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

Posts Tagged ‘Shabana Azmi


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.

Blog Day:

4348 Post No. : 15660

Songs Repeated in Hindi Films – 19
– – – – – – – – – – – – – – – – – –

Even this one – you might say. Aah yes, even this one. 🙂

This song from ‘Mahal’ in 1949, probably has the most recognized prelude across the entire history of Hindi Film Song. It has become the signature song of the earlier decades of Hindi cinema. No representative selection of Lata ji’s songs would ever be considered complete without it.

The all too familiar picturization – the girl on the swing then the empty swing, the lonely boat in the river, the stunningly beautiful features of Kamini (Madhubala) – the song and its images are now an unforgettable montage. There is a whole traditional lore that now accompanies this song, which has achieved a cult status over the decades.

‘Kadambari’ from 1975, is delicate love story of young hearts which has some unconventional twists to it. The film is based on the novel ‘Dharti Sagar te Sippiyan’ written by Amrita Pritam. The film is produced under the banner of Madhu Creation Picture Pvt Ltd, Bombay and is directed by HK Verma. The star cast lis listed as Shabana Azmi, Vijay Arora, Arpana Choudhary, Jeet Surendra, Ajeet Singh, Mona, Jugnu, Chand Usmani, and V Gopal etc.

The film has two songs. One is written by Amrita Pritam herself –“Ambar Ki Ek Paak Suraahi, Baadal Ka Ek Jaam Uthaakar”, composed by Ustad Vilayat Khan and sung by Asha Bhosle, and the second one is “Kyon Hum Tum Rahen Akele”, written by Geetanjali Singh and is composed and sung by Ajeet Singh.

As per the official listings, that is all the songs in this film. In fact both the songs are already present on our blog and in that sense the film is already yippeee’d.

But wait, here is the surprise that was mentioned in a message early morning today. The film carries this iconic song – a repeat version, which in of itself, has a significant importance. The song is not reused in its original form. It has been re-recorded in the voice of Kavita Krishnamurty, and reused in this film. The important point here is that this is the debut recording of a film song by Kavita Krishnamurty in Hindi films – her first song. And she gets to re-render this classic masterpiece.

The song appears in the film in two parts. One stanza is performed close to the beginning of the film. The occasion is the birthday party of Chetna (Shabana Azmi). A very close and dear friend, Amit (Vijay Arora) is still awaited to join. In this mood, Chetna sings one stanza of this song – “Deepak Bagair Kaise Parwaane Jal Rahe Hain“.

The second stanza – “Bhatki Huyi Jawaani. . .” appears sometime before the end of the film. This stanza appears in the background. The situation is that a chance meeting happens between Chetna and Sheetal (Aparna Chaudhry) after many years. Both are in passing through difficult time in life, both are single and both are awaiting the men they love to return to them. Sheetal is in love with Sudhir (Jeet Surendra), who is the brother of Chetna.

As Chetna departs from Sheetal’s home, the song starts to play, with the visual cutting back and forth between Sheetal at home, with paintbrush and canvas, and Chetna in a three wheeler heading back to her home. “Maanjhi Bagair Naiya Saahil Ko Dhoondhti Hai” – the two friends are like directionless boats at sea, searching for the shores.

A brief summary of the storyline,

Chetna and Amit are childhood friends, and are in love. Amit has a past that he once reveals to Chetna – that he is an illegitimate child. His mother was a victim of a violent assault, and the man responsible neither did own up, nor accepted the lady. Amit’s mother (Chand Usmani) single handedly brings up Amit and educates him to be a doctor. Amit reveals that he has such a reverence for his mother that he has taken a vow never to marry, not sure how the prospective addition to the family would treat his mother and whether she would understand the painful past in the family.

To Chetna it becomes clear that Amit will not marry. She is heartbroken, but then she promises herself she will never pursue him for matrimony. An interlude happens in between, and Chetna is now carrying Amit’s child. She hides this fact from everyone, including Amit, moves to Bombay from Delhi on the pretext of a job, stays there for a couple of years, has the child and then returns home with a story about an unfortunate family where the parents passed away leaving behind this newborn child. So she has adopted the child.

The parallel love saga of Sheetal and Sudhir is also not working out well, and the two are not seeing each other. Both are in pain, but both are restraining. Chetna meets with Sheetal and talks with her to coax her back and rebuild the relationship with Sudhir.

In the meantime, Chetna and Amit are also back to their normal exchanges. Amit’s mother, who has always liked Chetna, starts to help with taking care of the child. Some observations, some exchanges, something about the child and Amit’s mother comes to realize that the child’s father is Amit, her son. Situations progress to an amiable juncture where this fact gets revealed and is accepted by everybody. Both couples are back together once again.

It is a sensitively handled drama of love. There are no emotional overplays in the film. Every situation is underplayed and intelligently handled. Love stories are not always dependent on villains and stern parents to play out their saga. In some cases, it is the protagonists themselves who provide the interesting and unexpected turns to the story. ‘Kadambari’ is one such story.

The reuse of the two stanzas of this song are also very imaginative and very appropriately linked into the specific situations and story flow.

And yes, by the way, as per the ten year challenge chart published early morning today, ‘Kadambari’ made its debut 10 years ago today. Quite appropriately, we bring on this post, and add the repeat song to the list of songs of this film on our blog. The song has been suggested to me by Dear Avinash ji, who has also sent us both the set of lyrics – in Hindi and English.

A mysterious and dreary night of a palace from 1949 got transformed into a birthday party at a middle class home in Delhi in 1975. Watch, listen and enjoy.

 

Song – Aayega Aayega. . . Aayega Aanewaala  (Kadambari) (1975) Singer – Kavita Krishnamurty, Lyrics – Nakshab Jarchavi, MD – Khemchand Prakash

Lyrics (Provided by Avinash Scrapwala)

Part I

aayegaaaa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

aayegaa aa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

deepak bagair kaise
parwaane jal rahe hain
deepak bagair kaise
parwaane jal rahe hain
koi nahin chalaata
aur teer chal rahe hain
koyi nahin chalaata aa
aur teer chal rahe hain
tadpega koi kab tak
be-aas be-sahaare ae
tadpega koi kab tak
be-aas be-sahaare
ye kah rahe hain mujhse
dil ke mere ishaare
aayegaa aa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

Part II

bhatki hui jawaani
manzil ko dhoondhti hai
bhatki hui jawaani
manzil ko dhoondhti hai
maanjhi bagair naiya
saahil ko dhoondhti hai
maanjhi bagair naiya
saahil ko dhoondhti hai
kya jaane dil ki kashti
kab tak lagey kinaare
kya jaane dil ki kashti
kab tak lagey kinaare
lekin ye keh rahe hain
dil ke mere ishaare
aayegaa aa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

—————————————————–
Hindi script lyrics (Provided by Avinash Scrapwala)
—————————————————–

भाग I

आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ

आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ

दीपक बगैर कैसे
परवाने जल रहे हैं
दीपक बगैर कैसे
परवाने जल रहे हैं
कोई नहीं चलाता
और तीर चल रहे हैं
कोई नहीं चलाता
और तीर चल रहे हैं
तडपेगा कोई कब तक
बे-आस बे-सहारे
तडपेगा कोई कब तक
बे-आस बे-सहारे
ये कह रहे हैं मुझसे
दिल के मेरे इशारे
आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ

भाग II
भटकी हुई जवानी
मंज़िल को ढूंढती है
भटकी हुई जवानी
मंज़िल को ढूंढती है
मांझी बगैर नैया
साहिल को ढूंढती है
मांझी बगैर नैया
साहिल को ढूंढती है
क्या जाने दिल की कश्ती
कब तक लगे किनारे
क्या जाने दिल की कश्ती
कब तक लगे किनारे
लेकिन ये कह रहे हैं
दिल के मेरे इशारे
आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ


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

Blog Day :

4343 Post No. : 15648 Movie Count :

4310

‘Sparsh’ (1980) was Sai Paranjpye’s first feature film. Besides directing it, she wrote the story, screen-play and dialogues.  At the time of making of the film, she faced enormous problems at every stage – from the selection of actors to the submission of the film’s final print to the Central Board of Film Certification and then to the Feature Film Jury of the National Film Awards on due date. And if I go by what the director of the film has revealed through her interviews in newspapers and periodicals and also in her Marathi book, ‘Sai – Maaza Kalapravaas’, the major obstacles came from the producer of the film – Basu Bhattacharya, who was known in Hindi film industry as a stingy producer.

Sometime in the later half the 1970s (the actual year is not known), Sai Paranjpye produced a 10-minute documentary film on the visually impaired for Delhi Doordarshan to be telecast on the World Handicap Day. For this purpose, Sai Paranjpye had to visit a blind school to get a feel of how the blind students study and do extra-curricular activities. She had gone to the blind school with the apprehension in her mind as to whether she will be able to emotionally cope up with when she would witness them in the school.  However, she was pleasantly surprised to observe that the blind students were playing on the ground with a lot of excitement as if they were normal students. She also met the principal of the school who was also blind and had done PhD from the University of Wisconsin (USA). He looked savvy and dynamic – same as how a normal person at his position would look. Then an idea occurred to her that visually impaired persons need to be treated like normal persons more than showering pity and sympathy. This idea was translated in her TV documentary.

Sai Paranjpye, however, felt that 10-minute TV documentary was too short to cover the important aspects of what she had witnessed in the blind school. So, she expanded the subject into a telefilm titled ‘Raina Beeti Jaaye’ with Kulbhushan Kharbanda and Sushma Seth which was telecast on Delhi Doordarshan (year is not known but it has to be sometime in the later 1970s.). The film was well received and there were demands for its re-run on Doordarshan. This encouraged her to make a full-length feature film with a story revolving around a couple – one handicapped with blindness and the other a normal person who is emotionally handicapped. She also covered in the script some day-to-day incidences of the blind students. Thus, the idea of ‘Sparsh’ (1980) was born.

Sai Paranjpye had written the script of ‘Sparsh’ keeping in mind Sanjeev Kumar and Tanuja in the lead roles. However, after agreeing to work in the film, at the last moment, Sanjeev Kumar got himself out of the project when he came to know that the film was to be produced by Basu Bhattacharya. Probably, Sanjeev Kumar had a bad experience in working with Basu Bhattacharya in ‘Anubhav’ (1971) and ‘Girha Pravesh’ (1979). In his place, Naseeruddin Shah was roped in. Since the director was not sure about the working chemistry between Naseeruddin Shah and Tanuja, the latter was replaced by Shabana Azmi who had earlier worked with Naseeruddin Shah. When no one was ready to produce the film, Basu Bhattacharya offered to produce the film under his banner, Aarohi Films. The music direction was entrusted to Kanu Roy, the ‘darbaari’ musician of Basu Bhattacharya as Sai Paranjpye calls him. For lyrics, she selected her favourite, Indu Jain.

The film was to be majorly shot at Blind School Relief Association (BSRA) at Delhi. For the first time, Sai Paranjpye personally realised that Basu Bhattacharya, the producer was a stingy person. He had asked all the actors in the film to come for the shooting in their own dresses. Sai Paranjpye had to arrange for the uniform of the blind students in the film with a donation of cloth from a reputed cloth mill of Mumbai. The producer had arranged the free accommodation to all the actors and the technical staff in the hostel of BSRA which were barely comfortable. There are many more interesting anecdotes while making the film which have been described in Sai Paranjpye’s Marathi book referred to above in her own witty style.

Because of the subject of the film, a couple of philanthropists had given the donations for making the film which was naturally passed on to the producer of the film. In addition, there were many others who have contributed in the making of the film. In the credit title of the film, the list of such persons is bigger  than the list of the main and supporting actors. In short, my guess is that Basu Bhattacharya did not have to shell out much for the financing of the film as a producer.

It is worth noting that when ‘Sparsh’ (1980) was being made, Basu Bhattacharya was already working on his home production, ‘Griha Pravesh’ (1979). Aspersions were cast on the Aarohi Films that a part of the finance meant of ‘Sparsh’ (1980) was diverted for financing ‘Griha Parvesh’ (1979). So, the finance from the producer was not forthcoming on time for ‘Sparsh’ (1980). By the time the  film’s shooting was completed, Sai Paranjpye realised that she was not only the director but also a de facto production controller.

The film’s shooting was completed and was sent for processing at Bombay lab. But the prints had not come back for a long time. In fact, the Lab had not taken the processing of the film since Basu Bhattacharya had not cleared his dues to the lab on his earlier films. Since Sai Paranjpye wanted to send the film for participating in the National Film Awards, there was an urgency to complete the work on time. The producer of the film was not in a hurry to complete the process. Sai Paranjpye met the owner of Bombay lab and requested to take the processing of the film. She also assured him that  she would  arrange to pay for the processing out of her own resources. Thus, the film was processed, dubbed and a print of the film was sent in time as an entry for National Film Awards, 1980. The film won 3 National Film Awards – the best film, Sai Paranjpye for the best screen-play and Naseeruddin Shah for the best actor. The irony was that Basu Bhattacharya as a producer received the best film award for ‘Sparsh’ (1980) in the hands of the President with a cash prize.

It took another 4 years for ‘Sparsh’ (1980) to get a theatrical release in 1984. The premier of the film was held at Eros theatre in Mumbai. In 1985, the film won 3 Filmfare Awards – The best film and two awards for Sai Paranjpye for best director and the best dialogue. On the one side, the film was critically acclaimed not only in India but also in International film festivals held at London, Cairo, Beijing and Sydney. On the other side, barring Naseeruddin Shah who got all his dues from Basu Bhattacharya after putting much pressure on Basu Bhattacharya, no one including Sai Paranjpye, Shabana Azmi, Kanu Roy, Indu Jain, playback singer Sulakshna Pandit etc. got their dues from the producer for the film. For music director, Kanu Roy, it was his last film who died of cancer few months after the completion of the film.

Incidentally, Sai Paranjpye, in her film ‘Katha’ (1982) named Farooq Shaikh as Basu who was doing a negative character in the film. Is it symbolic or just a co-incidence?

The star cast of ‘Sparsh’ (1980) includes Naseeruddin Shah and Shabana Azmi in lead roles supported by Om Puri, Sudha Chopra, Mohan Gokhale, Arun Joglekar etc with scores of blind students.  Ustad Amjad Ali Khan made a guest appearance in the film as a sarod player.  The film was certified by the Censor Board on January 30, 1980. The film is now available for watching on a video sharing platform with English sub-titles and it is in HD. The gist of the story of the film is as under:

The story centres around the two main characters. Anirudh (Naseeruddin Shah) is the principal of a blind school who is handicapped by his blindness. Kavita (Shabana Azmi), a young widow is emotionally handicapped due to death of her husband. She has become reclusive and shuns the society. Her only hobby is the gardening and singing. Her close friend, Manju (Sudha Chopra) tries to bring Kavita out of her shell and suggests to work for the blind school of which her husband is one of the patrons. But she  does not succeed much.

On a party arranged by Manju on the occasion of her marriage anniversary, she invites Kavita who reluctantly agrees to attend. In the party, Kavita sees Anirudh whom she had briefly met near her house. She meets him and gets formally introduced as a principal of a blind school. After getting to know her background, Anirudh requests her to join his blind school as he finds it difficult to get the required sighted personals for the school. After much persuasion by Manju, Kavita joins the blind school.

After joining the blind school, children are happy with Kavita as they get the motherly treatment which was not there earlier. She makes them participate in extra-curricular activities like handicrafts, sports, plays, music etc. Anirudh is happy that the children have been kept busy in constructive activities. Over a period of time, both Anirudh and Kavita come closer and start liking each other’s company. They get engaged.

However, Anirudh starts developing complex of being visually handicapped. He feels that after marriage Kavita would get projected having made a great sacrifice in marrying a handicapped person. He would always feel low in front of Kavita. He may have to depend upon her after the marriage. So, he decides to call-off the engagement. Kavita is shocked by his decision but she diverts her mind by continuing her work among the blind students of the school. She learns Braille, (the language in which blind students read the books) and translate many books in Braille.

One day, Anirudh comes to Kavita’s house and request her to leave the blind school as according to him, it is creating the resentments among the other visually impaired staff and teachers. Actually, this is an excuse. The real reason is that Anirudh finds himself uncomfortable ever since he called off his engagement with Kavita. This time, Kavita tells him that she would not leave the school as it is her need to be with the 200 students of blind school. And if Anirudh forces her to leave, she would revolt against the order. After the few days of this incidence, Kavita, while in the school comes to know that Anirudh has been transferred to another blind school out of Delhi. Kavita tenders her resignation sighting the reason that the school needs Anirudh more than her.

When Manju comes to know about these developments, she goes to meet Anirudh in his office and tells him point blank that he has been seeing the imaginary issues in his marriage out of his complex and ego without giving any consideration the impact of his decision on Kavita’s life who has once again been emotionally shattered with his decision. After Manju’s friendly banter, the realisation comes to Anirudh’s mind. The film ends with a scene showing Anirudh slowly walking towards Kavita’s house.

The highlight of the film is Sai Paranjpye’s crisp screen-play and dialogues which I feel has made the film more interesting to watch with no melodramatic scenes. Naseeruddin Shah’s restrained performance as a blind principal of the school is one of his bests among his acting in the middle-of-the-road films. Before the shooting, he had spent about a fortnight with the blind principal of BSRA, Delhi to observe his mannerism and conduct. One can observe in the film that Sai Paranjpye has not shown him as blind man in a conventional way which we are used to see in Hindi films. He looks like a normal sighted man. It is only his mannerism in talking, walking, picking up of things etc which gives an impression of a blind man.

The title of the film ‘Sparsh’ is very apt which literally mean ‘touch’. But in a broader sense, it means ‘feeling’ which is the essence of the film. I will highly recommend the readers of this Blog to watch the film, preferably in one seating if not already seen.

‘Sparsh’ (1980) has 3 songs, all written by Indu Jain and sung by Sulakshna Pandit. The songs have been set to music by Kanu Roy. I am presenting the first song ‘Geeton Ki Duniya Mein Sargam Hain Hum’ sung by Sulakshna Pandit and chorus. In audio clip, there is an additional stanza. Overall, it is an inspirational song.

With this song, ‘Sparsh’ (1980) make a debut in the Blog.

Notes and Acknowledgements:

  1. Some of the information about the background for making the film ‘Sparsh’ (1980) is based on an interview conducted by Sridhar Rangayan and Saagar Gupta titled ‘Queen of Humour: A Candid Interview with Award-Winning Director and Writer Sai Paranjpye,’ South Asianist, Vol 2, No.3 (2010).
  2. The anecdotes and trivia included in the article are based on the Marathi book, ‘Sai – Maaza Kalapravaas’ (2016) written by Sai Paranjpye.

Video

Audio

Song – Geeton Ki Duniya Mein Sargam Hain Hum (Sparsh) (1980) Singer – Sulakshana Pandit, Lyrics – Indu Jain, MD – Kanu Roy
Chorus

Lyrics

geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
gaao bachcho
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
phir se gaao
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
 
chalte hain kadmon mein manzil bhare
mutthi mein khushiyon ki kunji dhare
chalte hain kadmon mein manzil bhare
muthi mein khushiyon ki kunji dhare
toofaan mein ghir jaayen kashti hain hum
taazi hawaaon ke jhonkhe hain hum
shabaash
geeton ki duniya mein sargam hain hum

phoolon mein khushboo ke parcham hain hum
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
 
nannhe dilon mein ummeeden hazaar
beejon mein jaise chhupi ho bahaar
nannhe dilon mein ummeeden hazaar
beejon mein jaise chhupi ho bahaar
kismat ki bagiya ke maali hain hum
kal ke karishme dikhaayenge hum
aa ha
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum

chhote umar mein  akal se badhe
himmat ki mitti mein khele badhe
bolo
chhote umar mein akal se bade
himmat ki mitti mein khele badhe
taaron ko choo aayen itna hai dam
sir chadh jo bole ko jadoo hain hum
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
phir se gaao
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum

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

गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
गाओ बच्चो
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
फिर से गाओ
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं ह

चलते हैं कदमों में मंज़िल भरे
मुट्ठी में खुशियों की पूंजी धरे
चलते हैं कदमों में मंज़िल भरे
मुट्ठी में खुशियों की पूंजी धरे
तूफाँ में घिर जाएँ कश्ती हैं हम
ताज़ी हवाओं के झोंके हैं हम
शाबाश
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम

नन्हें दिलों में उम्मीदें हज़ार
बीजों में जैसे छुपी हो बहार
नन्हें दिलों में उम्मीदें हज़ार
बीजों में जैसे छुपी हो बहार
किस्मत की बगिया के माली हैं हम
कल के करिश्मे दिखाएंगे हम
आ हा
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम

छोटे उमर में अकल से बड़े
हिम्मत की मिट्टी में खेले बढ़े
बोलो
छोटे उमर में अकल से बड़े
हिम्मत की मिट्टी में खेले बढ़े
तारों को छू आयें इतना है दम
सर चढ़ जो बोले वो जादू हैं हम
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
फिर से गाओ
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम


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

Blog Day :

4340 Post No. : 15641

Sai Paranjpye has so far directed 8 feature films in Hindi. She has written story and script for all these films. Each of these films has some interesting background as to what prompted her to make those films. In this article, I am covering her film ‘Saaz’ (1997) which was produced by Amit Khanna under the banner ‘Pulse Films’ of the Plus Channel of which he was the managing director during 1989-2000.

Sometime in 1995-96, Plus Channel decided to produce some ‘middle-of-the-road’ films. Directors like Shyam Bengal, Basu Chatterjee, Sudhir Mishra, Aruna Raje, Gautam Ghosh and Sai Paranjpye were enlisted to direct  such genre of films which resulted in the release of films, ‘Sardari Begum’ (1996), ‘Gudgudee’ (1997), ‘Is Raat Ki Subah Nahi’ (1996), ‘Bhairavi’ (1996), ‘Gudia’ (1997) and ‘Saaz’ (1997), respectively.

Shabana Azmi had worked with Sai Paranjpye in ‘Sparsh’ (1980) and ‘Disha’ (1990). As per Sai Paranjpye’s Marathi book, ‘Sai – Maaza Kalapravaas’ (2016), one day Shabana came to her with a proposal on behalf of Plus Channel to direct a film with a woman-oriented story in which she would like to work. Sai Paranjpye accepted the proposal. The subject of sibling rivalry in the professional fields had attracted Sai Paranjpye but she had not thought of making a film on the subject. With this proposal, she thought as to why not make a film on sibling rivalry.

We are aware that there have been many instances of sibling rivalries – be in epics, history, business, media, industrial houses etc in India where there was thin line of difference between the professional and personal rivalries. According to Sai Paranjapye, sibling rivalry of Lata Mangeshkar and Asha Bhosle is unique in the sense that their personal relationship by and large has remained intact over the years in the midst of their professional rivalry. And Sai Paranjpye wanted to bring this uniqueness in the film.

When Sai Paranjpye worked on the script of the film, she realised that the film was leaning towards making of a biopic on Asha Bhosle. She felt uncomfortable to make a film on such a script involving the personal lives of the siblings. Furthermore, she has no acquaintance with both the sisters.  The idea of making a film depicting Asha Bhosle was, therefore, dropped. However, in the revised script, the main theme of two playback singing sisters were kept in mind with some twists in the stories just to segregate her story from the real life story of Lata and Asha Bhosle. However, a couple of events which actually happened during the lives of  Asha Bhosle and Lata Mangeshkar were incorporated as they were in the public domain, written by those who had witness those events.

The star cast of ‘Saaz’ (1997) included Shabana Azmi, Aruna Irani, Parikshit Sahani, Raghuveer Yadav, Ayesha Dharker, Zakir Hussain, Amar Talwar, Brijbhushan Sahani, Bhupen Hazarika etc. The story, script and dialogues were written by Sai Paranjpye who also directed the film. The film was mostly shot around Mumbai. Some last part of the film were shot in Seychelles.

The film was certified by the Censor Board on 31-12-1996. But film failed to get release in theaters. The reason is stated to be the ban put by the Theater Owners Association on the exhibition of films produced by Plus Films due to the non-payment of arrears of rent from Plus Channel to some theater owners. I am not aware whether the film was released in the theater after this ban. Probably, the film got released later on TV.  It was only after reading some parts of the script of the film published verbatim in Sai Paranjpye’s Marathi book referred to above that made me to watch the film. I am pleasantly surprised to note that she has handled the theme of sibling rivalry of playback singing sisters very delicately and objectively. There are some poignant moments between the two sisters which are very heart-touching.

The film’s story has been told in a flash-back mode during Bansi’s (Shabana Azmi)’s sessions with a psychiatrist played by Parikshit Sahani. She needed this treatment as she has lost the will to sing after the death of Hemang Desai (Zakir Hussain) with whom she was in love and would have married him. In all her sessions, Bansi reveals events from her childhood to playback singing career as to how she was always played second fiddle to her elder sister. How she broke the relationship with her didi for 10 years due to snatching of her chance to sing on India’s Independence Day at Delhi. But after the sudden death of her elder sister, Bansi feels guilty of depriving  her elder sister of spending time with her daughter.  Towards the end of the film, Bansi gets a good news that her daughter has won the award as a promising playback singer. This pleasant news makes Bansi to sing live in front of the audience in Seychelles. The tape of her singing is sent to psychiatrist who comes at the airport to receive her and announces that she does not need any more treatment. So his relationship with Bansi as a doctor and a patient is over. Instead, he wants now to be her friend. The films end with both them walking together out of the airport.

In my view, this film is not one of the best among the films Sai Paranjpye has directed. Probably, in trying to make the film different from that of the sibling rivalry of Lata and Asha Bhosle, too many characters were introduced. As a result, about last one hour of film does appear some disconnect from the first part of the film which has some brilliant stamp of Sai Paranjpye. However, I feel that she has succeeded in creating sympathy of the audience for the younger sister without their malice towards the elder one.

In keeping with the subject of the story, ‘Saaz’ (1997) has as many as 11 songs (including a multiple version song). Songs are written by Javed Akhtar which have been set to music by 4 music directors – Ustad Zakir Hussain, Bhupen Hazarika, Raj Kamal and Yashwant Deo. The reason given by Sai Paranjpye for multiple music directors is that since sisters are playback singers working with different music directors, the songs in the film should reflect the different style of music direction. Two of the music directors, Ustad Zakir Hussain and Bhupen Hazarika also acted as music directors in the film.

Out of the 11 songs of the film, 3 songs have been covered in the Blog, all by Peevesie’s Mom. I am presenting the 4th song from the film which is a multiple version song. The song is “Baadal Ghumad Badh Aaye”. The male version of the song is sung by Suresh Wadkar and Kavita Krishnamurthy sings the female version. Both the versions of the song are set to music by Yashwant Deo in Raag Megh-Malhar. In the credit titles of the film, only Javed Akhtar’s name appears as a lyricist. But in reality, both the versions of the song have been written by Sai Paranjpye. There is an anecdote as to why Sai Paranjpye had to write the lyrics of the song as revealed by her in her Marathi book referred to above.

Javed Akhtar has written all the songs except the one under discussion which was last to be written. Despite repeated reminder, Javed Akhtar could not write the song. Yashwant Deo who was to set the song to music had booked the recording room and taken the dates of Suresh Wadkar and Kavita Krishnamurthy. All the musicians were also booked for the date of recording. Now only two days had left for the recording of the song but both the version of song’s lyrics was not yet ready. Just one day before the song recording date, it came to light that Javed Akhtar has gone to Khandala with a film producer. The cancellation of recording of the song would have entailed a huge loss and also the shooting schedules would have been affected entailing further loss.

Yashwant Deo mentioned to Sai Paranjpye that even if he gets the song in the morning of the song recording date, he can manage somehow to complete the rehearsals and record the song at the appointed time at noon. Sai Paranjpye came home at night and completed the lyrics of two versions of the song, foregoing her sleep. In the morning, she handed over the lyrics to Yashwant Deo and recording of the songs took place as schedule.

On return from Khandala on the next day, Javed Akhtar was shocked to learn that the songs have already been recorded. He got annoyed on Sai Paranjpye.  After 3-4 days, an executive from Plus Films came to her asking for her lyrics which Javed Akhtar wanted to read. He took lyrics to Javed Akhtar. There was no further development which meant that Javed Akhtar had no issue with the lyrics. On this issue, Shabana Azmi remained neutral.

Javed Akhtar won the National Film Award for the best lyrics in ‘Saaz’ (1997).

It is not an easy task for a novice to write lyrics based on Hindustani classical raags. The choice of words shows that Sai Paranjpye has hold over Sanskritised Hindi. For the first time, I have heard the word kanakalankrit bhor (dawn of golden colour). While the male version of the song is reflective of the onset of the rains, the female version of the song signals the end of the rains and the sun is shining giving a dawn of hope. This is symbolic for the resurgence of playback singing career of Bansi (Shabana Azmi) after she lost her will to sing.

Suresh Wadkar version of the song is pictuirsed on Raghuveer Yadhav who has played the role of a father of singing sisters, Mansi and Bansi. The picturization of the song is based on a true story in the life of Dinanath Mangeshkar who had gone to the house of Vishram Bedekar (Marathi and Hindi film director) in the midnight, drenched under heavy rains to borrow money to quench his thirst for alcohol. Bedekar taunted him by saying that it did not behove well for such a great artist to beg for money. Dinanath Mangeshkar retorted by impromptu singing a bandish in Raag Megh-Malhar and after completing the bandish, he took money from Bedekar as a present for his rendering.

Enjoy both the version of the songs in the backdrop of the approaching monsoon season.

Video (Suresh Wadkar Version)

Audio (Suresh Wadkar Version)

Video (Kavita Krishnamurthy Version)

Audio (Kavita Krishnamurthy Version)

Song – Baa..dal Ghumadh Badh Aaye (Saaz) (1997) Singer – Suresh Wadkar, Kavita Krishnamurthy, Lyrics – Sai Paranjpye, MD – Yashwant Deo

Lyrics

Suresh Wadkar Version

baa…dal ghumad baddh aaye

baa…dal ghumad baddh aaye..e
kaali ghata ghanghor gagan mein
kaali ghata ghanghor
baa…dal ghumad baddh aaye
baa…dal ghumad baddh aaye
kaali ghata ghanghor gagan mein
kaali ghata ghanghor gagan mein
andhiyaara chahun o..or
andhiyaara chahun o..or
ghan barsat utpaat pralay kaa
pyaasa kyon manmo..or
pyaasa kyon manmo..o..or
baa…dal ghumad baddh aaye
baa…dal ghumad baddh aaye..e
 
kaali ghata ghanghor gagan mein
kaali ghata ghanghor
ghanghor
ghanghor
ghanghor
kaali ghata ghanghor gagan mein
andhiyaara chahun o..or
ghan barsat utpaat pralay kaa
ghan barsat utpaa..aa..aa..t
aa aaa aa aaa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa 
ghan barsat utpaat pralay kaa
pyaasa kyon manmo..or
pyaasa kyon manmo..or
baa…dal ghumad baddh aaye
baa…dal ghumad baddh
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
baa..dal ghumad
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
baa..dal ghumad
baa..dal ghumad
baa…dal ghumad baddh aa..aa..aa..ye

Kavita Krishnamurthy Version

baa..dal ghumad baddh aaye
baa..dal ghumad baddh aaye
kaali ghata ghanghor gagan mein
kaali ghata ghanghor gagan mein
andhiyaara chahun o..or
ghan barsat utpaat pralay ka
pyaasa kyon manmo..or
pyaasa kyon manmo..or
baadal baras ab maun bhaye
baadal baras ab maun bhaye
 
ravi ujjwal prajawalit gagan mein
prajawalit gagan mein
gagan mein
gagan mein
gagan mein
ravi ujjwal prajawalit gagan mein
kanakaalankrut bho..or
jai mangal jai ghosh gagan kaa
jai ghosh gagan kaa..aa..aa
aaaaaaaaaaaaaa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
jai mangal jai ghosh gagan kaa
shubh utsav chahun o..or
shubh utsav chahun o..or
baa..dal baras ab maun bhaye
baa..dal baras
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
baadal baras ab maun bhaye..ae
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
baadal baras
baadal baras
baadal baras ab maun bha..ye..ye


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4151 Post No. : 15317

“Parvarish”(1977) was directed by Manmohan Desai for A G Films, Bombay. This movie had Shammi Kpoor, Amitabh Bachchan, Vinod Khanna, Nitu Singh, Shabana Azmi, Kadar Khan, Amjad Khan, Dev Kumar, Indrani Mukherji, Hina Kausar, Master Ratan, Master Tito, Chand Usmani, Sheikh, Bhushan Tiwari, Viju Khote, Tom Alter, Yusuf, Meena, Baby Shalu, Moolchand etc in it.

This movie had six songs in it. Four of these songs have been covered in the past.

Here is the fifth song from the movie to appear in the blog. This song is sung by Lata and Usha Mangeshkar. Majrooh Sultanpuri is the lyricist. Music is composed by Laxmikant Pyarelal.

This song is picturised on Shabana Azmi and Nitu Singh who play pickpockets on the streets of Bombay.While Nitu Singh was a natural in such a role, Shabana Azmi was a total misfit in this role. So movie makers rightly avoided goving her similar non serious roles in future.


Song-Ye oonche mahal suhaane sab janta hai hai(Parvarish)(1977) Singers-Lata, Usha Mangeshkar, Lyrics-Majrooh Sultanpuri, MD-Laxmikant Pyarelal
Chorus

Lyrics

ho ho
lalalalalala
lalalalaala
lalaalala
lalalala

ye oonche mahal suhaane
sab janta ka hai
ye oonche mahal suhaane
sab janta ka hai
ye rupaiye paise aane
sab janta ka hai
ye ghadi ye batuye chhupe khazaane
sab janta ka hai
ye pehle thha tumhaara lekin
ab janta ka hai
ye pehle thha tumhaara lekin
ab janta ka hai
ye oonche mahal suhaane
sab janta ka hai
ye rupaiye paise aane
sab janta ka hai
ye ghadi ye batuye chhupe khazaane
sab janta ka hai
to janta ko hi de do jab ye
haq janta ka hai
to janta ko hi de do jab ye
haq janta ka hai
ye oonche mahal suhaane
sab janta ka hai

shabbu kaisi ye aaj kal ki reet hai
kaale bazaar waali
neetu andar bhara godaam hai magar
baahar dukaan khali
shabbu kaisi ye aaj kal ki reet hai
kaale bazar wali
neetu andar bhara godam hai magar
baahar dukaan khali
bachchaa jo line mein lag raha
vo budhha ho ke palat raha
genhu chawal
hera pheri ka kaam dikhaaye
sab janta ka hai
to janta ko hi de do jab ye
haq janta ka hai
to janta ko hi de do jab ye
haq janta ka hai

ye oonche mahal suhaane
sab janta ka hai

bhagwan hum agar isi tarah apni muraad paayen
halve mithhaayi ka sada tumhen parshaad hum chadhaayen
bhagwan hum agar isi tarah apni muraad paayen
halve mithaayi ka sada tumhen parshaad hum chadhhaaye
par kab tak yoon hi khade rahen
hum kya baahar hi ade rahen
hey pandit ji
tum gher ke jisko baithhe ho
vo rab janta ka hai
to janta ko hi de do jab ye
haq janta ka hai
to janta ko hi de do jab ye
haq janta ka hai

ye oonche mahal suhaane
sab janta ka hai

dekho re is tarah saji bani jaati hai kiski doli
kis aan ban se ye ja rahi baaraatiyon ki toli
dekho re is tarah saji bani jaati hai kiski doli
kis aan ban se ye ja rahi baaraatiyon ki toli
armaan hai main sajoon kabhi pyaari si dulhan banu kabhi
sun o pagli mat bhool nibhaana humko bhi kartab janta ka hai
phir shadi bhi kar lenge jab ye
haq janta ka hai
phir shadi bhi kar lenge jab ye
haq janta ka hai
ye oonche mahal suhaane
sab janta ka hai
ye rupaiye paise aane
sab janta ka hai
ye ghadi ye batuye chhupe khaazane
sab janta ka hai
to janta ko hi de do jab ye
haq janta ka hai
to janta ko hi de do jab ye
haq janta ka hai


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.

Blog Day :

4146 Post No. : 15312 Movie Count :

4218

Hullo Atuldom

24th November 2019 is the 75th birthday of Amol Palekar – the actor who played a common man or the boy next door character so convincingly that it jolted the audience when they saw him play a cold-blooded murderer in Vinod Chopra’s “Khamosh” (1985). He played a similar grey-shaded character in “Teesra Kaun” (1994) and “Aanchal” (1980). So, it is not as if he always stuttered in front of a strict boss as in “Golmaal” (1979), “Damaad” (1978), a person who is hyper worried that he will die of some grave illness, leaving his beautiful young wife grieving – “Meri Biwi Ki Shaadi” (1979) etc.

In between he also attempted playing a different kind of character in “Pyaasi Aankhen” (1983). At least that is what I have deduced from the video that is accompanying today’s song. To be truthful, I had never heard of this movie or its songs till I thought of writing this post. I have heard two songs from the movie and they seem to portray a different kind of Amol Palekar. The movie feels like it will be a heavy, 4-5 handkerchief movie, as tear-jerker movies used to be called back then. This movie was directed by Ram Kelkar who was essentially a screenplay/ dialogue/ script writer for many movies like “Piya Ka Ghar”, “aasha”, “Aap Ki Kasam” and many more successful films. On further googling information on Ram Kelkar we find that he has directed only one other movie- “Duniyadari” in 1977.

“Pyaasi Aankhen” had star cast of Waheeda Rehman- Shabana Azmi- Asha Sachdev- Amol Palekar- Om Prakash, with music by Usha Khanna. Indeevar and Rana Saheri (never heard this name) wrote the songs which were sung by Asha Bhonsle Usha Khanna and Kishore Kumar. This is all the information I could gather on the internet;

I would love to know what the story is and why there is a romantic number between Asha Sachdev and Amol Palekar. Also, I would love to know if Waheeda Rehman played his all sacrificing mother, who is an eye-sore for the haughty daughter-in-law played by Asha Sachdev (my assumption) as I found a song that preached the story of a son who plucks out the mother’s heart because the d-i-l asked for it.

I also found a dance number where Amol Palekar and Shabana have actually done a Bollywood-style folk number. We have always seen this pair in semi-serious avatar as in “Apne Paraye”, Kumar Sahani’s “Tarang” (an art film), and a few more (cannot recollect off-hand).

Today we have a lively song sung by Kishore Kumar and Usha Khanna. After seeing the video, I must admit Amol Palekar is a person with a sense of rhythm and moves well to the beats, he didn’t make a spectacle of himself. He is joined by Om Prakash, Sundar and Shabana and we see Waheeda Rehman being dragged into the dance towards the end. Asha Sachdev is seen enjoying herself. This song from a lesser known movie is a discovery for me.


Song-Kya chamatkaar hai tere ik baar ke deedaar mein (Pyaasi Aankhen)(1983) Singers-Kishore Kumar, Usha Khanna. Lyrics-Indeewar, MD-Usha Khanna
Female chorus
Male chorus
All chorus

Lyrics

hey ae ae
ho o o o
h ooooooo ho ho
oooooo

he ae ae ae ae
ho ho oooooo

kya chamatkaar hai
tere ik baar ke deedaar mein
kya chamatkaar hai
tere ik baar ke deedaar mein
jogi jog chhad ke
aa gaye hain sansaar mein
jogi jog chhad ke
aa gaye hain sansaar mein
aaa aaaa aaaa aaaa
aaaaa aaaaa aaaaaa
aaaaa aaaaaaa

aankh banke tujh ko hi takta rahoon
galiyon mein teri bhatakta rahoon
aankh banke tujh ko hi takta rahoon
galiyon mein teri bhatakta rahoon
tere liye kaanton pe chalna toh kya
sooli pe hanske latakta rahoon
jogi jog chhad ke
aa gaye hain sansaar mein
jogi jog chhad ke
aa gaye hain sansaar mein
ho ho ho ho
oo

aaaaaaa aaaaa
ho ho ho ho ho ho
aaaaaaa aaaaa

maangoon mein rab se wafaayein teri
yun hi sunta rahoon bas sadaayein teri
maangoon mein rab se wafaayein teri
yun hi sunta rahoon bas sadaayein teri
jo lakha kitaabaan sikha na sakin
sikha gayin woh mujhko adayien teri
jogi jog chhad ke
aa gaye hain sansaar mein
jogi jog chhad ke
aa gaye hain sansaar mein

jogi
jogi
jog chhad ke
jog chhad ke
aa aye hain sansaar mein
jogi
jogi
jog chhad ke
jog chhadke
aa aye hain sansaar mein

pyaar ke ae ae
naam par
maine pooja tujhe
har moorat mein ae ae
maine toh dekha tujhe

pyaar ke naam par maine pooja tujhe
har moorat mein maine toh dekha tujhe
teri khushi par vaaroon apni khushi
jo pyaara tujhe woh hai pyaara mujhe
jogi jog chhad ke

he aa gaye hain sansaar mein
jogi jog chhad ke
aa gaye hain sansaar mein
kya chamatkaar hai
tere ik baar ke deedaar mein
jogi jog chhad ke
aa gaye hain sansaar mein
jogi jog chhad ke
aa gaye hain sansaar mein

ye baat hai
o zara jam ke
o zara khul ke
he turr
haan
hoye hoye hoye hoye
hey hey
ye baat hai
zara imaandaari se
arre baja baja
aha
ha
ha ha
ha ha


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.

Blog Day :

4080 Post No. : 15219 Movie Count :

4183

Hullo Atuldom

“Khoon Ki Pukar” released in 1978 – censor certificate is dated 29-5-1978. It was directed by Ramesh Ahuja and produced by Tahir Husain’s T. V. Films Pvt. Ltd. It had a cast headed by Vinod Khanna and Shabana Azmi with Aruna Irani, Amjad Khan, Roopesh Kumar, Krishnakant and Pran as main supporting characters. The movie opens with the lines in “buland awaaz” (have always wondered whose voice it was)

khudi ko kar buland itna, ke har takdeer se pehle,
khuda bande se khud pooche, bata teri raza kya hai

which translates as

Make yourself so worthy that before deciding your fate God shall ask you what you wish for!

This was standard for all movies made by Tahir Husain. The movie’s songs were written by Hasrat Jaipuri (2) and Gauhar Kanpuri (5). Bappi Lahiri was the music director. The seven songs were rendered by Lata Mangeshkar (3 solos and 2 duets), Kishore Kumar (1 solo and 1 duet), Anuradha Paudwal (1), and Mohd. Rafi (only a duet).

I have been seeing this movie as and when time has been permitting over the last couple of days and this is what I have seen –

” After the murder of his wife, and his son’s kidnapping, Dr. Vidya Bhushan (Pran) decides to devote the rest of his life as a Poojary, living on the premises of a princely-donated temple, hoping and praying that one day he will be reunited with his estranged son. One day a wounded bandit named Sher Singh (Vinod Khanna) comes to the temple and Pran treats him back to health. He not only shields the man from the police, but also lies to the townspeople that the man’s name is Amrit, When Amrit recovers, he is grateful to Vidya for looking after him, and he falls in love with a town belle by the name of Shalu (Shabana Azmi). What Vidya does not know is that Amrit is really interested in the gold and jewellery hidden in a secret underground chamber below the temple; and what Amrit does not know is Shalu is seeking vengeance against Sher Singh for killing her father.”

From the above it is evident that the movie was a typical Bollywood-masala-movie relying heavily on the tried and tested ‘lost and found’ theme and ‘dacoits and revenge’ for additional leverage with the audience. Vinod Khanna and Shabana Azmi were a popular on-screen couple from the 1976 released “Shaque” to “Lahu Ke do Rang” which came in 1979 after which VK suddenly left everything and went off to Rajneesh Ashram. They did about 7 films as romantic pair and this must be one of the only movies were VK played a nasty dacoit after he turned to playing the main hero roles. Of course, this dacoit is the hero of the movie or as the stars of Bollywood like to say – character with grey-shades which gets reformed eventually, 😊

Today’s song is penned by Hasrat Jaipuri whose 20th anniversary was on 17th of September. On screen it is performed by Shabana and VK for a song sung by Lata and Kishore.
This song is also meant to wish Shabana Azmi on her 69th birthday. We all know that she was born on 18 September to poet Kaifi Azmi and his actress wife Shaukat Azmi. She is supremely talented and has won 5 National Awards for Best Actress over the years from her debut film “Ankur” in 1975 to 1999 for “Godmother”; she is also a Padma Award winner along with being a social and Women’s Rights activist.

It was not by design that I chose this song today. My aim was just to see if Shabana had worked in any movie produced by Tahir Husain and I landed on this. Why did I look for a Tahir Husain movie? Because I wanted to remember him on his 81st birth anniversary which is on 19th September. Tahir Husain – who was brother of Nasir Hussain and father of actors Aamir Khan and Faizal Khan. Tahir Husain also produced a few movies beginning with the 1971 “Caravan” till “Madhosh” in 1994. We have seen him in front of the camera in a few films directed by his brother Nasir Husain.

So, here is today’s song which starts with a couplet

ये इश्क़ नहीं आसान बस इतना समझ लीजिये
एक आग का दरिया है और डूब के जाना है

I have heard this couplet a number of times in my life and I decided to google to find its poet/ shaayar. First google came up with Jigar Moradabadi’s name, then I also found these lines attributed to Mirza Ghalib. Now I am confused. I hope there is someone in the followers of this blog who will tell who wrote this first. But Hasrat Jaipuri has begun the song with the couplet and let us enjoy it.

P.S.: I love the way Vinod Khanna walks dressed as the groom in the middle of the song. 🙂


Song-Ye ishq nahin aaasaan itna hi samajh leeje (Khoon Ki Pukaar)(1978) Singers-Lata, Kishore Kumar, Lyrics-Hasrat Jaipuri, MD-Bappi Lahiri

Lyrics

yeh ishq nahin aasaan
itna hi samajh leeje ae
ek aag ka dariya hai
aur doob ke jaana hai
samjhe buddhu
aah!nahin
nahin samjha

pyaar taqdeer jagmagaata hai
rang jeewan mein jamaata hai
pyar bandook toh nahin nadaan
sabko insaan yeh banaata hai
abhi bhi nahin samjhein
ab bhi bhi nahi samjha

mohabbat karke dekho
kisi pe marke dekho
mohabbat aag bhar de
ke patthar mom kar de
ooo
jab tak dil par chot na khaaye
pyaar ki manzil koi na paaye
tum dikhlaa do pyaar ki manzil
apni samajh mein kuchh nahin aaye

saathi mere ban jaana
samjhoge afsaana
saathi mere ban jaana
samjhoge afsaana
o jaane jaana pyaar ko na jaana
o jaane jaana pyaar ko na jaana
humse seekho pyaar ka jaadu chalaana aa
pehle aankh milaana,
phir gale se lagaana
samjhe
samajh gaya

jab se tum aayin zindgaani mein
lag gayi aag jaise paani mein
ek hulchal si ho gayi paida ha aa
meri khaamosh naujawaani mein

abhi toh ibtida hai
abhi dekha hi kya hai
mohabbat zindagi hai
mohabbat hi khuda hai
hoooo
lagti ho tum to pyaar ki devi
manmandir mein aan baso ji

aayi samajh mein pyar ki geeta
pyaar kiya bhagwan ko jeeta
main hoon tera deewaana
main hoon tera parwaana
main hoon tera deewaana,
main hoon tera parwaana
o jaane jaana pyaar maine jaana
o jaane jaana pyaar maine jaana

humse sikho pyar ka, jaadu chalaana aa
pehle aankh milaana
phir gale se lagaana
phir gale se lagaana

n n n n n n n n na


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.

Blog Day :

3922 Post No. : 14988 Movie Count :

4100

= = = = = = = = = = = = = = = = = = = = = = = =
Atul Song-A-Day 15K Song Milestone Celebrations – 1
– – – – – – – – – – – – – – – – – – – – – – – – – – – –

Hullo to Atuldom.

Let me wish all a very Happy New Year.

No, my post is not late by three and half months, it is just that India is a country which follows a calendar called Shak Samvat which the Hindus follow and Hijri which the Muslims follow. The new year by the Hijri calendar starts sometime in September but as far as the Hindu Calendar is concerned every region seems to have a different time of the year when the new year starts. And each region has a name for its New Year’s Day – Gudi Padva (Samsaar Padvo in Konkani), Ugadi, Poila Baishak (in East Indian States), Bighu (Bikhu in Uttarakhand), Bishuva Sankranti, Cheti Chand, Vishu or Chitra Vishu (in Kerala and Tamil Nadu), I am sure I am missing a few names in this list – what do I do, we have a vast country. But the common thread here is most of the above are in March – April of the Gregorian calendar (only in some parts new Year is during Diwali and southern part of Kerala has its new year at Onam). In Punjab it is Baishakhi, celebrated on the Mesha Sankraanti which occurs today for this year (generally it is 13th April). So now that explains why I wished Happy New Year.

14th April also happens to be the birth anniversary of the architect of the constitution of India, first law and justice minister and one of India’s founding fathers – Bharat Ratna Bhimrao Ramji Ambedkar or Babasaheb Ambedkar as he is popularly known the world over.

He was a jurist, economist, politician and social reformer who inspired the Dalit Buddhist movement and campaigned against social discrimination towards the untouchables (Dalits), while also supporting the rights of women and labour. My tributes to him on his 128th birthday without spelling his biography here.

There is another event which takes up my day on 14th April every year. In addition to it being our New Year (what we call Vishu) it is the birthdate of a very special person. There is a departure from the usual this year in that the New Year is on the 15th but birthdates don’t change, do they?

So, 14th April is the birthdate of part-time Atulite, full-time Satulite. He is at that year of life when people hang up their boots (he is not hanging them yet) and try to find time for other pleasures and hobbies that took a back seat when they were working hard to make ends meet. This Satulite calls himself Peevesie’s Dad. He takes pleasure in the achievements of his family – his son, daughter, brothers-sisters, brothers & sisters -in-law; is a big bhakt of his parents and parents-in-law; and is generous in encouraging his wife and kids towards whatever they are good at and forever supportive.

Infact he tried his level best to teach me to ride a two-wheeler and didn’t actually give up on me, but I must say I was a bad student who took a whole decade to master riding a two-wheeler. And was rewarded with a two-wheeler to ease my work load as soon as I mastered it. 🙂

As a teenager and right upto the end of my student days I was a staunch hater of any kind of automation and computers in particular. I had a feeling that each computer would eat up the job opportunity of two or three deserving humans (people called me crazy, maybe I was). But it does seem to have replaced a lot of things in people’s lives. Now, today’s birthday boy tried to change my mindset vis-à-vis computers and persuaded me to enroll myself in one of the many match-box size training institutes that tutored commoners about Word, Excel, PowerPoint etc, in addition to teaching a crash course in Corel or PageMaker. He thought it will be a useful skill, I must admit he was not wrong. Then he initiated me into the World-Wide Web and emails, and I am 100% sure he is ruing the day I agreed to learn all that he tried to get me to learn. He finds me at the desktop most of the time these days, and zooming in and around Bangalore (never unnecessarily) on a two-wheeler. And am also sure (secretly) he must be thanking my nervousness of being behind the wheel of a four-wheeler 😉

Oh, there are so many things that I can thank him for – he has lived half his life trying to understand me and my ways and moods. We have common interests in most aspects of life, possibly a little too much of compatibility, according to our children. The song with this post is ideal to express everything that I need to tell him. And the best part about the song is that it is not a lovey-dovey young couple song but a song choreographed on a motley group of honeymoon tourists which has a middle aged couple (Shabana Azmi – Boman Irani), mismatched couple (Ameesha Patel – Karan Khanna), small- town couple (Kay Kay Menon – Raima Sen), seemingly perfect couple (Minisha Lamba – Abhay Deol); and two other couples (Sandhya Mridul – Vikram Chatwal & Dia Mirza – Ranvir Shorey) who are on honeymoon but not exactly in love. (Dia Mirza and Ranvir are not in this song but they are part of the tourists in the Honeymoon Travels bus.) It is from the 2007 Reema Kagti directed “Honeymoon Travels Pvt. Ltd.” The music for this song is by Vishal- Shekhar and Javed Akhtar is the lyricist. Sunidhi Chauhan and Shekhar Ravjiani are the playback. The movie was produced by Farhan Akhtar and Ritesh Sidhwani. I am in love with the choreographer of this song who has allowed the actors do their own thing which adds to the sweetness of the song.

Today’s song is a party song filmed aboard a cruise ship in Goa. I think the song is ideal for one more occasion – partying for the post number 15000 (FIFTEEN THOUSAND Phew!) of the blog. Let me try to list out all that we are celebrating in this series of celebratory posts – 10 complete years of the blog, 10 year challenge (on-going series); 1,15,40,016 hits (as I write this); 3919 days of existence (at the time of writing this) AND 11032 posts by our fearless leader (as Sudhir calls Atul ji) – we celebrated Atulji’s 10000 individual posts but missed complimenting him for tirelessly giving us 11000 posts. And the biggest point of celebration – post number 15000. In addition to celebrating the New Calendar in various parts of the country.

It has taken five years to get to 15k from 10k with numerous milestones and centuries strewn enroute.  The blog has bonded all of its regular followers, some of who are contributors in various avatars, in a bond like none other, a whole bunch of unrelated people who had never dreamt of being friends and don’t mind being called Atulites. For all this and more to come I thank ASAD the blog which is our collective addiction.

Also a very Happy Birthday to our Satulite.


Song – Sajnaa Ji Vaari Vaari Jaaun Ji Main (Honeymoon Travels) (2007) Singer – Sunidhi Chauhan, Shekhar Ravijani, Lyrics – Javed Akhtar, MD – Vishal Shekhar
Chorus

Lyrics

sajnaa ji vaari vaari jaaun ji main
sajnaa ji vaari vaari jaaun ji main
tu hi to mera sansaar hai
aisa mera pyaar hai
aisa mera pyaar hai
sajnaa ji vaari vaari jaaun ji main
sajnaa ji vaari vaari jaaun ji main
tu hi to mera sansaar hai
aisa mera pyaar hai
aisa mera pyaar hai
charnon mein jo na jagah paaun ji main
charnon mein jo na jagah paaun ji main
to mera jeena hi bekaar hai
aisa mera pyaar hai
aisa mera pyaar hai

mera maan hai tu
abhimaan hai tu
meri pooja hai tu
mera dhyaan hai tu
tu devta mein pujaaran
sajnaa tujh pe main arpan
tere gungaan hee to gaaun ji main
haan tere gungaan hee to gaaun ji main
tu hi to mera sansaar hai
aisa mera pyaar hai
aisa mera pyaar hai

sajnaa ji vaari vaari jaaun ji main
sajnaa ji vaari vaari jaaun ji main
tu hi to mera sansaar hai
aisa mera pyaar hai
aisa mera pyaar hai
ae. . . ae. . . ae. . .

ooo ooo
ooo ooo ooo
vaari vaari
ooo ooo
ooo ooo ooo
vaari vaari
ooo ooo
ooo ooo ooo
vaari vaari
ooo ooo
ooo ooo ooo
vaari vaari
ooo ooo
ooo ooo ooo
vaari vaari
ooo ooo
ooo ooo ooo

o meri dhadkan mein tu
mere tan mann mein tu
meri sanson mein tu
mere nainan mein tu
tu hai to chamke kajra
tu hai to mehke gajra
tere bina to na jeene paaun ji main
haan tere bina to na jeene paaun ji main
tu hi to mera sansaar hai
aisa mera pyaar hai
aisa mera pyaar hai

sajnaa ji vaari vaari jaaun ji main
sajnaa ji vaari vaari jaaun ji main
tu hi to mera sansaar hai
aisa mera pyaar hai
aisa mera pyaar hai
charnon mein jo na jagah paaun ji main
charnon mein jo na jagah paaun ji main
to mera jeena hi bekaar hai
aisa mera pyaar hai
aisa mera pyaar hai

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

सजणा जी वारी वारी जाऊँ जी मैं
सजणा जी वारी वारी जाऊँ जी मैं
तू ही तो मेरा संसार है’
ऐसा मेरा प्यार है
ऐसा मेरा प्यार है’
सजणा जी वारी वारी जाऊँ जी मैं
सजणा जी वारी वारी जाऊँ जी मैं
तू ही तो मेरा संसार है’
ऐसा मेरा प्यार है
ऐसा मेरा प्यार है
चरणों में जो ना जगह पाऊँ जी मैं
चरणों में जो ना जगह पाऊँ जी मैं
तो मेरा जीना ही बेकार है
ऐसा मेरा प्यार है
ऐसा मेरा प्यार है

मेरा मान है तू
अभिमान है तू
मेरी पूजा है तू
मेरे ध्यान है तू
तू देवता मैं पुजारन
सजणा तुझ पे मैं अर्पण
तेरे गुणगान ही तो गाउँ जी मैं
हाँ तेरे गुणगान ही तो गाउँ जी मैं
तू ही तो मेरा संसार है’
ऐसा मेरा प्यार है
ऐसा मेरा प्यार है

सजणा जी वारी वारी जाऊँ जी मैं
सजणा जी वारी वारी जाऊँ जी मैं
तू ही तो मेरा संसार है’
ऐसा मेरा प्यार है
ऐसा मेरा प्यार है
ऐ॰ ॰ ॰ ऐ॰ ॰ ॰ ऐ॰ ॰ ॰

ओ ओ
ओ ओ ओ
वारी वारी
ओ ओ
ओ ओ ओ
वारी वारी
ओ ओ
ओ ओ ओ
वारी वारी
ओ ओ
ओ ओ ओ
वारी वारी
ओ ओ
ओ ओ ओ
वारी वारी
ओ ओ
ओ ओ ओ

ओ मेरी धड़कन में तू
मेरे तन मन में तू
मेरी साँसों में तू
मेरे नैनन में तू
तू है तो चमके कजरा
तू है तो महके गजरा
तेरे बिना तो जी ना पाऊँ जी मैं
हाँ तेरे बिना तो जी ना पाऊँ जी मैं
तू ही तो मेरा संसार है’
ऐसा मेरा प्यार है
ऐसा मेरा प्यार है

सजणा जी वारी वारी जाऊँ जी मैं
सजणा जी वारी वारी जाऊँ जी मैं
तू ही तो मेरा संसार है’
ऐसा मेरा प्यार है
ऐसा मेरा प्यार है
चरणों में जो ना जगह पाऊँ जी मैं
चरणों में जो ना जगह पाऊँ जी मैं
तो मेरा जीना ही बेकार है
ऐसा मेरा प्यार है
ऐसा मेरा प्यार है


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.

Blog Day :

3896 Post No. : 14939 Movie Count :

4080

#the Decade of Seventies – 1971 – 1980 #
———————————————————–—-
#Bhoole-Bisre Geet # 82 # Remembering Navin Nischol#
—————————————————————————–

‘Ek Baar Kaho’ (1980) was directed by Lekh Tandon for ‘Rajshri Films, Bombay’. It had Navin Nischol, Shabana Azmi, Madan Puri, Rajendra Nath, Hari Shivdasani, Suresh Oberoi, Arvind Deshpande, Dilip Dhawan, Kiran Vairale, Anil Kapoor, Ravi Beri, Wasim Hasan, Madhumita, Sheela David, Savita Bajaj, Kamal Rai, Mala Jaggi, Shivraj, Rajan Kapoor, Nandlal Sharma, Taneja, Suhas Khandekar, Avtar Gil, Ratan Gaurang, Brijendra Mohan and Jagdeep.

This movie had six sound tracks including one two part song and one dialogue track. As many as four lyricist penned down lyrics for this movie – Mahendra Dehlvi, Dev Kohli, Kulwant Jani and Maya Govind. Music for this movie was composed by Bappi Lahiri. Aarti Mukherji, Bappi Lahiri, Jagjit Singh, Sulakshana Pandit and Yesudas had given their voices to the songs of this movie.

This movie was passed by Censor Board on 03.09.1980.

Today 19th March 2019 is the eighth Remembrance Day (11th April 1946 – 19th March 2011) of actor Navin Nischol. On this occasion remembering him here with a song from ‘Ek Baar Kaho’ sung by Yesudas. Lyrics for this song are by Maya Govind and as mentioned above it is composed by Bappi Lahiri.

The song though is a background song we can see Navin Nischol and others in picturisation of this song and we can enjoy his ‘elegance’ and ‘soft expressions’ in this song and for me (and I can say people like me) who like Navin Nischol’s performance this song is nice one to watch for him even though he is not lip-syncing the lyrics.

With today’s song the movie ‘Ek Baar Kaho’ make its debut on the blog.

Let us now enjoy the song …

Video

Audio

Song – Chaar Din Ki Zindagi Hai Jaa Rahe Hain Din (Ek Baar Kaho) (1980) Singer – Yesudas, Lyrics – Maya Govind, MD – Bappi Lahiri
Chorus

Lyrics

chaar din ki zindagi hai
jaa rahe hain din
do gaye tere milne se pehle
do gaye tere bin
priye kab milan hoga
priye kab milan hoga

tum kahin kho jaaogi
jaan main paata agar
ban ke hamraahi tera
sang hi karta safar
ye safar poora nahin hoga tumhaare bin
do gaye tere milne se pehle
do gaye tere bin
priye kab milan hoga
priye kab milan hoga..aa

aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa

yaad ke toote mahal
kab tera mandir banaa aa
deep jaltey reh gaye
chhup gayi moorat kahaan
ye diye vishwas ke
bujh jaayen naa ek din
do gaye ae tere milne se pehle
do gaye tere bin
priye kab milan hoga..aa
priye kab milan hoga

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

चार दिन की ज़िंदगी है
जा रहे हैं दिन
दो गए तेरे मिलने से पहले
दो गए तेरे बिन
प्रिये कब मिलन होगा
प्रिये कब मिलन होगा

तुम कहीं खो जाओगी
जान मैं पाता अगर
बन के हमराही तेरा
संग ही करता सफर
ये सफर पूरा नहीं होगा तुम्हारे बिन
दो गए तेरे मिलने से पहले
दो गए तेरे बिन
प्रिये कब मिलन होगा
प्रिये कब मिलन होगा

आ आ आ आ 
आ आ आ आ 
आ आ आ आ 
आ आ आ आ 

याद के टूटे महल
कब तेरा मंदिर बना
दीप जलते रह गए
छुप गई मूरत कहाँ
ये दिये विश्वास के
बुझ जाएँ ना एक दिन
दो गए तेरे मिलने से पहले
दो गए तेरे बिन
प्रिये कब मिलन होगा
प्रिये कब मिलन होगा


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3869 Post No. : 14887

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 7
————————————————

On this day ten years ago (viz on 20 february 2009), six songs from six different movies were presented. Four of these movies have since been YIPPEED in the blog. Of the remaining two movies, one is from 1938 and another is from 1983. The 1938 movie (Shreet Singer) has two songs left to be covered and these songs are not available as far as I am aware.

So that leaves us with the 1983 movie viz “Sweekaar Kiya Maine” as the only eligible movie for our blog 10 year challenge.

“Sweekar Kiya Maine” (1983) was produced by S M Kothari and directed by Zaheer D Lari. The movie had Shabana Azmi, Vinod Mehra, Prema Narayan, Madan Puri etc in it. This movie was a remake of 1954 movie “Adhikaar” with Kishore Kumar and Usha Kiran in title roles. In “Sweekar Kiya Maine” (1983), Vinod Mehra and Shabana Azmi play the same roles.

“Adhikaar”(1954) is already YIPPEED in the blog. Curiously, Kishore Kumar sang a duet song Kamaata hoon bahut kuchh with Geeta Dutt, and in “Sweekaar Kiya Maine”(1983), he sang the same song again- this time with Asha Bhonsle. This duet is not yet covered in the blog.

So far, three songs from “Sweekaar Kiya Maine”(1983) have been covered in the blog. Ten years ago on this day, the blog presented a song, Chaand ke paas jo sitaara hai. Today, ten years later, here is another song from the movie. This song is sung by Lata. Nida Fazli is the lyricist. Music is composed by Usha Khanna.

This song is picturised on Shabana Azmi as a stage performance song.

Audio (Full)

Video

Song-Pyaar to sapna hai dard hi apna hai(Sweekaar Kiya Maine)(1983) Singer-Lata, Lyrics-Nida Fazli, MD-Usha Khanna

Lyrics

pyaar to sapna hai
dard hi apna hai
pyaar to sapna hai
dard hi apna hai
neend jahaan khulti hai
khwaab pighal jaate hain
dard wohi rehta hai
naam badal jaate hain
pyaar to sapna hai
dard hi apna hai
pyaar to sapna hai
dard hi apna hai
neend jahaan khulti hai
khwaab pighal jaate hain
dard wohi rehta hai
naam badal jaate hain
pyaar to sapna hai
dard hi apna hai
pyaar to sapna hai
dard hi apna hai

muskraana to gham chhupaana hai
har khushi door ka taraana hai
aa aa aa aa
aa aa aa
muskraana to gham chhupaana hai
har khushi door ka taraana hai
hosh ki raahon mein
dil hi deewaana hai
hosh ki raahon mein
dil hi deewaana hai ae ae
pyaar to sapna hai
dard hi apna hai
pyaar to sapna hai
dard hi apna hai

koi rishta na koi bandhan hai
har hansi aansuon ki chilman hai
koi rishta na koi bandhan hai
har hansi aansuon ki chilman hai
phool hain daaman mein
aankhon mein saawan hai
phool hain daaman mein
aankhon mein saawan hai
pyaar to sapna hai
dard hi apna hai
pyaar to sapna hai
dard hi apna hai

jo bhi dil ke kareeb aata hai ae
zakhm ban ke sada sataata hai
aa aa aa
aa aa aa
jo bhi dil ke kareeb aata hai ae
zakhm ban ke sada sataata hai
geet jo gaata hai
gham ko behlaata hai
geet jo gaata hai
gham ko behlaata hai ae ae ae ae
pyaar to sapna hai
dard hi apna hai
pyaar to sapna hai
dard hi apna hai
neend jahaan khulti hai
khwaab pighal jaate hain
dard wohi rehta hai
naam badal jaate hain
pyaar to sapna hai
dard hi apna hai
pyar to sapna hai
dard hi apna hai


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.

Blog Day : 3817 Post No. : 14815

Rajesh Khanna – The Phenomenon – 5
– – – – – – – – – – – – – – – – – – – –

Welcome to today’s post (albeit one day late) under this series. Today’s post under this series is coming after a long gap of almost two years, though in between I had written two articles on Rajesh Khanna’s anniversaries.

29th December 2018 is the 76th birth anniversary of Rajesh Khanna (29.12.1942-18.07.2012).

In the previous article under this series we had a song from the ‘1978 movie ‘Chakravyuh’ and today we move forward to the year ‘1979’ …

I had mentioned it earlier and our Atul ji has also been writing this that by ‘mid-seventies’ the Rajesh Khanna magic started declining and his ‘golden period’ was almost over.

Why I am writing ‘almost over’ was because though his movies were failing at the ‘box-office’ they were still coming and he was seen in doing many different types of roles.

The difference was that his movies were not getting commercial success or they do not generate the same hysteria as his movies had been from ‘1969 to 1975’ or we can say from the period of ‘Aradhana’ to ‘Prem Kahaani’.

In ‘1976’ we had his much awaited and talked about movie ‘Mehboobaa’ directed by Kaka’s favorite director Shakti Samanta and the ‘team’ of RD-Anand Bakshi-Kishore together though creating the magical ‘mere naina saawan bhaadon’, ‘parbat ke peechhe’, etc it was not successful at the ‘box-office’.

In ‘1977’ Kaka had a ‘hit’ in ‘Chhaila Baabu’. And the critically acclaimed ‘Palkon Ki Chhaaon Mein’…

‘1978’ again was not seen as good for him though his performances in ‘Chakravyuha’ and ‘Naukari’ were appreciated by the critics.

If we go through the filmography of Rajesh Khanna for these years i.e. 1976 to 1979, we can see his seeking different roles like and some of them like a ‘common man’ or ‘man next door’ viz. in ‘Mahaachor’, ‘Palkon Ki Chhaon Mein-1977’ (where he played a ‘postman’), ‘Chakravyuha-1978’, ‘Bhola-Bhala-1978’- an insurance agent (another role is of a ‘dacoit),

Then we can just see the range of directors he was working with for example if we talk of his ‘lean period’ or I can say those years where he was still a ‘under current’ existing strongly and waiting to hit on the ‘top’ again;

He had movies with directors like B.R. Chopra, Basu Chatterjee, Hrishikesh Mukherji, Narinder Bedi, Ramanand Sagar, Mehmood, Joy Mukherji, Omprakash and his favorite Shakti Samant.

Year Passed by Censor on Movie Director
1976 19.07.1976 Mehboobaa Shakti Samant
1976 * 29.07.1976 * Tyaag Deendayal Sharma
1976 16.10.1976 Mahaachor Narinder Bedi
1976 04.12.1976 Bandalbaaz Shammi Kapoor
1977 31.01.1977 Anurodh Shakti Samant
1977 20.04.1977 Chhaila Babu Joy Mukherji
1977 27.04.1977 Karm B.R. Chopra
1977 16.06.1977 Chalta Purza Bhappi Sonie
1977 18.11.1977 Aashiq Hoon Bahaaron Ka J. Omprakash
1977 04.11.1977 Palkon Ki Chhaon Mein Meraj
1978 25.04.1978 Bholaa Bhaalaa Satpal
1978 02.06.1978 Naukari Hrishikesh Mukherjee
1978 22.07.1978 Chakravyuha Basu Chatterjee
1978 26.12.1978 Prem Bandhan Ramanand Sagar
1979 10.01.1979 Jantaa Hawaldaar Mehmood
1979 18.04.1979 Amar Deep K. Vijayan and R. Krishnamurti

(* I have not included his movies with ‘Special Appearance’ like ‘Tinku’, ‘Hatyaara’, ‘Naya Bakraa’ etc in above list and corrected myself by including ‘Prem Bandhan’ for ‘1978’ which I missed to include in my previous article 😊)

And if we include ‘awards’ in our discussion he was nominated for the Best Actor Award by BFJA (Bengal Film Journalists’ Association Awards) for ‘Mehboobaa’, ‘Anurodh’, ‘Chakravyuha’, and ‘Amar Deep’ during this period.

He won the ‘All India Critics Association Award’ for ‘Best Actor’ for the movie ‘Chhaila Babu-1977’.

At the ‘Filmfare’ awards he was nominated in ‘Best Actor’ category for the movie ‘Amar Deep-1979’ (and this nomination for him at ‘Filmfare’ came after 1974 when he was nominated for the ‘Best Actor’ award for ‘Prem Nagar-1974’).

(for that matter sometimes, I think that he was loved very much by ‘Bengal’ and they loved him the most. I have a personal experience related to this, which I intend to share in my future articles under this series).
***

In my previous posts I start giving the details of the movies of Rajesh Khanna in that particular year of the song I was presenting therewith. And so, in the last two posts where we discussed the songs of Rajesh Khanna movies of 1977 and 1978, I am presenting today’s post with a song of a movie released in 1979.

His movie list of 1979 is as given below;

SNo Movie Year Passed by Censor Board
01 Jantaa Hawaldaar 1979 10.01.1979
02 Nayaa Bakraa 1979 16.02.1979*
03 Amardeep 1979 18.04.1979
04 Muqaabalaa 1979 14.09.1979*

(*special appearance)

(So, that is one change that I have made in my ‘presentation’ of the posts in this series. And, while I find it interesting, I am sure that readers will also enjoy this.)

Because, in this journey we have started from the years where Rajesh Khanna’s golden period was over and his movies in row were getting flopped at the box-office and he was ‘trying hard’ to get over to the ‘top’ again.

And though his movies, acting wise some the best of his career, had miserable failures at the box office his fans were still there and while Kaka was ‘as always’ in his heart saying to them ‘is kadar itnaa tumhe ham pyaar kartein hain’, his fans were waiting and more fans were waiting, to welcome him back again with ‘tum nahin jaanoge, tum nahin maanoge ‘kis kadar kitnaa’ tumhe ham pyaar kartein hain’ …

With this movie ‘Amar Deep-1979’ we move to the ‘eighties’ where Kaka’s style and mannerisms hit the screens again and Rajesh Khanna days were back again reaching to its heights (in terms of number of his number of movies in a single year) …

***

‘Amar Deep-1979’ was directed by K. Vijayan and R. Krishnamurti for ‘Sujatha International, Madras’. Presented by K. Balaje.

It had Rajesh Khanna, Vinod Mehra, Shabana Azmi, Deven Verma, A.K. Hangal, Roopesh Kumar, Bindu and others. Ashok Kumar had a special appearance in the movie while Mithun Chakravarty had a ‘guest appearance’ in this movie. This movie introduced actress Deepa (from South).

Dialogues of this movie were written by Ali Raza, and Prem Kapoor was the dialogue director. Editing for this movie was done by B. Kandaswamy.

Music of this movie was composed by Laxmikant-Pyarelal. This movie had four songs written by Anand Bakshi. Anuradha Paudwal, Asha Bhonsle, Kishore Kumar and Lata Mangeshkar had given their voices to these songs.

Rafi Saab had sung a song (few lines) which appears at the end of the movie and had already been posted on the blog here.

In the very beginning of the titles of the movie ‘sincere thanks’ have been expressed to Kaifi Azmi and Rafi Saab, so I guess that these lines were written by Kaifi Azmi.

HFGK Vol-V does not mention this song in the list of songs of this movie. (However, I would request editors to correct the number of songs of this movie to ‘five’ on the blog, with the today’s song it will be (3/5))

One other song from this movie ‘koi na tere pehle thhi’ was posted earlier on the blog in 2013.

I get to watch this movie after Rajesh Khanna’s sad demise in 2012 on a TV Channel.

Let us now enjoy today’s song. The song is picturised on Rajesh Khanna and Shabana Azmi.

Audio

Video


Song-Tum nahin maanoge (Amardeep)(1979) Singers-Kishore Kumar, Anuradha Paudwal, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

Tum nahin maanoge
Tum nahin jaanoge
Iss kadar itnaa tumhe
Ham pyaar kartein hain
Zindagi hai tumse
Har khushi hai tumse
Hum tumhaare saamne iqraar kartey hain
Tum nahin maanoge
tum nahin jaanoge
Kiss kadar kitna tumhen hum pyaar kartein hain
Aankh jhuk jaati hai
saans ruk jaati hai
Jab kabhi hum pyaar ka ijhaar kartey hain
Tum nahin maanoge

Arey tum nahin jaanoge ae

Har ik din ahaa milan ka din
Ahaa
Har ik din ahaa milan ka din
Har ik raat milan ki raat

Ab tumse kahen kaise
Lab pe jo ruki hai baat
Hum kahaan us baat se inkaar karte hain
Kiss kadar kitna tumhe hum pyaar kartein hain
Tum nahin maanoge ae

Tum nahin jaanoge ae

Rut badli samaa badlaa aa aa
Rut badli samaa badlaa
Lehraaya naya mausam
Aise mein kaho tum to
Kaanon mein kahen kuchh hum

Jo kaho manzoor hum sarkaar kartey hain
Ham tumhaare saamne iqraar kartey hain
Tum nahin manaoge
Tum nahin jaanoge

Jhaanko to mere dil mein
Samjho kya kahaani hai

Ye apni mohabbat ki
Badi pyaari nishaani hai
Oon oon oon oon oon oon oon
Ye apni mohabbat ki
Badi pyaari nishaani hai
Dillagi kya yoon sarey bazaar karte hain
Are iss kadar itna tumhe hum pyaar kartein hain
Tum nahin maanoge
Tum nahin jaanoge
Kiss kadar kitnaa tumhe hum pyaar kartey hain

Iss kadar itnaa tumhe hum pyaar kartein hain
Tum nahin maanoge
Tum nahin jaanoge

———————————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————————–
तुम नहीं मानोगे
तुम नहीं जानोगे
इस कदर इतना तुम्हे
हम प्यार करतें हैं
ज़िन्दगी है तुमसे
हर ख़ुशी हैं तुमसे
हम तुम्हारे सामने इकरार करते हैं
तुम नहीं मानोगे
तुम नहीं जानोगे
किस कदर कितना तुम्हे हम प्यार करतें हैं
आँख झुक जाती हैं
साँस रुक जाती हैं
जब कभी हम प्यार का इजहार करते हैं
तुम नहीं मानोगे

अरे तुम नहीं जानोगे ए

हर एक दिन अहा मिलन का दिन
अहा
हर एक दिन अहा मिलन का दिन
हर एक रात मिलन की रात

अब तुमसे कहें कैसे
लब पे जो रुकी हैं बात
हम कहाँ उस बात से इनकार करतें हैं
किस कदर कितना तुम्हे हम प्यार करतें हैं
तुम नहीं मानोगे

तुम नहीं जानोगे

रुत बदली समा बदला आ आ
लहराया नया मौसम
ऐसे में कहो तुम तो
कानों में कहें कुछ हम

जो कहो मंज़ूर हम सरकार करते हैं
हम तुम्हारे सामने इकरार करते हैं
तुम नहीं मानोगे
तुम नहीं जानोगे

झांको तो मेरे दिल में
समझो क्या कहानी है

ये अपनी मोहब्बत की
बड़ी प्यारी निशानी है
ऊँ ऊँ ऊँ ऊँ ऊँ ऊँ ऊँ
ये अपनी मोहब्बत की
बड़ी प्यारी निशानी है
दिल्लगी क्या यूं सरे बाज़ार करतें हैं
अरे इस कदर इतना तुम्हे हम प्यार करतें हैं
तुम नहीं मानोगे
तुम नहीं जानोगे
किस कदर कितना तुम्हे हम प्यार करतें हैं

इस कदर इतना तुम्हे हम प्यार करतें हैं
तुम नहीं मानोगे
तुम नहीं जानोगे


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15700 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1211
Total Number of movies covered =4325

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