naa karo
mujhpe chaahe yakeen karo naa karo
tumko khud par magar yakeen rahe
sar pe ho aasmaan yaa ke naa ho
pair ke neeche ye zameen rahe
mujhko tum bewafaa kaho to kaho
mujhko tum bewafaa kaho to kaho
tum magar khud se bewafaa naa raho
mujhse naaraaz ho to ho jaao
aao ik baat main kahoon tumse
aao ik baat main kahoon tumse
jaane phir koi ye kahe naa kahe
tumko apni talaash karni hai
hamsafar koi bhi rahe naa rahe
tumko apne sahaare jeena hai
tumko apne sahaare jeena hai
dhoondhti koi aasraa naa raho
mujhse naaraaz ho to ho jaao
khud se lekin khafaa khafaa naa raho
mujhse tum door jaao to jaao
aap apne se tum judaa naa raho
Phool ye kahaan se aaye hain
Posted on: February 1, 2024
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 : |
5676 | Post No. : | 18189 |
Hullo Atuldom
“Kaash” (1987) was produced by Anwar Ali & F.K. Rattonsey & directed by Mahesh Bhatt. Dimple Kapadia- Jackie Shroff- Master Makrand Joshi formed the main cast, with Anupam Kher playing a character that was important for the story viz. he played the third angle of the love triangle; of course Jackie & Dimple were the other two angles. Akash Khurana, Dalip Tahil, Mehmood, Mukri, R.S. Chopra, Kamal Chopra, Avtar Gill, Satish Kaushik, Vikas Anand, Subbiraj, Raju Kher all had small important parts to play; tagged as either special or guest appearance in the titles of the film.
The film was the story of the struggle an actor goes through when he cannot accept the fact of being tagged an “ex. SUPERSTAR”. Jackie Shroff played the character of the down-but-not-ready to accept star. Dimple played the wife who tries her best to keep the family together as well as her husband in good cheer. Anupam Kher played a good-samaritan who rescues Dimple from being molested & also offers her a better job. But, Jackie reads the whole setup as a man-woman thing and Dimple has to choose between job & family. She tries to get custody of the child but is given ‘visiting’ rights.
Matters come to a boil when the child falls ill & the doctor says that he has very little time left. The child asks Jackie if he can fulfill a few of his wishes; the doting father says “yes”. With this the story changes track. The parents come together to keep him happy in his last days; setting aside their personal emotions.
All the lead actors played their parts well, even Master Makrand- the heart bleeds when he asks his father “why only he should die, when all his friends will still be around”. 🙂
I don’t recall the fate of the film at the box office, but I recall having seen it back then & almost every time it comes on TV. It is one of the one films whose music is on my list of favorites. Rajesh Roshan was the music director for songs written by Farooque Qaiser. Kishore Kumar was the main male playback singer used; Mohd Aziz & Mehmood were the other male singers. Sonali Bajpai & Sadhana Sargam’s voices were used for the child & Dimple Kapadia sang in the voices of Asha Bhosle & Anupama.
We are revisiting the film today (one song from the filmis on the blog with a post by Rajaji), to wish Jackie Shroff on turning 67. He has been entertaining his fans quietly for the last 42 years. We first saw a glimpse of him in Dev Anand’s ‘Swami Dada’; he played a henchman to Shakti Kapoor – an uncredited role. Subhash Ghai introduced him as a hero in “Hero” which released in December 1983 & we can say that there has been no looking-back from then. He was seen in many two or three hero films, badly- made films etc but his acting has been appreciated in films like ‘Gardish’, ‘Parinda’, ‘Rangeela’ etc. One almost forgets that he was present in ‘1942: A live story’, ‘Mission Kashmir’ etc. He has played a few negative characters too over the years. I find it interesting that in 1993 he played a cop in ‘Khalnayak’ when Sanjay Dutt played a terrorist & a few years later, in 2000, Jackie played a terrorist in ‘Mission Kashmir’ when Sanjay Dutt was the cop. He says that he is ready to play even a blink-n-miss role in Subhash Ghai films as it was “Hero” made by Ghai that gave Jackie his place in the industry, he played a father of grown-up girls in Ghai’s “Yaadein”, a 5-minute scene in “Saudagar” etc.
In today’s song Jackie is on a trip to Kashmir with his son as the son has expressed ‘a trip to Kashmir’ as one of the things on his wish-list. Kishore Kumar & Sadhana Sargam have sung this ‘educational’ song where the child keeps asking questions to the father who has only one answer for everything- “sab kuch hai banaaya jaadoo se”
Song-Phool ye kahaan se aaye hain boloon (Kaash)(1987) Singers-Kishore Kumar, Sadhana Sargam, Lyrics-Farooque Kaiser, MD-Rajesh Roshan
Chorus
Lyrics
aa aa
aa aa aa
aa
phool yeh kahaan se aaya hain
boloon
phal yeh kahaan se aaye hain
boloon
ped ye kahaan se aaye hai
o sun mere bete jahaan waale ne
sab kuchh hai banaaya jaadu se
kamaal hai daddy
jahaan waale ne
kya khoob banaya jaadu se
paani hai nadi mein
nadi dariya mein
dariya saagar mein
meetha meetha paani ban jaaye khaara
jaa ke samundar mein
paani hai nadi mein
nadi dariya mein
dariya saagar mein
meetha meetha paani ban jaaye khara jake samundar mein
paani kaise bane khaara
boloon
yeh kaun kare saara
boloon
hai kaam bada nyaara
yeh sun mere bete jahaan waale ne
sab kuchh hai chhupaaya jaadu se
kamaal hai daddy
jahaan waale ne
kya khoob chhupaaya jaadu se
rangonwaali titli pankhon waale panchhi achchhe lagte hain
baagh mein chaman mein soone soone ban mein
udte phirte hain
rangonwaali titli pankhon waale panchhi achchhe lagte hain
baagh mein chaman mein sune sune ban me udate phirate hai
yeh kaise udte hain
boloon
hawa mein rehte hain
boloon
yeh kyun nahin girte hain
yeh sun mere bete jahaan waale ne
sabko hai udaaya jaadu se
kamaal hai daddy
jahaan waale ne
kya khoob udaaya jaadu se
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
chaand aur sooraj aasmaan pe rehkar
kabhi na nilken saath
din mein chamakta gol gol sooraj
chaand ko bhaaye raat
chaand aur sooraj aasmaan pe rehkar
kabhi na nilken saath
din mein chamakta gol gol sooraj
chaand ko bhaaye raat
yeh din kya hota hai
boloon
yeh raat kya hoti hai
boloon
yeh shaam kyun hoti hai
yeh sun mere bete jahaan waale ne
sab kuchh hai rachaaya jaadu se
kamal hai daddy
jahaan waale ne
kya khoob rachaaya jaadu se
phool yeh kahaan se aaye hain
boloon
phal yeh kahaan se aaye hain
boloon
ped yeh kahaan se aaye hain
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 : |
5636 | Post No. : | 18125 | Movie Count : |
4869 |
‘Unnees Bees’ (1980) was produced by V R Parameshwaram and was directed by Swaroop Kumar. The cast included Rakesh Roshan, Ranjeeta Kaur, Mithun Chakraborty, Yogeeta Bali, Kadar Khan. Reeta Bhaduri, Ranjeet, Urmila Bhat, Jayshree T, Jeevan, Bharat Bhushan, Raj Mehra, Ram Sethi etc. Sujit Kumar made the guest appearance in the film. Both the producer and the director debuted with this film.
The interesting point about casting of the film is that this is Yogita Bali’s second film with Mithun Chakraborty who probably married him during the making of the film. Ranjeeta Kaur and Mithun Chakraborty have worked together in as many as 21 films. They were very popular pairs of the 1980s. But in this film, Ranjeeta Kaur was paired with Rakesh Roshan.
Ranjeeta Kaur is one of the few female actors in Hindi films whose filmy career galloped with her very first film, ‘Laila Majnu’ (1976). For this film, director, H S Rawail had signed her when she was still in FTII. The shooting of the film was to commence after the completion of her acting course. In the intervening period, a few good wishers of Rawail advised him not to take risk with a newcomer for such a big film. However, Rawail was confident about his selection. To be on the safe side, Rawail sent Ranjeeta’s photograph to the film’s lead actor, Rishi Kapoor, with a cryptic note that he had already made his choice to cast her. Rishi Kapoor did not respond which meant that he had no objection to his selection.
‘Ankhiyaon Ke Jharokhon Se’ (1978) was Ranjeeta’s second film which also became a super hit. Originally, Sarika was signed for the film. However, due to some problems, she withdrew from the film. Tarachand Barjatya then signed Ranjeeta for the lead role. Once again, there were few who suggested to Tarachand Barjatya to change the lead actress with their own suggestions. However, he was adamant in retaining her in the film. These two trivia show how luck factors play an important role for a newcomer. (Both these trivia were revealed by Ranjeeta during her interview which appeared on the Times of India, 13/09/1920).
Ranjeeta Kaur was born in Patiala on 22/09/1956 in a Sikh family. Her father was a bureaucrat in Government while her mother was housewife. After completion of schooling in Shimla she enrolled in Film and Television Institute of India, Pune in the acting course. In the last year in FTII, she was selected by H S Rawail as a lead actress for ‘Laila Majnu’ (1976).
The super success of her first two films with tragic love stories made her a super star. During her first 10 years of Hindi film career, Ranjeeta worked in as many films as 54 films. However, between 1986 and 1990, 11 films of her were released most of which turns out to be flop films. In those days, in the film magazines, there used to be some gossip and rumours about Ranjeeta. One of the rumours was that after the successive failures of her few films on the box office in the second half of the 1980s, she was not in her good frame of mind. As a result, there has been some instances of problems faced by her films’ producers and directors. Another reason for her downfall, based on her filmography, could be that she signed some films with supporting roles/second lead. Probably, this may have prompted the producers not to take her on lead roles. It appears that Ranjeeta could not manage her sudden stardom to her advantage.
With her filmy career not picking up, Ranjeeta tried in TV serials. But she did not like the long and erratic hours of shooting scheduled associated with TV serials. In 1990, she decided to give up her filmy career and married a businessman, Raj Masand in December 1990 who had business interest in the Caribbean Islands. Post-marriage, Ranjeeta shifted to Pune bidding good bye to Hindi films. In Pune she worked in an International School as Public Relation Officer. After a gap of 15 years, Ranjeeta worked in three Hindi films, ‘Anjaane’ (2005), ‘Zindagi Tere Naam’ (2008). and
‘Jaane Pehchaane’ (2011). The last one was a remake of her superhit film, ‘Akhiyon Ke Jharokhon Se’ (1978). None of the films made to the list of box office sucess.
In 2007, Ranjeeta and her husband shifted to USA (Virginia) after her son got admission in a University. They opened a chain of stores around Norfolk, taking franchise of 7-Elevn stores. After the completion of her son’s education, he also joined in his father’s business. In 2015, the family shifted back to India and settled in Pune’s Koregaon Park. (Note: The life sketch of Ranjeeta is mainly based on her interview referred to above).
‘Unnees Bees’ (1980) is the typical Hindi films based on successfully tested ‘Lost and Found’ story. While many Hindi films on this formula turned out to be box office success, like ‘Waqt’ (1965), ‘Johny Mera Naam’ (1970), Yaadon Ki Baarat’ (1973), ‘Amar Akbar Anthony’ (1977) etc, the film under discussion failed at the box office. Probably, the film’s writer, Kadar Khan may have convinced with statistics that the film based on ‘lost and found’ story is a winning formula as can be judged by the success of the film listed above. The debutant producer and director seem to believe in him. The ‘lost and found’ story of the film moves on an expected line. The gist of the story is as under:
After the death of the Shanti, a widow, her three children (2 brothers and a sister) get separated. Dev (Rakesh Roshan) is brought up by the smuggler Singh (Ranjeet), Jai is brought up by a pathan, Yakub Khan (Kadar Khan) but works for criminal Madan (Jeevan). Sister, Aarti (Reeta Bhaduri) has been brought up by a church priest.
After many years, Both Dev and Jai face each other for the first time when Aarti is molested by a gang of criminals. The gang is beaten by both Jai and Dev and Aarti is set free. Both have a sisterly affection for Aarti and assure her that they would be there to protect her. Afterwards, both Jai and Dev go their own way without knowing that one day Jai would be given the task to eliminate Dev by Madan. They do meet at the terrace of the house where Aarti stays and fight to get the information from Dev about the keys to the sumggled goods. One of themd would have got killed but the timely intervention of Aarti who send them out.
Jai has a soft corner for Annu (Yogita Bali) to whom he had saved the clutches of moestation from Singh’s hencemen. Dev falls in love with Kamal (Ranjeeta) who initially feels that Dev is more interested in her wealth than her. After the initial mistrust about Dev, Kamal falls in love with her. But between his love for Kamal and the task given by Singh to procure diamond necklace from her put Dev in a fix. Finally, Dev decides to leave the smuggling work for Singh and Jai decides not to work for Madan. A chance meeting of Jai with Kaka (Raj Mehra) who knows the background under which both brothers and sisters were separated, creates the prospect of a reunion as he now knows that Dev is his lost brother and Aarti is his lost sister.
But before their reunion, Dev and Jai are on the target of their respective bosses. Dev along with his sister, Aarti is abducted by Singh’s henchmen. Jai finds out the hideout and release both Dev and Aarti. Now it is turn of Jai who is surrounded by the henchmen of Madan. Finally, Dev joins Jai and after a long fight, Dev and Jai emerge victorious. Police enforcements arrive on the scene and arrests the henchmen and bosses. Dev and Jai are united with their sister, Aarti, Kamal and Annu.
The film had 5 songs written by Amit Khanna which were set to music by Rajesh Roshan. Udit Narayan made debut as a playback singer in this film when he sang ‘mil gaya mil gaya’ with Mohammed Rafi and Usha Mangeshkar. However, I am presenting a different song, ‘naaraazgi ye aap ki hamen jeene na degi’, the first from the film to appear on the Blog. The song is rendered by Suman Kalyanpur and Mohammed Rafi which is picturised on Ranjeeta and Rakesh Roshan. The composition of song sounds like that of the 1960s’ style.
The background to the song is that Dev (Rakesh Roshan) who is in love with Kamal (Ranjeeta), has been annoyed by Kamal who says that he loves her for her money because she is wealthy. Dev gets angry and retorts her by saying that her eyes are covered by the veils of the ego of wealth. The day she sees him as a woman with clear eyes, then only she should meet him. Kamal does meet him in a sea-side restaurant but he walks away from her towards the beach when this song starts. It is a song of appeasement to the beloved and she is successful in winning him back.
Video Clip:
Audio Clip:
Song-Naaraazagi ye aap kee hamen jeene nahin degee(Unnees Bees)(1980) Singers-Suman Kalyanpur, Mohammed Rafi, Lyrics-Amit Khanna, MD-Rajesh Roshan
Both
Lyrics
naaraazgi ye aap ki hamen jeene nahin degi
chhodiye ye adaayen aur hamen pyaar keejiye
naaraazgi ye aap ki hamen jeene nahin degi
chhodiye ye adaayen aur hamen pyaar keejiye
apnon se berukhi ye achchee nahin sanam
apnon se berukhi ye achchee nahin sanam
kaise yakeen dilaayen khaaye kyaa kasam
ye bedili to aapki
ye bedili to aapki meri jaan hi le legi
chhodiye ye adaayen aur hamen pyaar keejiye
tumne kaha jo pyaar se lo maan gaye hum
tumne kaha jo pyaar se lo maan gaye hum
jeewan ke humsafar ko pehchaan gaye hum
ab zindagi mein khushiyaan
ab zindagi mein khushiyaan tumse hi bas milengi
chhodiye ye adaayen aur hamen pyaar keejiye
sapnon mein tere mere sapnon ka rang hai
main dor hoon teri tu meri patang hai
zindaadili se ishq ki
zindaadili se ishq ki ik pyaas si jagi hai
chhodiye ye adaayen aur hamen pyaar keejiye
naaraazgi ye aap ki hamen jeene nahi degi
chhodiye ye adaayen aur hamen pyaar keejiye
- In: "disguise" song | "Villain's" den song | Body part song | Chehra song | Devnagri script lyrics by Avinash Scrapwala | Duet | Guest posts | Kishore Kumar songs | Lyrics contributed by readers | Post by Avinash Scrapwala | qawwali | Rafi songs | Rafi-Kishore Kumar duet | Songs of 1970s (1971 to 1980) | Songs of 1978 | Yearwise breakup of songs
- 5 Comments
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5553 | Post No. : | 18018 |
#the Decade of Seventies – 1971 – 1980 #
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#Bhoole-Bisre Geet # (Qawwalis – Part-2 – Post-9)
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Today’s song is a ‘Qawwali’ song from the 1978 movie ‘Muqaddar’!!!
I have mentioned the following in one of earlier posts on the blog, while presenting the series on ‘Qawwalis’ ‘Part-1’.
Qawwalis were common in Hindi films when I was growing up (1968-1983). As I grew watching them in the movies in my childhood, some qawwalis left lasting impression on my impressionable mind. I have a special fascination for this genre of music. It always takes me to an entirely different ‘musical world’.
In Hindi movies qawwalis are woven with the story topic of the movie. So, we have ‘’romantic qawwalis’, ‘men vs. women’, ‘husn aur ishq’, ‘celebrating a festival’, ‘devotional qawwalis’, ‘chor-police’, ‘marriage celebration’, ‘mujrim-munsif’, ‘scoring peanuts over each other’ (Atulology), ‘nok-jhonk’, ‘teasing each other’, ‘musical competition’, and other types of qawwalis in our movies.
Or it may be a competition of poetry between two groups (read men and women mostly) where ‘qawwalis’ would perfectly fit into the plot of a movie.
In many movies Qawwalis have been used to keep the suspense intact where actors, actresses would disguise themselves and enter the villain’s den to rescue their partners/friends caught by the villain. Or sometimes the villain will kidnap close relatives of the hero or heroine in the movie and ask for a ‘hefty’ ransom. And the hero/heroine would plan a song or disguise as a ‘musical-troupe’ to enter the ‘villain’s den’ to rescue a ‘child’, ‘relatives’ or a ‘famous scientist’ or a ‘police commissioner’ who would have been kidnaped by the villain or his associates. In our movies we also have qawwalis where we see ‘lawful elements (police, CID) and the unlawful elements (goondas, or burglar, thieves)’ have a ‘qawwali muqaabla’ in “disguise”. Qawwalis programs or performance in the movie was also played to mis-lead the villain sometimes. The hero/heroine or their friends and well-wishers would sing a qawwali and simultaneously free the innocent ones or their near and dear ones kidnapped by the villain and hold in his ‘den’. Sometimes this would happen just before the climax of the movie.
Today’s Qawwali is one performance which happens in the movie before the climax. We can say that it is the beginning of the climax in the movie.
‘Muqaddar-1978’ was directed by Ravi Tandon for ‘Sneh Films, Bombay’.
It was produced by Ravi Anand. It had Shashi Kapoor, Sanjeev Kumar, Parikshit Sahni, Rekha, Vidya Sinha, Paintal and Amjad Khan.
Other star cast includes Mac Mohan, Yunus Parvez, Jankidas, Rajesh Behl, Bharat Kapoor, Nandita Thakur, Vikas Anand, Praveen Pal, Ranveer Raj, Chandu, Master Shaka, Master Rajeev, Baby Rani, Uma Dhawan, Sudhir, O.P. Goyal and Jayshree T.
Aruna Irani makes guest appearance in this movie. Editing of this movie was done by S.R. Kabre. Dialogues of this movie were written by Dr Balkrishna Mauj. Story and Screenplay was written by Mukul Anand. This movie had four songs (as per HFGK Vol V 1971-1980) written by Anjaan and composed by Rajesh Roshan. Asha Bhonsle, Kishore Kumar, Mohd Rafi, Usha Mangeshkar had given their voices to the songs in this movie.
Let me take you through this movie till the end (Which I watched again on YouTube for this presentation). I have in my earlier post with this movie’s song have mentioned about its story in brief and mostly covering most of the first half of this movie. Today I will take you till the end of this movie here.
This movie ‘Muqaddar-1978’ is ‘DEDICATED TO THE TWENTY-FOUR-HOUR SOLDIERS! THE UNSUNG HEROES! THE POLICE!!
We have a strict and disciplined Police Inspector – Vijay Saxena (Sanjeev Kumar). He is very tough with ‘criminals’ and so sometimes he can deliver justice ‘on the spot’ 🙂
Inspector Vijay is a bachelor and normally eats at a road side ‘dhhaabaa’ run by Abdul Bhai (Yunus Parvez). One day Vijay reach the ‘dhhaabaa’ and orders the food for him. At the same time one old woman beggar comes there and asks for food. Vijay asks Abdul Bhai to provide her food and the expenses will be borne by him.
However when the ‘bhikhari buddhiya’ is crossing the road a car hits her and run away … Inspector Vijay follows the car, and as usual taking ‘Qaanoon’ in his hands ‘beats the ‘badmaash(s)’ … but then he has to face his senior Police Commissioner ( Jairaj).Annoyed by his action the commissioner of Police Jairaj (played by Jairaj) transfers him to the area of ‘Dhaaraavi’ where the local goons and the anti-social elements are highly active and need a ‘better treatment from the Police’ so that they are under control.
So, our Inspector is now in Dharavi, and he already has a sincere and dedicated assistant there – Patil (Bharat Kapoor) … who eventually sacrifices his life since he has been asked that ‘is mujrim pe goli mat chalana’ … but mujrim fires on him …In Dharavi we have Parishit Sahni as a ‘labour leader’ working in a ‘kapada mill’ of Sampat Seth (Amjad Khan). Sampat Seth is more interested in ‘smuggling’ to become the ‘wealthiest smuggler’. Sampat Seth has a sister Seema (Rekha) – who is interested in social work and has a soft corner towards labors in the ‘basti’. We have Ramu Dada (Shashi Kapoor) as a ‘spoiled’ younger brother of Amar Babu (Parikshit Sahni). Vidya Sinha plays Savitri (wife of Parikshit Sahni), Shashi’s Bhabhi and Rekha’s friend. Jimmy (Paintal) is Shashi’s lieutenant and accompanies him whenever he is driving truck and enjoying ‘mujaras’ after the day’s hard work
After reaching ‘Dhaaraavi’ Inspector Vijay destroys many ‘daaru and matke ka addaas’ and arrests many goons and local ‘daadas’ and warns them of dire consequences if they do not stop doing illegal & anti-social activities. In this mission his trusted assistant Patil ably supports him with required information and whereabouts of the criminals ‘operating locations’.In the ‘mill’, workers are expecting ‘bonus’ as the ‘Dushehra festival’ is approaching.
Sampat Seth declares bonus to workers as he wants them to work on ‘Dushehre ki Chhutti’, and behind the holiday working he can hide the ‘smugglers’ meet’ so that no one doubts …Parikshit Sahni is first reluctant, but then agrees to convince the workers to work on the ‘festival holiday’.There is a beggar in the neighbourhood Chandu (Chandu) – deaf and dumb – always asking for money from Amar Babu (Parikshit Sahni). But on Amar Babu’s advice he gives up begging and from the money given by Amar Babu is now making pictures by Rangoli Powder of ‘Ganesh, Sai Baba’, and ‘Shri Ram’on the road side. He has a crucial role in the movie as we progress further.
Meanwhile Inspector Vijay gets Ramu Dada and Jimmy into lock-up to interrogate them, but release them soon so as to keep track of them and their contacts secretly.However on the day of ‘Dushehra ’celebrations as the Ravana’s effigy is set to fire by the arrows of Amar Babu and Ramu Dada, enters our Inspector Vijay Saxena for checking of the ‘truck’ driven by Ramu Dada from Goa suspecting that it contains smuggled items in it😊 But he do not find anything objectionable there.
It so happens that one day Amar Babu notices some unusual truck movements after closing hours at the factory so he asks Sudhir (Sudhir) the loading Inspector about it. But Sudhir tells him that there is no activity after closing hours at the factory. However, on the day of ‘Diwali’ Amar Babu follows them and caught them loading the smuggled items (illicit liquor) into the trucks. Sudhir and his accomplice Rajesh (Rajesh Behl) and Amar Babu have arguments. Thinking of to bring this illegal activity to the notice of the owner and unaware that it is done only at the behest of him, Amar Babu reaches to the owner’s house. Where Sampat Seth tries to bribe him and Amar Babu gets to know all about the game. He lefts the place but is followed by the henchmen of Sampat Seth and is killed before he can disclose this secret to anyone. The deaf and dumb Chandu has seen these two persons killing Amar Babu.
(There is a sub-plot of Shehnaaz Bai (Aruna Irani). Ramu Dada had saved her earlier from goons and is her ‘raakhi brother’ now. So, when Ramu Dada leaves his Bhaiyya’s home he is staying at Shehnaaz Bai’s house which creates ‘galatfahmii’ in the mind of Seema. However, Shehnaaz Bai clarifies and told the ‘asliyat’ to Seema when Seema reach her place to request Ramu to return to his home.)
Seema persuades Ramu Dada to return back to his home. On the day of Diwali Ramu Dada buys some gifts for his bhaiyya-bhaabhi and return back to his home only to find his elder brother’s body lying to be taken for final rites.
Soon Ramu Dada and his accomplice Jimmy sets out to search for the killers, Chandu intercepted them and draw the sketches of the killers, where Jimmy identifies one of them i.e. Sudhir.
Ramu Dada bangs into Sudhir’s place and gets hold of him but Rajesh escapes. Ramu and Sudhir have fight. During the fight Sudhir dies (It is another fact that the real reason of his death comes to know later) and Ramu Dada is arrested by Police and sent behind the bars.
Police Inspector is also looking into the case of Amar Babu and they reach Chandu but Girdhari Lal the clever confidante of Sampat Seth shoots Chandu.
Chandu is dead but Police keeps him in the hospital under treatment to reach the real culprits. Girdhari Lal falls in the trap and get into the hospital to kill Chandu where Police Inspector is already hiding there to catch him. But Mac Mohan injects himself and dies without disclosing the name of the Boss. His other accomplices sitting outside the room try to run but Police chase them and in this chase one of the goons shoots Patil.
Police found some photographs from Girdhari Lal’s house where in one picture Sampat Seth, Sudhir, and Girdhari Lal are seen together. Inspector Vijay vows …
“Main Patil ki Qurbaani bekaar nahin jaane doongaa… Policewaalon ka khoon itnaa sastaa nahin hain Sampat Seth.”Meanwhile the medical report of Sudhir reveals that he died due to drinking of poisonous liquor and not by the beating of Ramu Dada. Inspector Vijay thanks the doctor and is on the way to convey this good news to Ramu Dada. But Ramu Dada plans to run away from the jail and succeeds. One police officer tries to shoot him but Inspector stops him from doing so. Inspector is suspended on this act but now he knows the reality and wants to help Ramu Dada.
Ramu Dada gets to know from Lala that Sudhir, Rajesh, Girdhari Lal are all of Sampat Seth’s ‘aadmis’ so he goes to Sampat Seth’s bungalow where Seema tells him that her brother has gone to Goa. Sampat Seth has arranged a big get-together of all smugglers where ‘Tiger’ (Smuggler) will also be attending and there will be party and music with a ‘Qawwali ki Raat’ Inspector Vijay also follows to Goa and Abdul Bhai helps him in locating Sampat Seth’s ‘thhikaanaa’ and told him that it is difficult to enter there from the main gate and suggests that there is back door way but it is difficult. “Difficult but not impossible …” (Inspector Vijay)!!
Inspector Vijay swims the sea shores and the fights the big rocks to reach the ‘addaa’ of Sampat Seth. On the way he meets Ramu Dada. After a brief scuffle they get together to ‘treat’ Sampat Seth. Meanwhile Sampat Seth kidnaps Ramu’s bhaabhi and has kept her at the ‘addaa’ for his entertainment.Before the climax, as was customary in those years in the films, we have ‘qawwali’ where our heroes have disguised themselves, which obviously gets disclosed to Sampat before the performance ends. After usual final twists & turns Samat Seth gets his reward and dies.
Inspector Vijay submits his resignation to the commissioner but he torns it two pieces.
“Kal se tumhaari duty bhiwandi police station mein lagaayi gayi hai… wahaan ke kuchh gunde logon ko bahot pareshaan kar rahe hain …report for duty tomorrow”… Inspector Vijay salutes the commissioner …Ramu Dada and Seema are together and his bhaabhi is happy. The mill workers have installed a bust of Amar Babu in the mill compound and the movie ends there. Cast of the movie and other titles gets rolling on screen and in the background we have the song playing…“Sooraj se aankhen milaa…Taaron ko o dharti pe laa aa” …
So that is all from one of those movies from the seventies – they were just magic (for us who were growing 🙂 ) …
(After all is done and dusted, one question comes to mind that why Inspector Vijay has to swim across the seashore, hang on the rope on the wall to have a back door entry at Sampat Seth’s ‘addaa’. As all the smugglers attending the ‘meet’ must have come travelling from the city only. Moreover, the Inspector has to disguise himself to reach there. So, he could have easily got entry inside from the main gate. May be the director had some other thoughts??? 🙂 )
Let us now enjoy this wonderful Qawwali sung by Kishore Kumar and Mohd Rafi. Shashi Kapoor and Sanjeev Kumar lip sync in their voices respectively. We can also see Amjad Khan, Vidya Sinha and many others in the picturisation of this song. Lyrics of the song are by Anjaan. He has penned very interesting lyrics for the given situation. This entertaining composition is by Rajesh Roshan. I am sure readers will enjoy watching and listening to this song. Here we go …
Video
Audio
Song-Tere chehre se pardaa hataana bhi hai (Muqaddar)(1978) Singers-Kishore Kumar, Rafi, Lyrics-Anjaan, MD-Rajesh Roshan
Chorus
Kishore Kumar + Rafi
Lyrics
Hmm mmm mmm
Badi rangeen mehfil hai
Badaa betaab
Har dil hai
Ghataa mein hai abhi
Bijlee
Abhi parde mein
kya aa
Qaatil hai ae
Hey ae
Tere chehre se pardaa
Hataanaa bhi hai
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
Waar teri nazar kaa
bachaanaa bhi hai
Wallaah wallaah wallaah
Teri mehfil
Teri mehfil
Teri mehfil
Teri mehfil
Arey teri mehfil ki khaatir
Tamaashaa hai ham
Tamaashaa hai ham
Tamaashaa hai ham
haan
Tamaashaa hai ham
Par tujhe ik tamaashaa
Dikhaanaa bhi hai
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
O tere chehre se ae pardaa
Hataanaa bhi hai
Wallaah wallaah wallaah
Waar teri nazar ka bachaanaa
Bhi hai ae
Aaj dekhenge ham
Kya qayaamat hai tu
Kya ghazab
Kya qahar hai
Kaisi aafat hai tu
Arey re re re re
Jaanlevaa agar tere
Andaaz hain
Ham darenge nahin
Ham bhi jaanbaaz hain ae
Jaanlevaa agar tere
Andaaz hai
Ham darenge nahin
Ham bhi jaanbaaz hain
Faislaa ho o
Faislaa ho
Faislaa ho o
Faislaa ho
Arey faislaa aaj
Ho jaaye
Har baat kaa aa
Har baat kaa aa
Haan haan
Har baat kaa
Saamne tu bhi hai
Ye zamaanaa bhi hai
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
O tere chehre se pardaa
Hataanaa bhi hai
Wallaah wallaah wallaah
ae waar teri nazar ka bachaanaa
Bhi hai ae
Itnaa betaab naa ho
Dil ko zaraa thhaam le ae
Ye nazaaraa hon to
Koyi sabr se kya kaam le ae
Khel hi khel mein
Har khel bigad jaaye naa aa
Ab kalejey mein koyi
Aag ye bhadkaaye naa aa
Bahot naache
Bahot naache
Bahot naache
Bahot naache
Haan aan bahot naache tere
Ishaaron pe ham
Ishaaron pe ham
Ishaaron pe ham
Naach kar
Aaj tujhko
Nachaanaa bhi hai
Hey ae
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
tere chehre se pardaa
Hataanaa bhi hai
Wallaah wallaah wallaah
Waar teri nazar ka bachaanaa
Bhi hai
Balaa se jaan jaati hai to
Jaaye ae
Arey jee ke kya aa hogaa
Tadap kar raat din
Gham ka zehar ye
Pee ke kya aa hoga
Aaj tak tadpe ham
Ab teri baari hai
Aaj ki shab teri
Jaan pe bhaari hai
Arey re re re re re
Dil tera aaj
Zaalim ke panje mein hain
Be-reham qaatilon ke
Shikanje mein hai
Dil tera aaj
Zaalim ke panje mein hain
Be-reham qaatilon ke
Shikanje mein hain
Dilon par parde
Parde mein ye khanjar
Phenkne waale ae
Tamaashaa khud na ban jaana
Tamaashaa dekhne waale ae
?? bahaaron ko
Rang to laane de ae
Baat ban jaayegi ee
Waqt to aane de ae
Arey re re re re re
Baat dil ki hai
Honthhon pe kab se ruki
Zulm kat tak sahe
Ab to had chuki
Baat dil ki hai
Honthhon pe kab se rukee
Zulm kat tak sahe
Ab to had chuki
O sitamgar
O sitamgar
O sitamgar
O sitamgar
O sitamgar
Bade Zulm toone kiye
Haan
Toone kiye
Haan ji toone kiye ae
Aaj zulmon ka badlaa
Chukaanaa bhi hai
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
O tere chehre se pardaa
Hataanaa bhi hai
Wallaah wallaah wallaah
Waar teri nazar ka bachaanaa
Bhi hai
Wallaah wallaah wallaah
Teri mehfil
Teri mehfil
Teri mehfil
Teri mehfil
Arey teri mehfil ki khaatir
Tamaashaa hain ham
Tamaashaa hain ham
Tamaashaa hai ham
Par tujhe ik tamaashaa
Dikhaanaa bhi hai
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
O tere chehre se pardaa
Hataanaa bhi hai
Wallaah wallaah wallaah
Waar teri nazar ka bachaanaa
Bhi hai
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
———————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————–
हम्म म्म म्म
बड़ी रंगीन महफिल है
बड़ा बेताब
हर दिल है
घटा में है अभी
बिजली
अभी पर्दे में
क्या आ
क़ातिल है ए
हे ए
तेरे चेहरे से पर्दा
हटाना भी है
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
वार तेरी नज़र का
बचाना भी है
वल्लाह वल्लाह वल्लाह
तेरी महफिल
तेरी महफिल
तेरी महफिल
तेरी महफिल
अरे तेरी महफिल की खातिर
तमाशा है हम
तमाशा है हम
हाँ
तमाशा है हम
पर तुझे इक तमाशा
दिखाना भी है
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
ओ तेरे चेहरे से पर्दा
हटाना भी है
वल्लाह वल्लाह वल्लाह
वार तेरी नज़र का
बचाना भी है
आज देखेंगे हम
क्या कयामत है तू
क्या ग़ज़ब
क्या कहर है
कैसी आफत है तू
अरे रे रे रे रे
जानलेवा अगर तेरे
अंदाज़ हैं
हम डरेंगे नहीं
हम भी जाँबाज है ए
जानलेवा अगर तेरे
अंदाज़ हैं
हम डरेंगे नहीं
हम भी जाँबाज है ए
फैसला हो ओ
फैसला हो
फैसला हो ओ
फैसला हो
अरे फैसला आज
हो जाये
हर बात का आ
हर बात का आ
हाँ हाँ
हर बात का
सामने तू भी है
ये ज़माना भी है
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
ओ तेरे चेहरे से पर्दा
हटाना भी है
वल्लाह वल्लाह वल्लाह
ए वार तेरी नज़र का
बचाना भी है
इतना बेताब ना हो
दिल को ज़रा थाम ले ए
ये नज़ारा हो तो
कोई सब्र से क्या काम ले ए
खेल ही खेल में
हर खेल बिगड़ जाये ना आ
अब कलेजे में कोई
आग ये भड़काए ना आ
बहोत नाचें
बहोत नाचें
बहोत नाचें
बहोत नाचें
हाँ आं बहोत नाचे तेरे
इशारों पे हम
इशारों पे हम
इशारों पे हम
नाच कर
आज तुझको
नचाना भी है
हे ए
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
तेरे चेहरे से पर्दा
हटाना भी है
वल्लाह वल्लाह वल्लाह
वार तेरी नज़र का
बचाना भी है
बला से जान जाती है तो
जाये ए
अरे जी के क्या आ होगा
तड़प कर रात दिन
ग़म का जहर ये
पी के क्या आ होगा
आज तक तड़पे हम
अब तेरी बारी है
आज की शब तेरी
जान पे भारी है
अरे रे रे रे रे रे
दिल तेरा आज
ज़ालिम के पंजे में है
बे-रहम कातिलों के
शिकंजे में है
दिल तेरा आज
ज़ालिम के पंजे में है
बे-रहम कातिलों के
शिकंजे में है
दिलों पर पर्दे
पर्दे में ये खंजर
फेंकने वाले ए
तमाशा खुद न बन जाना
तमाशा देखने वाले ए
कुछ बहारों को ??
रंग तो लाने दे ए
बात बन जाएगी ई
वक़्त तो आने दे ए
अरे रे रे रे रे रे
बात दिल की है
होंठों पे कब से रुकी
ज़ुल्म कब तक सहे
अब तो हद हो चुकी
बात दिल की है
होंठों पे कब से रुकी
ज़ुल्म कब तक सहे
अब तो हद हो चुकी
ओ सितमगर
ओ सितमगर
ओ सितमगर
ओ सितमगर
ओ सितमगर
बड़े
ज़ुल्म तूने किए
हाँ
तूने किए
हाँ जी तूने किए ए
आज ज़ुल्मों का बदला
चुकाना भी है
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
ओ तेरे चेहरे से पर्दा
हटाना भी है
वल्लाह वल्लाह वल्लाह
वार तेरी नज़र का
बचाना भी है
तेरी महफिल
तेरी महफिल
तेरी महफिल
तेरी महफिल
अरे तेरी महफिल की खातिर
तमाशा है हम
तमाशा है हम
तमाशा है हम
पर तुझे इक तमाशा
दिखाना भी है
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
ओ तेरे चेहरे से पर्दा
हटाना भी है
वल्लाह वल्लाह वल्लाह
वार तेरी नज़र का
बचाना भी है
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
Kaho naa pyaar hai
Posted on: June 9, 2023
- In: Alka Yagnik Song | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Lyrics contributed by readers | Multiple version song | Post by Peevesie | Songs of 1990s (1991 to 2000) | Songs of 2000 | Theme song | Title song | Udit Narayan - Alka Yagnik Duet | Udit Narayan Song | Yearwise breakup of songs
- 6 Comments
This article is written by Peevesie, 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 : |
5439 | Post No. : | 17829 |
It’s been a while since I wrote an article for this blog (a long while – the last thing I wrote was “Ae Watan Ae Watan” in 2019). This week at Arunji’s home (2 June 2023), Sudhir ji encouraged me to write again, following in the footsteps of my mother who has been contributing for years. The conversations that day were incredibly stimulating, particularly the appreciation expressed for the blog among movie trivia enthusiasts. Eventually, I succumbed to the peer pressure. I returned home and embarked on a search for inspiration (aka a song) to write about. It was then that I realized Ameesha Patel’s birthday was approaching, and I immediately got to work.
I began researching the making of this song and discovered that the lyricist, Ibrahim Ashik, was a completely new name to me. I delved into a new rabbit hole to learn more about him. It turns out he is a prolific lyricist, having penned over 700 songs. My lack of knowledge about his work was due to my own unintentional diversion from my love for Bollywood trivia. Nevertheless, I’m here once again, attempting to reignite that passion and hoping that life allows me to indulge in it more frequently this time.
The year was 2000, a year that witnessed the debuts of several artists, including our birthday girl, Ameesha Patel. With her beauty and bubbling enthusiasm, she delivered a promising performance in her debut film, ‘Kaho Na Pyaar Hai’. This film marked the turn of the century and boasted the perfect blend of romance, comedy, action, and thrilling twists and turns. However, her career took a different trajectory in later years. It had its ups and downs, with forgettable performances like ‘Aap Mujhe Achhe Lagne Lage’ (2002), but also remarkable ones like ‘Gadar’ (2001) and ‘Honeymoon Travels Pvt. Ltd.’ 92007). Ameesha always demonstrated a natural flair for humor and impeccable timing in every film she appeared in. Perhaps her career would have taken a different path if she had explored what I believe to be her true strength — comedy. I have always felt that her contributions to the film industry, her dedication to her craft, and the moments she created on screen have been unfairly overlooked.
Even in the scenes leading up to the song, we witness her impeccable comic timing as her character Sonia and Hrithik’s Rohit find themselves stranded on an island. While Rohit eagerly awaits rescue, Sonia couldn’t care less. Their fights on the island are incredibly amusing to the audience. Eventually, when they fall in love, it is Sonia who raises the rescue flag. When asked why, she replies that she wants to return to the world and declare her love for Rohit. The song begins, and its hook step becomes etched in our collective memories.
There is also a sad version which plays when Rohit dies. While the lyrics are below, today is a happy day and that’s the version I have focused on
Of course, this is not the only birthday we are celebrating today. Its also the birthday of one of our most dear members. He is probably the most knowledgeable among us regarding everything Bollywood music, but has the easiest time asking others for their opinions. Kind, sweet and full of humor, he hosted the meet which triggered the writing of this post. So its only apt that on his birthday, this post goes up. I am, of course, talking about Arun ji. I thought I would gift him a pretty song that he probably isn’t familiar with on this day.
This is the title song of the film ‘Kaho Na Pyaar Hai’, composed by Rajesh Roshan. The soulful voices of Alka Yagnik and Udit Narayan bring the song to life. Ibrahim Ashik’s lyrics beautifully capture the emotions of the moment. The film was directed by Rakesh Roshan. Enjoy the song and let’s all wish Ameesha Patel and our very own Arunkumar Deshmukh ji a very happy birthday.
Happy version (Audio)
Happy version (Video)
Song-Kaho na Pyaar hai (Kaho Na Pyaar Hai)(2000) Singers-Udit Narayanan, Alka Yagnik, Lyrics-Ibrahim Ashq, MD-Rajesh Roshan
Both
Chorus
Lyrics
————————
Happy version (Based on Audio)
————————
oh oh ho oh…
oh oh ho oh…
i love you
aah aah aaah…
dil mera
har baar ye
sun’ne ko beqarar hai ae
kaho na pyaar hai ae
kaho na pyaar hai ae
haan tumse pyaar hai ae
ke tumse pyaar hai ae
in pyaari
baaton mein
anjaana iqraar hai ae
kaho na pyaar hai ae
kaho na pyaar hai ae
kaha na pyaar hai ae
kaha naa pyaar hai ae
oooh oh…
oooh oh…
oooh oh…
oooh…
pyaar jahaan mein hota nahin
phir bolo kya hota
pyaar jahaan mein hota nahin
phir bolo kya hota
duniya mein dil koi
kabhi na dhadka hota
dhadka hai dil
aa yaar mil
ye pyaar ka izhaar hai ae
kaho na pyaar hai ae
kaho na pyaar hai
kaha na pyaar hai ae
kaha na pyaar hai ae
do premee
do paagal
kya karte hain bolo o
ra ri ra…
ra ri ra…
ra ri ra…
ra ri ra…
ra…
do premee
do paagal
kya karte hain bolo
mujhse kya poochhte ho
apne dil ko tatolo
maaloom hai
(ooh ho oh)
hum ko tumhe
(ooh ho oh)
kis baat ka intezaar hai ae
kaho na pyaar hai ae
kaho na pyaar hai
kaha na pyaar hai ae
kaha na pyaar hai
tu ru ru…
ru ru ru…
tu ru…
milte nahin hum tum to
phir bolo kya hota aa
milte nahin hum tum to
phir bolo kya hota
sach boloon phir apna
khwaab na poora hota
kehta hai mann
(ooh ho oh)
apna milan
(ooh ho oh)
duniya mein yaadgar hai ae
kaho na pyaar hai ae
kaho na pyaar hai
kaha na pyaar hai ae
kaha na pyaar hai
dil mera
har baar yeh
sun’ne ko beqaraar hai ae
kaho na pyaar hai ae
kaho na pyaar hai
in pyaari
baaton mein
anjaana iqraar hai ae
kaho na pyaar hai ae
kaho na pyaar hai
kaha na pyaar hai ae
kaha na pyaar hai
kaho na pyaar hai ae
kaho na pyaar hai
haan tumse pyaar hai ae
ke tumse pyaar hai
—————————-
Sad Version
—————————–
kehta hai mann
apna milan
duniya mein yaadgaar hai
kaho na pyaar hai
kaho na pyaar hai
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
(खुशी का)
ओह ओह हो ओह॰॰॰
ओह ओह हो ओह॰॰॰
आई लव यू
आह आह आह॰॰॰
दिल मेरा
हर बार ये
सुनने को बेक़रार है
कहो ना प्यार है
कहो ना प्यार है
हाँ तुमसे प्यार है
के तुमसे प्यार है
इन प्यारी
बातों में
अंजाना इक़रार है
कहो ना प्यार है
कहो ना प्यार है
कहा ना प्यार है
कहा ना प्यार है
उह ओह॰॰॰
उह ओह॰॰॰
उह ओह॰॰॰
उह॰॰॰
प्यार जहां में होता नहीं
फिर बोलो क्या होता
प्यार जहां में होता नहीं
फिर बोलो क्या होता
दुनिया में दिल कोई
कभी ना धड़का होता
धड़का है दिल
आ यार मिल
ये प्यार का इज़हार है
कहो ना प्यार है
कहो ना प्यार है
कहा ना प्यार है
कहा ना प्यार है
दो प्रेमी
दो पागल
क्या करते हैं बोलो
रा री रा॰॰॰
रा री रा॰॰॰
रा री रा॰॰॰
रा री रा॰॰॰
रा॰॰॰
दो प्रेमी
दो पागल
क्या करते हैं बोलो
मुझसे क्या पूछते हो
अपने दिल को टटोलो
मालूम है
(उह हो ओह)
हमको तुम्हें
(उह हो ओह)
किस बात का इंतज़ार है
कहो ना प्यार है
कहो ना प्यार है
कहा ना प्यार है
कहा ना प्यार है
तू रु रु
रु रु रु
तू रु
मिलते नहीं हम तुम तो
फिर बोलो क्या होता
मिलते नहीं हम तुम तो
फिर बोलो क्या होता
सच बोलूँ फिर अपना
ख्वाब ना पूरा होता
कहता है मन
(उह हो ओह)
अपना मिलन
(उह हो ओह)
दुनिया में यादगार है
कहो ना प्यार है
कहो ना प्यार है
कहा ना प्यार है
कहा ना प्यार है
दिल मेरा
हर बार ये
सुनने को बेक़रार है
कहो ना प्यार है
कहो ना प्यार है
इन प्यारी
बातों में
अंजाना इक़रार है
कहो ना प्यार है
कहो ना प्यार है
कहा ना प्यार है
कहा ना प्यार है
कहो ना प्यार है
कहो ना प्यार है
हाँ तुमसे प्यार है
के तुमसे प्यार है
(दुख का)
कहता है मन
अपना मिलन
दुनिया में यादगार है
कहो ना प्यार है
कहो ना प्यार है
Prem ki hai kya sun paribhaashaa
Posted on: May 24, 2023
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5423 | Post No. : | 17789 | Movie Count : |
4760 |
#the Decade of Eighties – 1981 – 1990 #
————————————————————————
(Birthday – Music Composer-Rajesh Roshan)
Today 24th May is the sixty-eighth birthday of music director-lyricist Rajesh Roshan(born on 24.05.1955). He is one of my favorite all time composer.
I had earlier written about him in a couple of my earlier posts on the blog. So I am not going to repeat all that here again. One thing I definitely write again is that Rajesh Roshan’s songs are part of the ‘big nostalgia’ of my growing years and may be many people like me are fond of him and
his compositions .
Today on the occasion of his birthday I am presenting a song from the movie “Hamaari Bahu Alkaa-1982”.
It was directed by Basu Chatterjee for ‘Anuradha Films. Shyam Sundar Seksariya was the producer of this movie.
Basu Chatterjee also wrote the screenplay and dialogues of this movie. Story of this movie was written by Manoj Basu.
Editing of this movie was done by V.N. Mayekar.
The cast of this movie included Rakesh Roshan, Bindiya Goswami, Asrani, Prema Narayan, Utpal Dutt, Sudha Shivpuri, Master Raju, Ranjeet Sood, Manik Dutt, Aroop Ganguly, Lakshami, R.S. Chopra, Viju Khote Meghdoot, Manmauji, Pappu, Soni, Dev Sharma, Meena, Satya Bannerjee, Pratap, Jayshree T., Meena T., and others.
This movie was passed by Censor Board on 12.01.1982.
I remember to have watched this movie at Akola, but I have forgotten about it by now. One thing that I still remember is that I liked this movie very much. It is movies like this one that I love to watch.
“Hamaari Bahu Alkaa-1982” has five songs. Three were written by Yogesh and two by Amit Khanna.
Music for this movie was composed by Rajesh Roshan.
Lata Mangeshkar, Kishore Kumar, Usha Mangeshkar, Amit Kumar, Shailendra Singh, Alka Yagnik and Peenaz Masani had given their voices to the songs in this movie.
Here is the list of songs in this movie:-
| SNo | Song Title | Lyricist | Singer/s |
|---|---|---|---|
| 01 | Soona soona soona ghar hota hai ek naari binaa | Yogesh | Lata Mangeshkar, chorus |
| 02 | Prem ki hai kya sun paribhaashaa | Amit Khanna | Kishore Kumar |
| 03 | Ham tum rahenge akele wahaan | Amit Khanna | Amit Kumar, Alka Yagnik |
| 04 | Ghar mein khul ke ham nahin mil sakte | Yogesh | Usha Mangeshkar, Amit Kumar, Shailendra Singh, Peenaz Masani |
| 05 | Pakka jaamun todo nahin | Yogesh | Alka Yagnik, Peenaz Masani |
In my earlier post with the song of ‘Ratnadeep-1979’ I had mentioned about Basu Chatterjee – the director of this movie – having a great ‘ear’ for music. He mostly had Rajesh Roshan as music director in his movies. They have given some of the timeless classics and unforgettable songs in Hindi Film History.
They worked together in the following eight movies:-
| SNo | Title of the movie | Passed by Censor Board | Lyricist/s | Music Director |
|---|---|---|---|---|
| 01 | Swaami | 17.05.1977 | Amit Khanna | Rajesh Roshan |
| 02 | Khattaa Meethhaa | 30.12.1977 | Gulzar | Rajesh Roshan |
| 03 | Priyatamaa | 20.09.1977 | Anjaan | Rajesh Roshan |
| 04 | Dillagi | 18.07.1978 | Yogesh | Rajesh Roshan |
| 05 | Baaton Baaton Mein | 31.03.1979 | Amit Khanna, Yogesh | Rajesh Roshan |
| 06 | Manpasand | 26.06.1980 | Amit Khanna | Rajesh Roshan |
| 07 | Hamaari Bahu Alkaa | 12.01.1982 | Yogesh, Amit Khanna | Rajesh Roshan |
| 08 | Prateeksha | 07.04.2006 | Yogesh | Rajesh Roshan |
(I hope I have compiled the above table correctly. Readers can point out mistakes and suggest additions if any).
Today I am presenting another ‘signature composition’ of Rajesh Roshan from themovie ‘Hamaari Bahu Alkaa-1982’. I like this song very much. It is sung by Kishore Kumar. I was longing to share this song since long on the blog.
On screen the song starts in background first and then we can see Rakesh Roshan lip-syncing the song.
Lyrics are by Amit Khanna and music is composed by Rajesh Roshan.
Enjoy this wonderful song …
Situation of the song 🙂
Our hero (Rakesh Roshan) has got married but he is still studying. So his father (Utpal Dutt) wants him to spend focus more on ‘studies’ instead of spending more time with the ‘bahu’. As usual ‘jab ghar mein nayi bahu aati hai to bete ko kaun poochhtaa hai, waise hi yahaan bhi sab log din-bhar ‘bahu’ ke peechhe pade rehte hain, aur wo thhak kar raat ko jaldi so jaati hai. So our ‘newly married’ hero cannot spend ‘quality time’ with his wife (Bindiya Goswami).
His classmate (Asrani) suggests him to bunk the classes in day time and to go home, as at that time neither his father nor his younger brother would be at home so nobody should disturb the couple during that time…
The ‘hero’ is attending a class in the ‘class room’. He laeves the class room, and then he begins to dream of this song . 🙂
With this song, the movie “Hamaari Bahu Alkaa-1982” makes its debut on the blog…
Video
Audio
Song-Prem ki hai kya sun paribhaashaa (Hamaari Bahu Alka)(1982) Singer-Kishore Kumar, Lyrics-Amit Khanna, MD-Rajesh Roshan
Lyrics
prem ki hai kya
sun paribhaashaa
sundar sapney
ujjwal aashaa aa
arey prem ki hai kya
sun paribhaashaa
sundar sapney
ujjwal aashaa aa
darpan banaa
ye man meraa
jismein teraa aa
roop sajaa
chaaron dishaaon mein teri
ab chhaane lagi
muskaati chhavi ee
darpan banaa
ye man meraa
jisme teraa
roop sajaa
chaaron dishaaon mein teri
ab chhaane lagi
muskaati chhavi ee
arey prem ki hai kya
sun paribhaashaa
sundar sapney
ujjwal aashaa aa
madhur milan ki
aayi ritu
itni madhur
jaise madhu
sooraj khiley ae
badraa mein yoon
ghoonghat mein ho
jaise vadhu oo
madhur milan ki
aayi ritu
itni madhur
jaisi madhu
sooraj khiley ae
badraa mein yoon
ghoonghat mein ho
jaise vadhu oo
prem ki hai kya
sun paribhaashaa
sundar sapney
ujjwal aashaa aa
ae prem ki hai kya
sun paribhaashaa
sundar sapney
ujjwal aashaa aa
Suno raani tumne der lagaa di
Posted on: November 27, 2022
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5245 | Post No. : | 17244 |
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Blog 10-Year Challenge (2012-2022) – Song No. 132
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Welcome all to this post under ‘blog ten year challenge 2012-2022’. This post of mine under this series is coming after a long gap. 🙂
I had come across today’s song couple of months back when I heard it on radio and again it got played on radio recently. The song is a ‘distinct’ composition of a regular music director and music lovers can easily guess the name of the music director if they listen to the song. The music director in this case is Rajesh Roshan.
Rajesh Roshan has given us many memorable songs and also entertaining enjoying light music to ‘celebrate life’.
The song is from the ‘1977’ movie ‘Mama Bhanja’.
Ten years back on this day i.e. 27th November’2012 there were as many as eight songs were posted on the blog.
The details of these songs are as given below. The status of the movies of the respective songs is also given below.
| Song Title | Name of the movie(Year) | Remarks |
|---|---|---|
| Tumhre darshan ka nainaa taras gaye ho | Prarthana(1943) | 4 of 10 songs posted |
| Na khizaan hoon main na bahaar hoon | Aasmaan(1952) | All songs covered |
| Aa pardesi baalma morey aangnaa | Chham Chhama Chham(1952) | 9 of 11 songs posted |
| Unhen tu bhool jaa ae dil | Naya Ghar(1953) | All songs covered |
| Bekas ki aabroo ko neelaam karke chhoda | Ek Hi Raastaa(1956) | All songs covered |
| Arre waah mere maalik | Half Ticket(1962) | All songs covered |
| Lo apna jahaan duniyaa waalon | Dooj Ka Chaand(1964) | All songs covered |
| Meri jhilmil jhilmil bindiya | Mama Bhanja(1977) | 1 of 4 songs posted |
From the above table we can see that out of the eight movies represented on the blog ten years ago (27 November 2012), five movies have been ‘Yippeeee’ed on the blog.
This means, three movies are eligible for Blog Ten Year Challenge on the blog today (27 November 2022).
As mentioned above I am presenting a song from the movie ‘Mama Bhanja’.
“Mama Bhanja” was directed by Naresh Kumar for ‘Dimple Enterprisers’.
It was produced by Virendra Kumar.
It had Shammi Kapoor, Randhir Kapoor, Parveen Babi, Asha Sachdev, with Ram Mohan, Hari Shivdasani, Lalita Pawar, Raj Kishore and Nadira.
The movie also starred Prannath Sharma, Randhir, Tilak Raj, Rajan Kapoor, Master Shailesh and Moolchand.
Story of the movie was written by Naresh Kumar who was also the director of this movie. (The titles of this movie mentioned it as ‘Story re-written & Directed by Naresh Kumar):)
Editing of this movie was done by Govind Dalwadi.
Dialogues and lyrics for the songs in this movie were written by Rajinder Krishan.
Music was composed by Rajesh Roshan.
This movie was passed by Censor Board on 05.04.1977.
“Mama Bhanja-1977” has four songs in it and the list of these songs is as given below.
| SNo | Song Title | Singer/s | Posted On |
|---|---|---|---|
| 01 | Baat ye kaisi keh di zaalim | Mohd Rafi, Asha Bhonsle | |
| 02 | Suno raani tumne der lagaa di | Kishore Kumar, Lata Mangeshkar | |
| 03 | Ik baat mere honthhon tak | Lata Mangeshkar | |
| 04 | Meri jhilmil jhilmil bindiya | Asha Bhonsle, Usha Mangeshkar | 27.11.2012 |
So far, only one song from this movie has been posted on the blog. And today this movie completes its ten-year run on the blog still waiting for two more songs after the today’s one to be posted on the blog. Hope they will be coming soon.
Today’s song is sung by Kishore Kumar and Lata Mangeshkar and on screen it is lip-synced by Randhir Kapoor and Parveen Babi respectively.
Let us now enjoy today’s song …
Video
Audio
Song-Suno raani tumne der lagaa di (Mama Bhanja)(1977) Singers-Kishore Kumar, Lata Mangeshkar, Lyrics-Rajinder Krishan, MD-Rajesh Roshan
Female chorus
Lyrics
suno raani tumne
der lagaa di
mere dil ki dhadkanein
aur badhha aa di
suno piyaa pyaare
raste mein saare
bairi thhe hamaare
kya karein ae ae
ab ham aur tum jab mil hi gaye
naaraaz naa ho hamdam
suno raani tumne
der lagaa di
mere dil ki dhadkanein
aur badhha di
dil ka taraana
suna rahaa hoon oon oon
pyaar se zaraa tum sun’na
geet milan ke main gaa rahaa hoon oon oon
naghmon ki kaliyaan chun’na
arey arre diljaani suno
dil bhi tumhaara
ham bhi tumhaare
phir kya kehnaa re
arey tere mere sapne
jab huye apne
sang sang rehnaa re ae
laa laa laa laa
laa laa laa laa
laa laa la la la
la la la la la laa
dekhi hai jab se nigaahen gulaabi
mera dil yoon ho gaya
sharaabi sharaabi
aa aa aa
aa aa aa aa aa
aa aa aa aa aa aa aa
dekho mohabbat
khel nahin een hai ae ae
soch ke waada karna
hai kora kaaghaz
dil yeh meraa aa aa
rang tum pyaar ka bharna
arey arey jaani dekho
pyaar karoongi
aisa karoongi
dekhega zamaana
arey baahon ke saaye
phoolon ki khushboo
gaayegi fasaana
laa laa laa
laa laa laa laa
laa laa la la la la la la
sitaaron se teri maang
sajaa aa doon oon
ek ishaare pe tere
bahaarein lutaa doon
suno suno baabu
ankhiyaan bichhaa doon
sapne hamaare sach ho gaye
ab ham aur tum yoonhi
saath rahenge
saaton janam ham dam
laa laa laa laa laa
laa laa laa laa laa laa laa
laa laa laa laa laa
laa laa laa laa laa laa laa
laa laa laa laa laa
laa laa laa laa laa laa aa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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