Posts Tagged ‘Sanjeev Kumar’
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5750 | Post No. : | 18274 | Movie Count : |
4948 |
‘Maan Apmaan’ (1979) was produced and directed by N V Deshpande. The cast included Sanjeev Kumar, Kanan Kaushal, Sushma Shiromani, Usha Solanki, Gajanan Jagirdar, Dhumal. Mohan Choti, Ratnamala, Asit Sen, Jayshree T, Shammi, Vishwa Mehra, Neelam etc. As per IMDb, the film was in the making since 1968 with Sanjeev Kumar and Kanan Kaushal (who, at that time, were yet to established as successful actors). The film got delayed and at one time it was almost shelved. It was only when Sanjeev Kumar became a star and Kanan Kaushal came into limelight with her box office hit film, ‘Jai Santoshi Mata’ (1975), the film was revived, reshot and released in August 1979. The film was dubbed in Gujarati also.
The film’s lead actress, Kanan Kaushal (real name: Indumati Sheth) was born on March 21, 1939, in Baroda (now Vadodara). She belongs to Konkani speaking Gomantak Maratha Samaj, mainly concentrated in around Goa. Her interest in acting began during the school days but got a fillip during her college days when she started participating in plays during college’s cultural festivals. After completing MA in Economics and History, Indumati got involved in Marathi, Gujarati and Hindi theatres. In 1964, she got married to Shashikant Paigankar and became known as Indumati Paigankar. So, she started her filmy career after her marriage.
Indumati Paigankar came into limelight when she worked in a Hindi play, ‘Do Jahaan Ke Beech’ with Haribhai Jariwala (Sanjeev Kumar) and Leela Chitnis. Her acting in this play got attention from Hindi filmmakers. In 1964-65, she got roles in ‘Prahar’, ‘Asha Ke Deep’ and ‘Aakhri Din Pehli Raat’. Unfortunately, her first three Hindi films remained incomplete/shelved. During the making of ‘Aakhri Din Pehli Raat’ (shelved), the director, Kamal Amrohi suggested to change her name from Indumati Paigankar to Kanan Kaushal which she accepted. He also suggested the film’s hero, Haribhai Jariwala to change his name. So, he adopted his name to Sanjeev Kumar. Despite the film being shelve, both of them retained their new screen names for all their subsequent Hindi films. (Note: Kanan Kaushal’s profile of her early years is based on a Marathi write-up which appeared on maharashtranayak.in)
Kanan Kaushal’s first released Hindi film was ‘Sati Sulochana’ (1969) in which she was in a subsidiary role with Anita Guha and Premnath. Her first film in a lead role was ‘Maan Apmaan’ (1979) with Sanjeev Kumar, which started sometime in 1968. However, it got delayed for a long time. In ‘Pardesi’ (1970), Kanan Kaushal got a major role along with Mumtaz.
Kanan Kaushal had already worked in about a dozen Hindi films, mostly in supporting roles, but she had not established herself in terms of the the box office success. Then came the film ‘Jai Santoshi Mata’ (1975) in which Kanan Kaushal got a major role along with Anita Guha. This low budget film created an history in 1975 by becoming the second highest grossing film next to ‘Sholay’ (1975). As happens in Hindi films most of the time, Kanan Kaushal also got typed cast for mythological films. She did over a dozen films in this genre over the next 5 years in succession.
It is said that Kanan Kaushal after her successful role in ‘Jai Santoshi Mata’ (1975), got an image of a religious and a pious woman which she wanted to retain it. That made her to reject bold roles in Hindi films. Later on, when she shifted to doing character roles in the 1980s onwards, she was almost type-cast as a suffering wife/mother, more like Nirupa Roy type of roles. ‘Sanam Aap Ke Kaatir’ (1992) was her last Hindi film.
‘Ekati’ (1968) was Kanan Kaushal’s first Marathi film in which she paired with Kashinath Ghanekar. She worked in around 30 Marathi films under her original name, Indumati Paigankar. She also worked in about 16 Gujarati films and 4 Bhojpuri films in addition to about 40 Hindi films.
Kanan Kaushal retired from the films sometime in 1990s. Post retirement from films, she pursued her hobby as a Beautician. She has written and published two books in Marathi – ‘Roopsadhana’ (1994) and ‘Vadhucha Saajshrungar’. Her husband, Shashikant Paigankar passed away in 2001. They have one son and a daughter. The son, Parag Paigankar is an Executive Director in one of the well-known financial services companies in Mumbai. Her daughter is Meelan Samant.
The story of ‘Maan Apmaan’ (1979) is as under:
Thakur (Gajanan Jagirdar), a wealthy landlord, stays with his family consisting of his wife, Laxmi (Ratnamala), his two grown-up daughters – Parvati (Kanan Kaushal), Kamini (Neelam) and a son, Pratap (Mohan Chandola). Shankar (Sanjeev Kumar) is an orphan who has been brought up since his childhood by Thakur and also stays in the house. Thakur’s eldest daughter, Savitri (Usha Solanki) has already got married. Despite belonging to a wealthy family, Parvati is a simple, cultured and self-respected girl. Shankar is a simple man, and he is close to Parvati among other members of the family.
One day, Pratap sees both Shankar and Parvati outside a temple talking in an intimate manner and reports this to his mother, Laxmi. Paravati overhears their conversations and feels bad about Shankar getting a bad name for his closeness to her. She tells her mother that she would marry Shankar to remove any impression about him being in a scandalous relationship. Shankar is hesitant to marry her but Parvati persuades him for the marriage.
Thakur is dead against the marriage as it is not palatable to him as to how his daughter could marry a orphan who has no house to stay and no money to sustain. However, Parvati’s threat to commit suicide if her marriage with Shankar is denied, forces Thakur to agree for the marriage for which he offers financial assistance as well as allowing them to stay in the house. Both of them refuse the offer. After marriage, Shankar and Parvati leave the house to stay with Shankar’s friend, Ramdas (Asit Sen). However, due to unpleasant behaviour of Ramdas’s wife (Shammi), Shankar and Parvati leave the house and shift to his grandparent’s abandoned cottage in a different village. Shankar repairs the house and settles in the village.
Parvati gives birth to a baby boy. Thakur and his wife visit to see the child. However, after seeing them living in an abject poverty, they return home after Thakur insults them. After a few years, Shankar and Parvati receive an invitation to attend the marriage of her younger sister, Kamini. While Parvati’s mother is happy to see them after a long time, other members of the family give them a cold response. On the contrary, Savitri accuses Parvati of stealing her jewellery. A humiliated Shankar and Parvati return home with a vow never to visit them.
Years pass. Shankar and Paro receive an invitation to attend the marriage of her younger brother, Pratap. After humiliation during the marriage of her younger sister, Parvati and Shankar decide not to attend the marriage. Instead, she writes a letter to Pratap sending her best wishes for the marriage. However, her mother’s health deteriorates after the marriage as it was a shock for her that her daughter, Parvati could not attend the marriage. After few days, she passes away. After completion of the religious ceremonies, Thakur and his family members realise their mistakes of ill treatment to Shankar and Parvati. They all visit Shankar and Parvati’s house and reconcile with them.
The film had 3 songs written by Bharat Vyas which were set to music by Laxmikant-Pyarelal. I am presenting the first song, ‘ye geet kaun mere madhuban mein gaa rahaa’ to appear on the Blog. The song is rendered by Mohammed Rafi and Anuradha Paudwal. The song is picturised on Sanjeev Kumar and Kanan Kaushal reflecting their happiness over the news of becoming expectatant parents.
Video Clip:
Audio Clip:
Song-Ye geet kaun mere man madhuban mein gaa rahaa (Maan Apmaan)(1979) Singers-Anuradha Paudwal, Rafi, Lyrics-Bharat Vyas, MD-Laxmikant Pyarelal
Both
Lyrics
hmm hmm
hmm hmm hmm
hmm hmm hmm hmm hmm
hmm
aa aa aa aaa
aa aa aa aaa
aa aaaaa
ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
mere soye praanon ko
meethhe meethhe sur se jagaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun
mere soye praanon ko
meethhe meethhe sur se jagaa rahaa
ye geet kaun
raat ki belaa
main thhaa akelaa
chupke se ye kaun aayaa
raat ki belaa
main thhaa akelaa
chupke se ye kaun aayaa
door kabhi kyaa rah sakti hai
kaaya se apni chhaayaa
palkon mein jo basti hai
koi useykyun bulaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun
bheegaa hai mausam
milte hain hum tum
bheegi hawaayen gaatee hain
bheegaa hai mausam
milte hain hum tum
bheegi hawaayen gaatee hain
pedon se lipti
komal lataayen
dekh hamen sharamaati hain
jaane ye kaisi khusbhoo udi
jo dil pe nashaa saa chhaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun
deep mein jyoti
seep mein moti
teraa meraa mel yahi
deep mein jyoti
seep mein moti
teraa meraa mel yahi
saagar mein saritaa
lahron mein kavitaa
pyaar kaa paawan khel yahi
bhar ke apni baahon mein
mujhe koi jhoolaa jhulaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
mere soye praanon ko
meethhe meethhe sur se jagaa rahaa
ye geet kaun
ye geet kaun
hmm hmm
hmm hmm hmm
hmm hmm
hmm hmm hmm
This article is written by 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 : |
5662 | Post No. : | 18164 |
Shakespeare’s plays have been one of the important sources for adapting them in Hindi films since the beginning of the Indian film industry in 1913. However, since very few films produced and released during the silent film era survived, it is difficult to say how many silent films were based on Shakespeare’s plays. A research paper on Shakespeare on Screen by Dr. Joseph Koyippally has identified 8 silent films based on Shakespeare’s plays that were released between 1923-30.
In respect of Hindi talkie films, only a small number of films have survived which were released during the period 1931-1950. Only 12 Hindi films have been identified as based on Shakespeare’s plays during this period. According to this list, the first Hindi talkie film based on Shakespeare’s play was ‘Hathili Dulhan’ (1932) by Madan Theatres which was based on ‘The Taming of the Shrew’. From 1951 to 2014, 25 Hindi films have been identified as based on or inspired from Shakespeare’s plays. Almost all of the Hindi talkie films based on Shakespeare’s plays have not been the faithful adaptations but adapted to suit to the Indian culture, perceptions, the timeframe and most importantly, the Indian audience.
The first Hindi film based on or inspired from Shakespeare’s play, ‘The Comedy of Errors’ is said to be Bimal Roy’s ‘Do Dooni Chaar’ (1968) directed by Debu Sen. Gulzar was his Chief Assistant Director, the dialogue writer and the lyricist. When Gulzar turned director, he directed ‘Angoor’ (1982) based on the same play. Both these films have accredited Shakespeare for the story. There was one more film, ‘Heeralal Pannalal’ (1999) directed by Kanwal Sharma but there was no acknowledgement to Shakespeare. The latest film based on this play was Rohit Shetty’s ‘Cirkus’ (2022). The main feature of Shakespeare’s play, ‘The Comedy of Errors’ was that it had two twin male characters with ‘master and servant’ relationship. Their mistaken identities create comical situations. Of these four films, only ‘Angoor’ (1982) was a box office hit.
I feel that all films with double roles owe to Shakespeare’s play, ‘The Comedy of Errors’ at least for the comedy arising from mistaken identities. ‘Gustaakhi Maaf’ (1969) can be said to have been partially inspired from the same Shakespeare’s play. In this film also, the twins get separated while traveling on the boat (instead of ship) and after some years, the separated twins meet in the same town. The difference is that in this film, there is only one twin instead of two, and that too the female. The film was produced by Gopal Saigal and was written and directed by Raj Kumar Bedi. The star cast included Sanjeev Kumar, Tanuja (in double role), Sujit Kumar, Ulhas, Ravi Kant, Padma Khanna, Rafiya Sultana, Dilip Dutt, Johnny Whisky, Narbada Shankar, Vithaldas Panchotia, Gopal Saigal, V Gopal etc.
I had not watched ‘Gustaakhi Maaf’ (1969) mainly because around the same time, I had seen ‘Do Dooni Chaar’ (1968) in a theater. At that time, it was said that both these films had some similarities in their stories. Recently, I watched the film on one of the video sharing platforms in the context of one of its songs which I liked.
The story of the film is as under:
Ravikant’s wife has given birth to twin girls, Asha and Seema. After a year or so, Ravikant and his family go for a trip to a hill station. Their boat gets capsized in a storm and the family is separated. Ravikant’s wife and Seema are missing while Ravikant and Asha survives. The missing Seema is taken care by Gupta ji (Ulhas) who lives a lonely life. Ravikant’s wife continues to remain missing.
About 2 decades later, Asha has grown up in her city with her father, Ravikant while Seema grows up in a hill station where she was picked up by Gupta ji who has given her new name, Asha (I will continue to refer her as Seema to avoid confusion). Ravikant and Asha with her maid servant (Padma Khanna) go for a trip to the same hill station which they had visited about 2 decades back. From this point onward, due to the mistaken identities of Asha and Seema, there are hilarious situations.
Seema is in love with Shankar (Sujit Kumar), a painter and photographer who runs the business along with his younger brother, Jai (Sanjeev Kumar). Shankar has a date with Seema at a market place but as usual, he is going to be late because he has to place his beloved’s painting at top of a light pole to impress her. So he sends a note through his servant to handover to Seema. Disgusted with Shankar not yet come, Seema leaves the place in a huff. Just at that time, Asha comes out of a stall and the servant sees her. Thinking her to be Seema, he hands over the note to Asha who gets furious when she reads the love message. She slaps him and goes on her bicycle.
Thinking that Seema is angry with him, Shankar goes to meet Seema. Again Asha finds that another strange man has approached her to be his fiancé. He tries to hug her but gets a slap from Asha. With the presence of twins, many weird things happen, like for a necklace bought by Asha, the bill goes to Seema who refuses to pay for the necklace she had not bought. Munim goes back to her with a proof but Asha’s father takes out his gun and threatens him. Munim goes to the police station to lodge the complain. As soon as he returns from the police station to his jewelry shop, Munim finds Asha coming to pay the cost of the necklace since no one visited her place to collect the money. A surprised Munim feels that because he had lodged a police complaint, Asha is now ready to pay the amount.
In order to cajole Seema, Shankar visits her house and briefs her father, Gupta ji about the unusual behavior of Seema, He suggests that Seema should accompany him to a counselor. Gupta ji reveals to him that some members of his family have been lunatic. It is quite possible that Seema may have the hereditary traits. This is not a good news for Shankar. Anyway, he tries his best to convince her that he loves her a lot. At last, Seema gets convinced and Shankar also feels that she is not a nut as he earlier thought.
A happy Shankar returns to his shop to see the commotion. Asha who was walking along the road, sees her painting being displayed on a light pole. She gets annoyed and throws anything that comes to her hand towards the painting as well as their shop. Shankar, thinking her to be Seema, is now sure that she is indeed lunatic. Otherwise why she should damage the painting which he has made at her insistence. A shocked Shankar decides to run away from the place.
After few days, Asha revisits the shop and meets Jai to compensate the losses he may have incurred with her fury against the painting. She likes his behavior and slowly falls in love with her. She requests Jai to paint her to get compensated. Jai on the other hand, thinking her to be Seema, is in no mood to oblige her. He is confused as to why she is behaving to be nice to him when he considers her as his sister-in-law. He avoids Asha as long as possible. But Asha is not ready to give up. She tries to seduce Jai in connivance with Mirchi and with a long medley of parody songs, she is successful in wooing Jai who feels guilty, thinking Asha to be the beloved of his elder brother.
Seema goes to a picnic with her friends where she finds a gloomy looking Shankar sitting at a distance. She meets him and he is happy with her behavior. She says that he should return to his shop where she would bring her father to complete her engagement ceremony with him. Seema turns up with her father to see Shankar who has not yet reached there in the house. Jai, thinking her to be Asha, tries to be nice to her. Seema gets annoyed and leaves the house hastily to complain to Shankar. When Shankar is confronting with Jai about his ‘mistreatment’ of Seema, Asha turns up and starts becoming nice to Jai. Both Shankar and Jai are confused as to why there is often unpredictable changes in the behavior of Seema. They think that Seema needs to be referred to a psychiatric doctor.
The confusion about the mistaken identities gets over, when Asha along with her father Gupta ji visit at a mental hospital where Jai and Shankar have forcibly taken Seema to a psychiatric doctor. Both the separated sisters meet for the first time and their father, Ravikant recognizes them. Shankar-Seema and Jai-Asha are united.
‘Gustaakhi Maaf’ (1969) had 4 songs written by Naqsh Lyallpuri and set to music by Sapan-Jagmohan. In addition, there is a medley of the parody song. Two songs have been covered in the Blog. I am presenting the 3rd song from the film, “Tum Door Jaaoge Kaise” which is poignantly rendered by Asha Bhosle. The background to the song is that Jai (Sanjeev Kumar) has started loving Asha (Tanuja) but he is hesitant because he thinks her to be the beloved of his elder brother, Shankar (Sujit Kumar). So, he decides to avoid her. The song, picturised on Tanuja as Asha is the reflections of her thought on their relationship.
Sapan-Jagmohan reused the tune of this song for “Jhilmil Sitaaron Se Nainaa” which was rendered by Kishore Kumar in the film, ‘Amber’ (1985).
Video Clip:
Audio Clip:
Song-Tum door jaaoge kaise daaman bachaaoge kaise (Gustaakhi Maaf)(1969) Singer-Asha Bhonsle, Lyrics-Naqsh Layallpuri, MD-Sapan Jagmohan
Lyrics: (Based on Video Clip)
tum door jaaoge kaise
daaman bachaaoge kaise
hamen tum bhula naa sakoge..ae ae
tum door jaaoge kaise
daaman bachaaoge kaise
hamen tum bhula na sakoge..ae ae
tum door jaaoge kaise
jitna bhulaaoge tum
utna hi yaad aayenge..ae ae
neenden churaa lenge hum
khwaabon mein ghul jaayenge..ae ae
khwaabon mein ghul jaayenge
tadpenge tadpaayenge
o o o
tum door jaaoge kaise
daaman bachaaoge kaise
hamen tum bhula na sakoge..ae ae
tum door jaaoge kaise
dil ki lagi ban ke hum
dil mein sulag jaayenge.. ae ae
palkon pe aa kar kabhi
ashkon mein lahraayenge..ae ae
ashkon mein lahraayenge
daaman mein so jaayenge
o o o
tum door jaaoge kaise
daaman bachaaoge kaise
hamen tum bhulaa na sakoge..ae ae
tum door jaaoge kaise
khud pe na dhhaao sitam
tumhen zindagi ki kasam m m
ham door tak aa gaye
tum bhi chalo do kadam m m
tum bhi chalo do kadam
mere sanam kam se kam
ho o o
tum door jaaoge kaise
daaman bachaaoge kaise
hamen tum bhulaa na sakoge..ae ae
tum door jaaoge kaise
daaman bachaaoge kaise
hamen tum bhulaa na sakoge..ae ae
tum door jaaoge kaise
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
तुम दूर जाओगे कैसे
दामन बचाओगे कैसे
हमें तुम भुला ना सकोगे॰॰ए
तुम दूर जाओगे कैसे
दामन बचाओगे कैसे
हमें तुम भुला ना सकोगे॰॰ए
तुम दूर जाओगे कैसे
जितना भुलाओगे तुम
उतना ही याद आएंगे॰॰ए
नींदें चुरा लेंगे हम
ख्वाबों में घुल जाएँगे॰॰ए
ख्वाबों में घुल जाएँगे
तड़पेंगे तड़पाएंगे
ओ ओ ओ
तुम दूर जाओगे कैसे
दामन बचाओगे कैसे
हमें तुम भुला ना सकोगे॰॰ए
तुम दूर जाओगे कैसे
दिल की लगी बन के हम
दिल में सुलग जाएँगे॰॰ए
पलकों पे आ कर कभी
अशकों में लहराएंगे॰॰ए
अशकों में लहराएंगे
दामन में सो जाएँगे
ओ ओ ओ
तुम दूर जाओगे कैसे
दामन बचाओगे कैसे
हमें तुम भुला ना सकोगे॰॰ए
तुम दूर जाओगे कैसे
खुद पे ना ढाओ सितम
तुम्हें ज़िंदगी की क़सम॰॰म्म
हम दूर तक आ गए
तुम भी चलो दो कदम॰॰म्म
मेरे सनम कम से कम
हो ओ ओ
तुम दूर जाओगे कैसे
दामन बचाओगे कैसे
हमें तुम भुला ना सकोगे॰॰ए
तुम दूर जाओगे कैसे
दामन बचाओगे कैसे
हमें तुम भुला ना सकोगे॰॰ए
तुम दूर जाओगे कैसे
Sun pyaare sajnaa re
Posted on: January 1, 2024
- In: Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Love song | Lyrics contributed by readers | Mukesh songs | Mukesh-Asha Bhonsle duet | Post by Sadanand Kamath | Songs of 1960s (1961 to 1970) | Songs of 1969 | Yearwise breakup of songs
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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 : |
5645 | Post No. : | 18137 |
‘Insaaf Kaa Mandir’ (1969) was produced by Sherbahadur Singh and Jagdish Singh and was written and directed by BR Ishara. The cast includes Sanjeev Kumar, Snehlata, Nadira, Asit Sen, Prithvi Raj Kapoor, Tarun Bose, Manmohan Krishna, Sapru, Laxmi Chhaya, Aruna Irani, Bela Bose, Mohan Sherry, Kanu Roy etc. This was BR Ishara’s debut film as a full-fledged director. After coming to Mumbai, it took him almost 2 decades to direct his first film. But it was not that he had run away from his village to Mumbai to make a career in films. It was, what he called the ‘torturous nature’ of his uncle which drove him to Mumbai where he was prepared to grab any work including domestic servant and waiter for sustenance.
Babu Ram Ishara, whose real name was Roshan Lal Sharma (07/09/1934 – 12/07/2012), was born in Bharwain village of Una district in Himachal Pradesh in a Brahmin family. He lost his mother at the age of 3 and after 2 years, he lost his father. The parent-less child was brought up by his grandmother. He completed his primary schooling in Bharwain village. His uncle who was based on Amritsar, had taken his admission in High school in Amritsar where his thread ceremony was also planned.
Being afraid of his uncle, Roshan Lal ran away from home by stealing his uncle’s money and came to Delhi where he met another boy. Both decided to visit Bombay (now Mumbai). While watching a film in a theater in Mumbai, the boy accompanying him quietly slipped away from the theater taking his money with him, never to be seen again. With no means for livelihood, Roshan Lal worked as a ‘baaharwala’ (waiter serving tea and food outside) in a hotel opposite Ranjit Studio. His main work was to serve tea to the workers and junior artists of Ranjit Studio and the nearby Shri Sound Studio. The studio workers used to call him ‘Babu’.
After few months, Roshan Lal joined Central Studios as office boy on a monthly salary of Rs. 60. One day, while serving tea to Qamar Jalalabadi in the studio, he gave Roshan Lal a new name, ‘Babu Ram’ as he did not want to call him by his real name Roshan Lal because his spiritual guru’s name was Roshan Nath. After the studio duties, Roshan Lal was also working as a cook to serve breakfast to Kaif Irfani in his house. Noting that Roshan Lal had flavour for writing, he told him to add a pen name ‘Ishara’ to his name Babu Ram. Thus, Roshan Lal Sharma became Babu Ram Ishara, better known as BR Ishara.
In between, BR Ishara was working as a household worker in Qamar Jalalabadi’s house who was producing ‘Aansoo’ (1953) at that time. He had assured BR Ishara that he would take him in his production office once the function of muhurat shot of the film got over. But the function got postponed a number of times. Fed up with cleaning utensils, BR Ishara left for Delhi to seek employment opportunity. However, his uncle got a wind of his arrival in Delhi. He took him to Amritsar and admitted in the 10th class. But the torture of his uncle was too much for him. After about 3 months, he again ran away and returned to Bombay.
Mukesh was planning ‘Anuraag’ (1956) and a preparatory work was going on to start the film. One of the acquaintances from the production team took BR Ishara to Mukesh who gave him a job of apprentice with no salary. After some time, pleased with his work as an apprentice, Mukesh made him Third Assistant at a monthly salary of Rs. 60. This was a turning point in the life of BR Ishara as for the first time, he got opportunity to get exposure to film making. With this work, he developed his aptitude for the film direction. After the completion of the ‘Anuraag’ (1956). he joined director, Tara Harish as his assistant in ‘Laalten’ (1956) and ‘Jalti Nishaani’ (1957).
‘Jaal Saaz’ (1959) is the first film in which he is officially accredited as dialogue director. It was during the making of this film that he learnt to speak Bengali since almost all the crew members were Bengali. In ‘Aawara Baadal’ (1964) also he was accredited as ‘dialogues written and directed by BR Ishara’. The film’s director Kedar Kapoor had differences with his original dialogue writer. So, he entrusted dialogue writing to BR Ishara under his guidance. Dulal Guha, who was to direct ‘Chaand Aur Suraj’ (1965), selected BR Ishara to write dialogue for the film which was his first formal work as a dialogue writer. With the words of mouth from some Bengali crew members, Basu Bhattacharya made him his second assistant for the film ‘Teesri Kasam’ (1966).
By this time, BR Ishara was virtually addicted to film making and he had developed a keen interest in film direction. Johny Whiskey, a close friend, was producing ‘Gunaah Aur Kanoon’ (1970). He entrusted to BR Ishara to write screenplay and dialogues and also to direct the film. At the same time, BR Ishara had also written story, screenplay and dialogues for the film ‘Insaaf Ka Mandir’ which he wanted to direct. He got producer for this film as well. Both the black and white films started more or less on the same time. Sanjeev Kumar, Prithviraj Kapoor, Tarun Bose, Asit Sen were the common actors for both the films. Both the films did not fare well on the box office. (Note: The life sketch of BR Ishara is mainly based on his interview at Vividh Bharati. The video clip of the interview is available here.)
It was his third film, ‘Chetna’ (1970) that BR Ishara got the recognition as a director. Made with a shoe-string budget and completed in 25 days, the film became a box office hit. It was the debut film of Anil Dhawan and Rehana Sultan who was a gold medallist from FTTI, Pune. BR Ishara’s other notable films were ‘Ek Nazar (1972) with Amitabh Bachchan and Jaya Bahaduri, ‘Milaap’ (1972) with Shatrughan Sinha and Reena Roy, ‘Dil Ki Raahen’ (1973) with Rahana Sultan and Rakesh Pandey, ‘Prem Shastra’ (1974) with Dev Anand and Zeenat Aman, ‘Ghar Ki Laaj’ (1979) with Sanjeev Kumar and Mausami Chatterjee and ‘Wo Phir Aayegi (1988) with Rajesh Khanna and Farah. ‘Main Bikaaoo’ (2004) was his last directed film which remained unreleased.
During his filmy career, BR Ishara directed 42 films of which 3 films remained unreleased. Most of his films raised socially relevant issues with his hard-hitting dialogues. But a majority of such films were box office failures. In 1984, he married Rehana Sultan.
BR Ishaara passed away on July 12, 2012. A few months before his death, he was not keeping good health. Later, he was diagnosed with tuberculosis.
The story of the film under discussion is as under:
Sunil (Sanjeev Kumar) has completed his law graduation and looking for the job opportunity. But before that, he receives a telegram that his father is seriously ill, and he should visit home to see him as soon as possible. By the time Sunil reaches home, his father has already passed away. The servant, Sunder (Asit Sen) hands over a letter to Sunil, written by his father which reveals that he is not his real father but has adopted him. His mother is somewhere in Mumbai which he is not aware of but one Durgadevi Jain (Nadira) can help him to locate his mother. The very next day, Sunil accompanied by Sunder, depart for Mumbai in search of his mother.
Sunil and Sunder reach Mumbai and meets Durgadevi. She puts a condition that she would reveal the whereabouts of his mother provided he agrees to become her adopted son so that she could bequeath him all her property and wealth. Sunil rejects her proposal and walks out of her house. He decides that he would himself search for her mother. But before that, he needs to have a steady job and a house in Mumbai. Sunder has one of his close friends, Shambhu (Manmohan Krishna) who works for Mumbai’s famous lawyer, Badri Prasad (Tarun Bose). He takes Sunil to Badri Prasad’s house. Sunil is pleasantly surprised to see Sunita (Snehlata) in the house who is the daughter of Badri Prasad and is in love with Sunil since college days. Badri Prasad not only appoints him in his office but also provide one of his vacant flats to Sunil.
During their discussions, Sunil comes to know that Durgadevi’s stepdaughter, Sadhana (Aruna Irani) had committed suicide about a couple of years back. Shambhu and Sunita, however, suspect that Sadhana was murdered by Durgadevi. Shambhu was earlier employed by Durgadevi while Sunita was Sadhana’s friend. In order to clear the doubts in the minds of Shambhu and Sunita, Badri Prasad entrusts the job of investigating Sadhana’s suicide case to Sunil who starts investigation with the assistance from Sunita and collect important evidence over a period of time to prove that Sadhana has not committed suicide, but she was murdered.
Sunil meets public prosecutor and joins him as his assistant with the recommendation of Badri Prasad. With his evidence, the court agrees to reopen the Sadhana’s suicide case in which Sunil represents as public prosecutor and Badri Prasad representing Durga Devi’s lawyer as he had done earlier. The last one hour of the film is mainly the court room drama with Prithvi Raj Kapoor as a Judge. With arguments and counterarguments between the prosecutor and the defendant’s lawyer, Durgadevi’s past life is exposed. The photographs of her abandoned child born out of wedlock are placed before the Judge and her motivation for killing her stepdaughter is revealed as relating to the property dispute. She concedes her involvement. The Judge announces that the judgement in the case would be delivered the next day. After the court proceedings ends, Judge asks Sunil to meet him in his chamber where he is shown the photographs of Durgadevi’s child from childhood to his adulthood. Sunil is shocked to see his own photograph. Judge requests him to meet Durgadevi who is sitting in an adjoining room. Sunil meets his biological mother and hugs her. Durgadevi is so much elated with meeting her son that she collapses on the floor and dies of heart attack.
I found the film’s plot quite interesting and gripping as a suspense thriller. But most of the audience would get the clue from a couple of dialogues between Sunil and Durgadevi as to who is his mother, and the suspense is revealed. I think, rather then keeping the suspense, BR Ishara may have thought that it would be more interesting for the audience to know as to how the prosecutor will prove the identity of Sunil’s biological mother and her involvement in Sadhana’s killing. And he has successfully done so through the intense court’s proceedings which takes about one hour of the film’s duration.
Of the main actors in the film, I feel that Nadira in the role of Durgadevi has given the top performance in the film. She has a challenging role to balance her performance of a grayish character with an emotional personality which she has successfully executed. Sanjeev Kumar in the role of a lawyer and later the prosecutor has given an excellent performance as expected, so also Tarun Bose as a defendant lawyer. Prithviraj Kapoor in the role of a judge has few dialogues. But his presence itself is sufficient to create an aura of dignity to his role. There is not much of the boredom in watching this film except a couple of songs which, to my mind, are not the situational songs. Nonetheless, all the songs are melodious.
The film has six songs written by Naqsh Lyallpuri (5) and Anwar Sasarami (1) which are set to music by Sapan-Jagmohan. One song has been covered on the Blog. I am presenting the second song from the film, “Sun Pyaare Sajna Re”, which is written by Naqsh Lyallpuri and rendered by Asha Bhosle and Mukesh. It is interesting to note that in all the films with the exception of a couple of films which BR Ishara directed during 1969-1977, there was at least one song rendered by Mukesh.
The background to the song under discussion is that Sunil (Sanjeev Kumar) shifts himself to Mumbai in search of his biological mother. He gets a job in the office of lawyer, Badri Prasad (Tarun Bose). Earlier, he has met the lawyer’s daughter, Sunita (Snehlata) who was his classmate in the law college and is in secretly in love with him. She works as his assistant in investigating the alleged suicide of Sadhana (Aruna Irani) and they are on their way to collecting evidences. At the same time, Durgadevi (Nadira) has placed one of her men to keep an eye on Sunil’s movements and his activities. The person, taking a diary note during the song is the one who works as such for Durgadevi.
Video Clip:
Audio Clip:
Song-Sun pyaare sajnaa re (Insaaf Ka Mandir)(1969) Singers-Asha Bhonsle, Mukesh, Lyrics-Naqsh Llayalpuri, MD-Sapan Jagmohan
Lyrics (based on video clip)
o o o
o o o
aa aa aa
aa aa aa
aa aa aa
sun pyaare
sajna re
mann gaaye
geet suhaane
geeton mein
pyaar hai tera
tu maane yaa naa maane
daali daali
matwaali
rut aayi
phool sajaane
phoolon mein roop hai tera
tu maane yaa naa maane
sun pyaare
sajna re..
tu kehde to jheel si gehri
aankhon mein kho jaaun
aaj mera jee chaahe
teri baanhon mein lehraaun
o o o tu kehde to jheel si gehri
aankhon mein kho jaaun
aaj mera jee chaahe
teri baanhon mein lehraaun
geet milan ke gaaun
daali daali
(aa aa aa aa)
matwaali
(aa aa aa aa)
rut aayi phool sajaane
(o o o o o)
phoolon mein roop hai tera
tu maane yaa naa maane
sun pyaare sajna re
tujhko paaya maine apna
tanmann arpan kar ke
aaj bane hain hum tum dono
saathi jeewan bhar ke
o o
tujhko paaya maine apna
tanmann arpan kar ke
aaj bane hain hum tum dono
saathi jeewan bhar ke
mehke phool dagar ke
sun pyaare
sajna re
mann gaaye
geet suhaane
geeton mein
pyaar hai teraa
tu maane yaa naa maane
daali daali
(aa aa aa aa)
matwaali
(aa aa aa aa)
rut aayi phool sajaane
(ho o o o o)
phoolon mein roop hai teraa
geeton mein pyaar hai teraa
tu maane yaa naa maane
sun pyaare sajna re
o o o
o o o
aa aa aa
aa aa aa
aaa aaa aaa
aa aaa aaa
aa aa aa aa aaa
aa aa aa aaa
o o o o o
aa aa aa aa
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Hindi script lyrics (Provided by Sudhir)
——————————————
ओ ओ ओ
ओ ओ ओ
आ आ आ
आ आ आ
आ आ आ
सुन प्यारे
सजना रे
मन गाये
गीत सुहाने
गीतों में
प्यार है तेरा
तू माने या ना माने
डाली डाली
मतवाली
रुत आई
फूल सजाने
फूलों में रूप है तेरा
तू माने या ना माने
सुन प्यारे
सजना रे
तू कह दे झील सी गहरी
आँखों में खो जाऊँ
आज मेरा जी चाहे
तेरी बाहों में लहराऊँ
गीत मिलन के गाउँ
डाली डाली
(आ आ आ आ)
मतवाली
(आ आ आ आ)
रुत आई
फूल सजाने
(ओ ओ ओ ओ)
फूलों में रूप है तेरा
तू माने या ना माने
सुन प्यारे
सजना रे
तुझको पाया मैंने अपना
तन मन अर्पण कर के
आज बने हैं हम तुम दोनों
साथी जीवन भर के
ओ ओ
तुझको पाया मैंने अपना
तन मन अर्पण कर के
आज बने हैं हम तुम दोनों
साथी जीवन भर के
महके फूल डगर के
सुन प्यारे
सजना रे
मन गाये
गीत सुहाने
गीतों में
प्यार है तेरा
तू माने या ना माने
डाली डाली
(आ आ आ आ)
मतवाली
(आ आ आ आ)
रुत आई
फूल सजाने
(हो ओ ओ ओ)
फूलों में रूप है तेरा
तू माने या ना माने
सुन प्यारे सजना रे
ओ ओ ओ
ओ ओ ओ
आ आ आ
आ आ आ
आs आs आs
आ आs आs
आ आ आ आ आss
आ आ आ आ आss
ओ ओ ओ
आ आ आ आ
- 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
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5481 | Post No. : | 17911 |
= = = = = = = = = = =
The Voice of Mukesh #74
– – – – – – – – – – – – –
Today we are treading the centenary celebration for this great singer, Mukesh. The effort has been to post one or two of his songs everyday this week. As discussed earlier, there still are quite a good number of his song, both film and non-film, that are still awaiting to come on board, so we have a fair sampling to choose from.
I present another of his lesser heard and less familiar songs from the film ‘Priya’ from 1970. This is a period when I am sure this group of listeners must have been very familiar already with the then current crop of songs, as most of us were avid radio listeners. I remember this film, not having seen it, but through the songs that were played on the radio. And I remember two songs specifically from this film that had become very popular at one time. Both the songs are tuned in the genre of rock music, given that it was the most popular flavor with the youngsters who liked to listen both Hindi and Western music. So it is not a big surprise that only these two songs have so far made it to the showcase on our blog. The songs are “Na Sun Sun Sun Bura”, and “She Is Very Pretty. . . Pretty Pretty Priya”.
The film has a total of seven songs listed in the Geet Kosh, two of which form the two part pair for the same song, which is the song being presented today. The words of these seven songs have been written by two lyricists – Indiwar and Qamar Jalaalabaadi. Interestingly, Qamar Sb has written both the rock type songs mentioned above. And Indiwar has penned the remaining songs. Music is by Kalyanji Anand ji.
This song appears at the film in two places. The first part is presented as fun song being enjoyed by a motley group of friends sitting under tree, as Sanjeev Kumar is playing the harmonium and another actor that I cannot identify, is giving him company with comments of encouragement and improvement suggestions. Another one friend is playing the dholak and is somewhat besura. The second part is being performed visibly at a kotha. The setting is that of a mujra, however the singing part is not done by the nautch girl, but by a slightly drunk Sanjeev Kumar. Hmm. . . that is an interesting setting.
In both the parts, it is Mukesh’s voice giving playback to Sanjeev Kumar. Additionally, in the first part, there is one more voice that is giving playback to the friend who is punctuating the singing by Sanjeev Kumar with comments and suggestions.This voice is identified as that of Anand ji – yes, the one half of the music director duo Kalyanji Anand ji.
There is one more very interesting feature of the first part. In that, still images of Tanuja very briefly appear and disappear as the song progresses. The expressions and gestures are almost as if she is present at the performance and is giving her response and reactions to the singing as it progresses. In the second part, I am not able to place the name to the actress who is performing the role of the nautch girl. In the list of actors, there a two names that could be possibly this lady – Padma Rani and Sadhna Patel. I request readers with keener insight to please help identify this actress.
So, here is one more pensive and soulful song in the voice of Mukesh – characteristics that make each of his renditions so unique, and so appealing.
Part I
Part II
Song – Hum Se Kiya Hai Sab Ne Dikhaawa Koi Hamaara Yaar Nahin (Priya) (1970) Singer – Mukesh, Anand ji, Lyrics – Indeewar, MD -Kalyanji Anandji
Unidentified Female Voice
Chorus
Lyrics
Part I
hum se kiya hai
sab ne dikhaawa
hum se kiya hai
sab ne dikhaawa
ustad aur sad, aur sad zara
sad
lijiye janaab
arye hum se kiya hai
sab ne dikhaawa
ustad, waah
koi hamaara yaar nahin
ya hamen pyaar na karna aaya
ya duniya mein pyaar nahin
(waah waah waah)
pyaar nahin
aagey kya ustad
arey hum to the
taiyyar pyaar ki
chakki mein pis jaane ko
arey waah ustad
kamaal kiya
hum to the taiyaar pyaar ki
chakki mein pis jaane ko
(waah waah)
arey samajh ke kankar
yaar ne phenka
kya
hamen thokaren khaane ko
roomaalon ke
haa haa haa haa
aa haa
wo jo bheje the, wo roomaal
haan haan
arey roomaalon ke
badle paaya
aanchal ka ik taar nahin
ya hamen pyaar na karna aaya
ya duniya mein pyaar nahee..een
pyaar nahee..een
pyaar nahee..een
hum se kiya hai
sab ne dikhaawa
waah waah waah waah
jawaab nahin
jawaab nahin
Part II
hum se kiya hai
sab ne dikhaawa
koi hamaara yaar nahin
hum se kiya hai
sab ne dikhaawa
koi hamaara yaar nahin
ya hamen pyaar na karna aaya
ya duniya mein pyaar nahin
pyaar nahin
hum se kiya hai
sab ne dikhaawa
pal pal rang badalte dekhe
insaani tasveeron ke
mila na hriday parakhne waala
miley paarakhi heeron ke
koi bhi aanchal nahin hai kinaara
baanh koi patwaar nahin
ya hamen pyaar na karna aaya
ya duniya mein pyaar nahin
pyaar nahin
hum se kiya hai
sab ne dikhaawa
laa laa laa laaa laaaa
laa laa laa laaa laaaa
kaliyaan sunti hain shehnai
bhanwaron ke armaanon ki
saari chaman mein baat na poochhe
koi bhi parwaanon ki
phoolon pe kya adhikaar hamaara
kaanton ke bhi haqdaar nahin
ya hamen pyaar na karna aaya
ya duniya mein pyaar nahin
pyaar nahin
hum se kiya hai
sab ne dikhaawa
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
भाग I
हम से किया है
सबने दिखावा
हम से किया है
सबने दिखावा
उस्ताद और सैड, और सैड
सैड
लीजिये जनाब
अरे हम से किया है
सबने दिखावा
उस्ताद वाह
कोई हमारा यार नहीं
या हमें प्यार ना करना आया
या दुनिया में प्यार नहीं
(वाह वाह वाह)
प्यार नहीं
आगे क्या उस्ताद
अरे हम तो थे
तैयार प्यार की
चक्की में पिस जाने को
अरे वाह उस्ताद
कमाल किया
हम तो थेतैयार प्यार की
चक्की में पिस जाने को
(वाह वाह)
अरे समझ के कंकर
यार ने फेंका
क्या
हमें ठोकरें खाने को
रूमालों के
हा हा हा हा
आ हा
वो जो भेजे थे, वो रूमाल
हाँ हाँ
अरे रूमालों के
बदले पाया
आँचल का इक तार नहीं
या हमें प्यार ना करना आया
या दुनिया में प्यार नहीं॰॰ईं॰॰ईं
प्यार नहीं॰॰ईं॰॰ईं
प्यार नहीं॰॰ईं॰॰ईं
हमसे किया है
सबने दिखावा
वाह वाह वाह वाह
जवाब नहीं
जवाब नहीं
भाग II
हमसे किया है
सबने दिखावा
कोई हमारा यार नहीं
हमसे किया है
सबने दिखावा
कोई हमारा यार नहीं
या हमें प्यार ना करना आया
या दुनिया में प्यार नहीं
हमसे किया है
सबने दिखावा
पल पल रंग बदलते देखे
इंसानी तसवीरों के
मिला ना हृदय परखने वाला
मिले पारखी हीरों के
कोई भी आँचल नहीं है किनारा
बांह कोई पतवार नहीं
ला ला ला ला लाss
ला ला ला ला लाss
कलियाँ सुनती हैं शहनाई
भँवरों के अरमानों की
सारे चमन में बात ना पूछे
कोई भी परवानों की
फूलों पे क्या अधिकार हमारा
काँटों के भी हक़दार नहीं
या हमें प्यार ना करना आया
या दुनिया में प्यार नहीं
प्यार नहीं
हम से किया है
सबने दिखावा
Arree muniyaa ree muniyaa
Posted on: February 20, 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 : |
5330 | Post No. : | 17475 |
#the Decade of Sixties – 1961 – 1970 #
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‘Bachpan’ was directed by K.P. Atma for ‘Atma Arts Universal, Bombay’. K.P. Atma co-produced this movie with K.H. Rao.
It had Sanjeev Kumar, Master Sachin, Junior Mehmood, Shahid, Anwar Hussain, Mukri, Sunder, Joginder, Baldev Mehta, Keshto Mukherji, Aruna Irani, Sulochana Chatterjee, Tabassum, Pratima Devi, Baby Gayatri, Baby Guddi, Master Alankar, Naeem and Tanuja.
Story of this movie was written by K.P. Atma. Screenplay and dialogues were written by Raj Baldev Raj. Editing of this movie was done by Shivaji Awdhut.
This movie had made its debut on the blog on 30.08.2010 with its most well-known song Aaya re khilaune waala. I still remember that in my childhood days I used to think that this song and the song ‘chandaa ko dhhonndhhne sabhi taare nikaal pade’ were from the same film. May be there is something common in them as they come from the same composers Laxmikant-Pyarelal.
I had earlier presented a song from this movie ‘Bachpan-1970’ in May ‘2021 which was a song for Junior Mehmood, Sachin and other child artistes in this movie.
I had not watched this movie then but I always wish to watch it. Also before this song in May’2021 one other song from this movie was presented under ‘blog ten-year challenge’ on 30.08.2020, so I always want to see this movie gets covered with all its song. And since I have also not watched this movie I want to watch it too. (While presenting the first song from this movie on the blog Atul ji also mentioned that if reader has watched this movie should mention about the idea of this movie here).
Recently I watched this movie and I like it very much and enjoyed it a lot. The plot of the movie is good and it keeps one engaged till the end. So even if you are watching it on TV at home you do not get bored.
The sub-plots of this movie have well interwoven with the main plot of this movie seamlessly. The songs also help the story to move and do not make any hindrance to it.
So here is a brief about this movie.
As the title of this movie ‘Bachpan’ suggests it is the story of three childhood friends played by Sachin, Junior Mehmood and Shahid (or Naeem? I am unable to identify him). In the movie they play Ram, Rahim and Tom respectively.
Sachin’s father has been killed by Anwar Hussain who is an active ‘smuggler’ and runs a ‘sharaab ka thhekaa’ to hide the smuggling activities. Ram is being taken care by his aunt (Sulochana Chatterjee) who is Nekiram’s (Anwar Hussain) sister. But she hates him due to his ‘crime’ and tries to keep Ram safe from him. Nekiram has also got hold of one ‘puraani haveli’ which he rumoured people that it is a ‘haunted one’ but stores his smuggled goods there.
Rahim (Junior Mehmood) lives with his father who is taangawaala (Mukri). Mukri is a habitual drinker and a regular feature at Nekiram’s ‘thhekaa’ where he also used to play gambling and keep losing every time there. Once, when he loses everything he puts his horse on stake and loses it too. Which he regrets later and do real ‘mehnat’ to pay the debt and bring him back again.
Tom’s parents are Keshto Mukherjee (a lawyer, whose importance is realised in the end of the movie) and Tabassum (obsessed with her figure to contest Miss India and Miss Universe). Tom has a unhappy childhood since his parents always have issues between them and specially his mother never taking care of him.
Ram, Rahim and Tom learn together in a same school where Sundar is their teacher and here we get some comic relief in between as the children often doing lot of ‘pranks’.
Lajjo (Tanuja) lives with her Mom (Pratima Devi) and is ‘flower seller’ (phoolwaali). She sells flowers for offering to god even if somebody doesn’t pay her. But if you pay her and still want to carry the flowers for a ‘other woman’ she will not give that at any cost
Now we come to the hero of this movie i.e. Sanjeev Kumar-Kashi. Kashi is a ‘toy-seller’ having two kids-master Alankar and Baby Guddi (I guess)). Geeta Siddharth plays Kashi’s wife. They are happy family where Kashi do his ‘toy-selling’ and singing ‘aaya re khilaunewaala’ till tragedy struck them. It so happens, that Kashi’s father in law is serious and his wife and children have to travel by boat to see him. But the boat gets drowned in the ‘vortex’ of the river water and all of them are lost forever.
After this incident Kashi drink severy evening in the ‘gham’ of ‘their memories’…
Ram, Rahim and Tom love their Kashi Chacha and they request Lajjo to give them a child for Kashi Chacha so that he will overcome his sorrow, unaware of how a child is born. Lajjo too has a soft corner for Kashi.
And now the turning point, Kundan -Joginder (Shelly) is a side-kick of Nekiram (Anwar Hussain) and often has a fight with him over his ‘hissaa’ from the earnings which Nekiram always try to avoid discussing and paying.
Nekiram want to get rid of Kundan so he had a plan. Aruna Irani gets an opportunity here and she performs a dance at Nekiram’s ‘thhekaa’. Kundan already getting intoxicated by then. Taking advantage of Kundan’s condition Nekiram took him to ‘bhutiya mahal’ and kills him in the fields nearby. Hearing the noise around Kashi goes there and falls upon Kundan’s body with his shirt getting soaked with blood of Kundan…
Kashi is arrested, as just days before Kundan’s murder he has threatened Kundan to kill him when he had tried to molest Lajjo.
So, everything in place for Nekiram to frame Kashi in the murder of Kundan…
But, the three boys are the eye-witnesses for Nekiram murdering Kundan and they take help of Tom’s father Keshto Mukherjee who is a lawyer and inform police about Nekiram. Nekiram’s sister also comes to court and tell the court about Nekiram killing Ram’s father. Knowing this Ram wants to take revenge and follows Nekiram who is trying to leave the place…
Finally everything gets settled and the boys and their friends get Kashi and Lajjo married …
dekho maine gudde ki
shaadi hai rachaayi…
meri pyaari gudiyaa ki
baaraat hai aayi
***
This movie had total six songs which were written by Anand Bakshi and composed by Laxmikant-Pyarelal.
So far, four songs from this movie have already been posted on the blog. Today we present the ‘penultimate song’ from this movie. This song is the first song appearing in the movie.
Sanjeev Kumar lip-syncs in Kishore Kumar’s voice in this song introduces him to the audience as well as the children in the school…
We can see our three main child artistes and others in the picturisation of this song. This song is a nice hummable song.
Let us now enjoy the song …
Video
Song-Arree muniya ree muniyaa (Bachpan)(1970) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics
ari muniyaa ri muniyaa
tu bataa main kaun hoon
ari duniyaa ri duniyaa
tu bataa main kaun hoon
ari muniyaa ri muniyaa
tu bataa main kaun hoon
ari duniyaa ri duniyaa
tu bataa main kaun hoon
sikandar hoon
kalandar hoon
machhandar hoon
ke bandar hoon
pehchaanon o
jaanon o
main kaun hoon
pehchaanon o
jaanon o
main kaun hoon
behroopiyon ka jag deraa hai
ae ae
behroopiyon ka jag deraa hai
chehre ke andar chehraa hai
baahar waala hai duniyaa ka
aur andar waalaa mera hai
juaari hoon
pujaari hoon
bhikhaari hoon
shikaari hoon
pehchaano o
jaanon o
main kaun hoon
ari muniyaa ri muniyaa
tu bataa main kaun hoon
ari duniyaa ri duniyaa
tu bataa main kaun hoon
sikandar hoon
kalandar hoon
machhandar hoon
ke bandar hoon
pehchaano o
jaanon o
main kaun hoon
main koyi khilaunewaala hoon
main koyi khilaunewaala hoon
kyaa jaadoo tonewaalaa hoon
dekho naa tang karo mujhko
warnaa main ronewaalaa hoon
main jhoothhaa hoon
ke sachchaa hoon
main bachchaa hoon
ke kaashi ee
kachchaa hoon
pehchaano o
jaano o
main kaun hoon
pehchaanon o
jaanon o
main kaun hoon
Ayyaash hoon main ayyaash hoon
Posted on: January 13, 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 : |
5292 | Post No. : | 17329 |
#the Decade of Eighties – 1981 – 1990 #
————————————————————————
(Birth Anniversary – Shakti Samanta – A tribute)
Today 13th Janunary’2023 is the ninety-seventh birth anniversary of yesteryears Director and Producer Shakti Samanta. He is known for his successful association with Rajesh Khanna-R.D. Burman-Anand Bakshi and other well-known actors like Shammi Kapoor and others.
Shakti Samanta was born on 13th January’1926 and he passed away on 9th April’2009.
He founded his banner ‘Shakti Films’ in 1957. He produced and directed many films under this banner.
His movies like ‘Aradhana’, ‘Amar Prem’ and ‘Kati Patang’ among others are milestone movies in Hindi Film History.
Today on the occasion of his birth anniversary here is a song from the ‘1982’ movie ‘Ayyaash’.
“Ayyaash-1982” or ‘Aiyaash’ was produced and directed by Shakti Samanta. This movie had Sanjeev Kumar, Rati Agnihotri, Arun Govil, Madan Puri, Sujit Kumar, Chandrashekhar, T.P. Jain, Meena T., Asit Sen, Tarun Ghosh, Manik Dutt, Subrato Mahapatra, Coca Cola, Amarnath, Birbal, Prabhat, Manoj, Hina Kausar, Helen, Arpana Chowdhury, Padma Khanna, Leena Das, and others in it.
Beena, Pradeep (Kumar?), and Satyajeet had a special appearance in this movie.
Story of this movie was written by Bimal Mitra and dialogues were written by Kamleshwar. Screenplay of this movie was jointly written by Shakti Samanta and Salil Dutta. Editing of this movie was done by Bijoy Chowdhury.
This movie was passed by Censor Board on 21.04.1982.
“Aiyaash” has six songs in it which were written by Anand Bakshi. Music for this movie was composed by Ravindra Jain (and not RDB 🙂 ).
Here is the list of songs in this movie:-
| SNo | Song Title | Singer/s | Posted On |
|---|---|---|---|
| 01 | Beeti huyi raat ki sunaati hai kahaani | Yesudas | 12.01.2015 |
| 02 | Panchhi ud jaaye pinjra rah jaaye | Ravindra Jain | |
| 03 | Suno balam harjaayee | Asha Bhonsle | |
| 04 | Aiyaash hoon main | Bhupinder Singh | Song under discussion in this post |
| 05 | Kaali naagan dasegi naagan ke paas mat jaana | Yesudas, Manna Dey, chorus | |
| 06 | Topiwaale ne karke salaam mujhe | Asha Bhonsle |
We can see from the above table that one song from this movie has been posted on the blog earlier on 12.01.2015.
After a long gap today we are presenting the second song from this movie on the blog today.
Lyrics for the today’s song have been sent by Prakashchandra.
Today’s song is sung by Bhupinder Sing and on screen it is Sanjeev Kumar performing on this song. Also seen in the picturisation of this ‘mujraa’ set-up song are Padma Khanna, Leena D’Souza aka Leena Das, Subroto Mahapatra, Madan Puri, Arun Govil, Chandrashekhar,Tarun Ghosh, Cocacola(aka Kamal raj Bhasin), Maanik Dutt.
Let us enjoy this wonderful song sung by Bhupinder Sing and performed by Sanjeev Kumar so well suited to the ‘title role’ he played in this movie. By the way I like such songs very much (in right earnest and intentions 🙂 ):)
Over to the song now…
Video
Audio
Song-Ayyaash hoon main ayyaash hoon (Ayyaash)(1982) Singer-Bhupinder Singh, Lyrics-Anand Bakshi MD-Ravindra Jain
Lyrics( Provided by Prakashchandra)
ishq detaa hai mere ae
dil ko tadap
husn detaa hai
mere
dil ko sukoon oon
ayyaash hoon
main ayyaash hoon
ayyaash hoon
main ayyaash hoon
ishq detaa hai mere
dil ko tadap
ishq detaa hai mere
dil ko tadap
husn detaa hai
mere dil ko sukoon
ayyaash hoon
main ayyaash hoon
ayyaash hoon
main ayyaash hoon
ek dariya hai shabaab
jismein behti hai ae ae sharaab
uss pe bashar ki ye raat raat
mujre ki ye raat
raat mujre ki ye raat
chaandni ke aks mein
gulbadan hai raqs mein
haath mein aen ho
haath mein saaghar mere
sar mein junoon
ayyaash hoon
main ayyaash hoon
ishq detaa hai mere
dil ko tadap
husn detaa hai
mere dil ko sukoon
ayyaash hoon
main ayyaash hoon
ayyaash hoon
main ayyaash hoon
kaam apne ae kaam se ae
shauq mujh ko jaam se ae
paani aag mein milaa
laa pilaa o saaqiya
laa pilaa o saaqiyaa
hai yahi fitrat meri
hai yahi aadat meri
hai yahi ee
hai yahi mera kirdaar
main kyaa karoon oon
ayyaash hoon
main ayyaash hoon
ishq detaa hai mere
dil ko tadap
ishq detaa hai mere
dil ko tadap
husn detaa hai
mere dil ko sukoon oon
ayyaash hoon
main ayyaash hoon
ayyaash hoon
main ayyaash hoon
Gaadi aati hai koi aayegaa
Posted on: December 4, 2022
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 : |
5252 | Post No. : | 17255 | Movie Count : |
4646 |
Hullo Atuldom
Two Indian actors were born in 1938 one in Calcutta and another in Surat. Both had their first movies around 1960/61. But their first film together happened sometime in 1977/78. “Mukti” (1977) was perhaps the first time they acted together. I am speaking of Shashi Kapoor (18th March 1938) & Sanjeev Kumar (9th July 1938), post which they were seen in 9/10 movies, the last of which released in 1989. I discovered this movie just before I began writing this post. The print that is available online is not very good but it gives a fair idea of the film.
“Oonch Neech Beech” was a movie produced by Jagdish Varma and directed by Wasi Khan (never heard of these names). Music direction was by Laxmikant Pyarelal and Dr. Rahi Masoom Reza, Anjaan & Aziz Qaisi (another new name) were the lyricists. Nitin Mukesh, Kamlesh Awasthi, Suresh Wadkar, Mahendra Kapoor were the playback singers. Raageshwari (according to various online sites, the titles card of the movie was not very helpful) was the only female singer used.
I have already mentioned that Shashi Kapoor & Sanjeev Kumar were in the cast. Additionally there were two power house performers- Shabana Azmi and Smita Patil. Then there were Kulbhushan Kharbanda, Nilu Phule, Sudhir, N.A. Ansari, Krishan Dhawan & Jagdish Raj playing important roles. The look that the cast sported in the movie was not like the way audiences were used to seeing them, specially the male in the cast. Shabana Azmi and Smita Patil carried looks that looked like extension of their realistic (meaning Art) films. The whole ambience of the film gave me a feeling that it was a long-in-the-making film. Readers may recall that Sanjeev Kumar had died in 1985 and Smita Patil in 1986. Possible that this may have been completed much before Sanjeev Kumar and Smita Patil died because the artists seem to have dubbed for themselves.
As for the storyline- Tulsi (Shabana Azmi) is a married woman who is deserted by her husband (Kulbhushan Kharbanda) at a railway station. Motilal (Shashi Kapoor) is the station master there and Hariram (Sanjeev Kumar) the coolie. These two try to help out Tulsi in her predicament, before Sumati (Smita Patil) enters the scene as Motilal’s wife. There is the usual misunderstanding between husband and wife as regards the relation that is between Tulsi and Motilal.
Here I would like to say that I am yet to see the full movie. I stopped seeing when I reached the song that we are having today. It is a multi-version song and I stopped seeing after the first version. Shashi Kapoor starts the song in Kamlesh Awasthi’s voice and Suresh Wadkar is playback for Sanjeev Kumar
Thinking of the cute actor of the Kapoor Khaandan today on his 5th anniversary. Shashi Kapoor passed away this date in 2017 (3 months before turning 80). He son Kunal Kapoor who had acted in afew films is essentially an Ad filmamker and daughter Sanjana who also featured in a some movies of the late 80s is now a theatre personality. Shashi Kapoor’s youngest son Karan Kapoor who began his journey as model for Bombay Dyeing etc is now into photography and settled in the UK.
P.S After writing the above post I finished seeing the movie. I found that the print that is available online has only one version of the song. Also the audio version on youtube is longer.
Audio (Part I)
Video (Part I)
Slow version
Song-Gaadi aati hai koi aayegaa (Oonch Neech Beech)(1989) Singers-Kamlesh Awasthi, Suresh Wadkar/ Suresh Wadkar, Rajeshwari Laxmikant, Lyrics-Rahi Masoom Raza, MD-Laxmikant Pyarelal
Lyrics
gaadi aati hai
koi aayega
gaadi jaati hai
koi jaayega
gaadi aati hai
koi aayega
gaadi jaati hai
koi jaayega
zindagi ka
ye safar hai
koi khoyega
koi paayega
gaadi aati hai
koi aayega
gaadi jaati hai
koi jaayega
zindagi ka
ye safar hai
koi khoyega koi paayega
dil lage ae ae
faayda kya
bhool je ae faayada kya
yaad rakhna dil ki aadat
bhool jaana bhi museebat
ho yaad rakna dil ki aadat
ho bhool jaana bhi museebat
yaad aana hoga jisko
yaad aayega
dil jalayega
gaadi aati hai
koi aayega
gaadi jaati hai
koi jaayega
zindagi ka ye safar hai
koi khoyega
koi paayega
dushmani kya
dosti kya
raat kya hai
raushni kya
aadmi hi aadmi hai
sab yahaan par ajnabi hain
pyaas ke is raaste par
dhoop barsegi
baadal chhayega
gaadi aati hai
koi aayega
gaadi jaati hai
koi jaayega
zindagi ka
ye safar hai
koi khoyega
koi paayega
uska aana
ek safar hai
uska jaana
ik safar hai
door bhi hai
paas bhi hai
kiske bas mein zindagi hai
sabz signal
laal signal
koi royega
koi gaayega
gaadi aati hai
koi aayega
gaadi jaati hai
koi jaayega
zindagi ka
ye safar hai
koi khoyega
koi paayega
gaadi aati hai
koi aayega
gaadi jaati hai
koi jaayega
zindagi ka
ye safar hai
koi khoyega
koi paayega
——————————–
Slow version
———————————-
Suresh Wadkar, Rajeshwari Laxmikant
Rajeshwari Laxmikant + unknown child voice
———————————–
Gaadi aati hai
koi aayegaa
gaadi jaati hai
koi jaayegaa
zindagi ka ye safar hai
koi khoyega
koi paayegaa
Gaadi aati hai
koi aayegaa
gaadi jaati hai
koi jaayegaa
zindagi ka ye safar hai
koi khoyega
koi paayegaa
Gaadi aati hai
koi aayegaa
gaadi jaati hai
koi jaayegaa
zindagi ka ye safar hai
koi khoyega
koi paayegaa
Gaadi aati hai
koi aayegaa
gaadi jaati hai
koi jaayegaa
zindagi ka ye safar hai
koi khoyega
koi paayegaa
Thhodee sharaab pee loon
Posted on: November 6, 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 : |
5224 | Post No. : | 17217 | Movie Count : |
4632 |
Nowadays it is happening with me regularly that whenever I come across a new song (newer to me) I check for its movie name, and when I became aware of the name of the movie I check it on the blog. I am under the impression that this movie surely is on the blog. But, when I found that the movie is not yet available on the blog, I do not believe it and keep checking many times in various lists . The recent such instances is the movie ‘Taxi Chor-1980’ and another one is the today’s movie.
Today’s song is from the movie ‘Daasi-1981’. I do not know if I was confusing the movie ‘Swaami-1977’ with ‘Daasi’, but I was surprised to note that ‘Daasi-1981’ is yet to make its debut on the blog.
I landed on this movie ‘Daasi-1981’ when I get to listen one of its songs, not the today’s one, on Vividh Bharati. I was planning to present that song which I listened to and liked, but I am leaving that one for another write-up soon.
This is because this movie ‘Daasi-1981’ has Sanjeev Kumar in it and today 6th November 2022 is the thirty-seventh ‘Remembrance Anniversary’ of Sanjeev Kumar.
Sanjeev Kumar (Haribhai Jethalal Jariwala) was born on 9th July 1938 and passed away on 6th November 1985 at the age of forty-seven only. One of the finest actors of Hindi Cinema Sanjeev Kumar was the most loved actor by of all our group of friends who grew up in the seventies.
We enjoyed his movies a lot and whenever there was a new Sanjeev Kumar movie released every one of us (friends) were eager to watch it as early as possible and then we used to discuss it a lot in our friends’ group meetings.
But I do not remember to have watched the today’s movie of Sanjeev Kumar which was released in 1981. I was studying in ninth standard then (in 1981-1982). It seems that the movie was also a lesser known or a non-successful movie of its time.
‘Daasi-1981’ was directed by Raj Khosla for ‘Gavrav International Productions, Bombay’.
It was produced by Subhash Verma.
It had Sanjeev Kumar, Rekha, Moushumi Chatterjee, Rakesh Roshan, Vikram, Paintal, Siddharth Kak, Radhika Bartakke, Anita Advani, Sundar, Leela Mishra, Dhoomal, Bela, Meena, Rajesh, Arjan Sahni, Gauri Verma, Pooja Verma and others.
This movie had seven songs written by Anand Bakshi and composed by Ravindra Jain and Rajesh Roshan.
I will be presenting more details of this movie and its songs in my next write-up with a song of this movie.
Today as a tribute to Sanjeev Kumar we will listen to a song from this movie which is sung by Bhupinder Singh and which on screen is performed by Sanjeev Kumar.
Also seen in the picturisation of this song is Rekha, Moushumi Chatterjee, Vikram and others.
In the today’s song the character in the movie ‘under the circumstances’ is trying to justify his drinking … ‘thhodi sharaab pee loon’. So, I don’t think this song should fall under ‘drunkard’ song. But, incidentally recently I listened to ‘Madhushaala’ after a long time and also some ‘drinking motivational songs’ from Hindi movies. Actually, since many years I am longing to do a ‘compilation’ of all ‘these type of songs from Hindi movies’ 🙂
The today’s song reminded me of the following lines from ‘madhushaala’ …
‘dard nashaa hai is madira ka, vigat smritiyaan saathi hain, peeda mein anand jise ho aaye meri madhushaala’ 🙂 (well sometimes it happens … )
Let us listen to today’s song now and watch Sanjeev Kumar performing as a ‘ghazal singer’ …
Video
Audio
Song-Thhodi sharaab pee loon(Daasi)(1981) Singer-Bhupinder Singh, Lyrics-Anand Bakshi, MD-Ravindra Jain
Lyrics
Log kehte hain main
ek fankaar hoon
apni shohrat se par
main sharamsaar hoon
mujhse poochho agar
to main kuchh bhi nahin
girti tooti huyi
ek deewaar hoon
thhodi sharaab pee loon
thhodi sharaab pee loon
ho jaaye kuchh sahaara aa aa
ae doston tumhen kya
ae doston tumhe kya
ye bhi …
nahin gawaaraa
thhodi sharaab pee loon
sur taal bol bhooley
main meet yaad aaye
do ghoont pee liye to
sau geet yaad aaye
sau geet yaad aaye
geeton mein yaad bhar doon
geeton mein yaad bhar doon
dil ka main dard saaraa aa
ae doston tumhe kya
ae doston tumhe kya
ye bhi …
nahin gawaaraa
thhodi sharaab pee loon
(Dialogues not included)
bhoole huye dinon ki
yaadein jagaa rahi hain
shaayad kahin se koi
aawaaz aa rahi hai
aawaaz aa rahi hai
mud kar to dekh loon main
mud kar to dekh loon main
kisne mujhe pukaaraa aa
ae doston tumhe kya aa
ae doston tumhe kya
ye bhi …
nahin gawaaraa
thhodi sharaab pee loon
raste mein thhak gaya hoon
manzil se door hoon main
saahil hai door mujhse
saahil se door hoon main
saahil se door hoon main
toofaan ko banaa loon
toofaan ko banaa loon
main doob kar kinaaraa aa
ae doston tumhen kya aa
ae doston tumhe kya
ye bhi …
nahin gawaaraa
thhodi sharaab pee loon
ho jaaye kuchh sahaara aa
ae doston tumhen kya
ye bhi …
nahin gawaaraa
thhodi sharaab pee loon
- In: Baag/Bagiya song | Devnagri script lyrics by Sudhir | Guest posts | Kalyani Mitra Song | Lyrics by Sudhir | Lyrics contributed by readers | Post by Peevesie's mom | Sahelis teasing a lady | Songs of 1970s (1971 to 1980) | Songs of 1977 | Teased song | Usha Mangeshkar - Kalyani Mitra Duet | Usha Mangeshkar songs | Yearwise breakup of songs
- 4 Comments
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 : |
5203 | Post No. : | 17188 |
Hullo Atuldom
‘Dhoop Chhaaon’ (1977) was a movie produced by KK Jain & SN Jain and directed by Prahlad Sharma for Trishul Arts. It had Hema Malini, Yogita Bali, Shaukat Kaifi Azmi, Sanjeev Kumar, Om Shivpuri, Nasir Hussain, Gajanan Jagirdar, Yunus Parvez, Dinesh Hingoo etc in the cast. Lyricists used were Virendra Mishra, Vitthalbhai Patel, Vishweshwar Sharma and Kaifi Azmi. Shankar-Jaikishan were the music directors (of course it was Shankar alone after Jaikishan’s untimely death in 1971).
From what I have read online, the plot was run-of-the-mill.
Dr. Paras (Sanjeev Kumar) is assigned to go and treat a particular village during some serious epidemic. He does that successfully, additionally he falls in love with the most beautiful village belle – Lajwanti a.k.a Lajjo (Hema Malini). He leaves the village after promising Lajjo of returning and marrying her. But (as in all stories of this type) he gets embroiled in his work on reaching the city as well as in his boss’s daughter Dr. Manju (Yogita Bali). Meantime Lajjo loses her eyesight, and Dr. Paras and Dr. Manju are the doctors who are going to treat her. Isn’t that enough to create confusion in the lives of the protagonists?
There were four songs in this movie of which the most popular song, which was regularly heard on the radio was Joode Mein Gajra Mat Baandho and that is already posted. Another song from this movie Jis Roop Mein Bhi Aao is also on the blog. Here is the next song. It is a typical song where we see some village girls tease a friend of theirs on her falling in love. The group of ‘sahelis’ are led by Madhu Malhotra – she used to be part of the unnamed extras when this movie was made. Usha Mangeshkar and Kalyani Mitra are the playback singers in this song.
Why are we having this song? Because it is the birthday of one of the top actresses of that time. She became popular playing Meera, Seetha, Geetha, Basanti etc. Raj Kapoor was her first hero. Just like with Rekha & Rakhee even Hema Malini (today’s birthday girl) had older male actors as her heroes to begin with. Her first film with Dharmendra came in 1970 -“Tum Haseen Main Jawaan”. Subsequently she co-starred the likes of Amitabh Bachchan, Shatrughan Sinha, Jeetendra, Rakesh Roshan, Vinod Khanna, Rajesh Khanna etc. She was appreciated in a negative character in ‘Laal Patthar’ (1971) and ‘Jamai Raja’ (1990) later in her career. She is still So Very Breathtakingly Gorgeous and so approachable.
Here is wishing her Lots and Lots of good health and happiness.
Also, remembering music director Shankar of the Shankar Jaikishan duo. Yesterday, 15th October was the birth centenary of Shankar, born in Hyderabad on 15th October, 1922.
Song – Ik Shehri Chhora Teer Kaleje Maar Gayo Re (Dhoop Chhaaon) (1977) Singer – Usha Mangeshkar, Kalyani Mitra, Lyrics – Vishveshwar Sharma, MD – Shankar Jaikishan
Hema Malini
Chorus
Lyrics (Provided by Sudhir)
ho ho
oo oo
ho oo
ik shehri chhora teer kaleje maar gayo re
gori gori chhori ne bigad gayo re
ik shehri chhora teer kaleje maar gayo re
gori gori chhori ne bigad gayo re
ik pagla panchho buri najariya daal gayo re
teekha teekha kajra bigaad gayo re
ik pagla panchho buri najariya daal gayo re
teekha teekha kajra bigaad gayo re
ik pagla panchho
le ke khushboo mere tan ki
mehki hawaayen saare chaman ki
khilti kaliyaan meri ada se
chalti hirni saathi ban ki’
ik baanka hansa chadti nadiya paar gayo re
gori gori chhori ne bigad gayo re
na na na na na
ik pagla panchho buri najariya daal gayo re
teekha teekha kajra bigaad gayo re
ik pagla panchho
uthti nigaahen log bharte aahen
kitne tadapte hain thaamne baahen
aage peechhe kitne deewaane
rokte kitne meri raahen
ik chhail chhabeela julmi dorey daal gayo re
haan
gori gori chhori ne bigad gayo re
na na na na na
ik pagla panchho buri najariya daal gayo re
teekha teekha kajra bigaad gayo re
ik pagla panchho
nadiya ka paani jaisi meri jawaani
jharnon ki lehron mein meri ravaani
baadal mein bijli jaise samaai
aisi hai meri prem kahaani
ik julmi daaku nath pe daaka daal gayo re
gori gori chhori ne bigad gayo re
na na na na na
ik pagla panchho buri najariya daal gayo re
teekha teekha kajra bigaad gayo re
ik pagla panchho
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
हो हो
ओ ओ
हो ओ
इक शहरी छोरा तीर कलेजे मार गयो रे
गोरी गोरी छोरी ने बिगाड़ गयो रे
इक शहरी छोरा तीर कलेजे मार गयो रे
गोरी गोरी छोरी ने बिगाड़ गयो रे
इक पगला पंछी बुरी नजरिया डाल गयो रे
तीखा तीखा कजरा बिगाड़ गयो रे
इक पगला पंछी बुरी नजरिया डाल गयो रे
तीखा तीखा कजरा बिगाड़ गयो रे
इक पगला पंछी
ले के खुशबू मेरे तन की
महकी हवाएँ सारे चमन की
खिलती कलियाँ मेरी अदा से
चलती हिरणी साथी बन की
इक बांका हंसा छड़ती नदिया पार गयो रे
गोरी गोरी छोरी ने बिगाड़ गयो रे
ना ना ना ना ना
इक पगला पंछी बुरी नजरिया डाल गयो रे
तीखा तीखा कजरा बिगाड़ गयो रे
इक पगला पंछी
उठती निगाहें लोग भरते हैं आहें
कितने तड़पते हैं थामने बाहें
आगे पीछे कितने दीवाने
रोकते कितने मेरी राहें
इक छैल छबीला जुल्मी डोरे डाल गयो रे
हाँ
गोरी गोरी छोरी ने बिगाड़ गयो रे
ना ना ना ना ना
इक पगला पंछी बुरी नजरिया डाल गयो रे
तीखा तीखा कजरा बिगाड़ गयो रे
इक पगला पंछी
नदिया के पानी जैसी मेरी जवानी
झरनों की लहरों में मेरी रवानी
बादल में बिजली जैसे समाई
ऐसी है मेरी प्रेम कहानी
इक जुल्मी डाकू नथ पे डाका डाल गयो रे
गोरी गोरी छोरी ने बिगाड़ गयो रे
ना ना ना ना ना
इक पगला पंछी बुरी नजरिया डाल गयो रे
तीखा तीखा कजरा बिगाड़ गयो रे
इक पगला पंछी
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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