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

Posts Tagged ‘Shammi’

Bam Bholanath Bam Bhola

Posted by: Atul on: December 20, 2023

In: Guest posts | Lord Shiv Related Songhs | Manna Dey songs | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1958 | Yearwise breakup of songs
Leave a Comment

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

Blog Day :

5633

Post No. :

18122

Today’s song is from the film Raaj Tilak-1958.

It was a Gemini Pictures’ film, produced and directed by its owner, the successful, enterprising businessman S.S.Vasan. The Music Director was C.Ramchandra. All the songs were by P.L.Santoshi. For C.Ramchandra, this was possibly the last big banner film from the South. As such, the year 1958 was the worst year in his life, both professionally and in personal life as well.

All these years he had been a respected and popular composer with most south filmmakers. With him, they used to get one of the best song writers, Rajendra krishna and the undisputed queen of playback- Lata Mangeshkar, without any problem. Rajendra krishna worked for C.Ramchandra for a long time, since 1947and wrote songs for most of the popular and hit films like Shehnai-47, Patanga-49, Nazare-49, Samadhi-50, Khazana-51, Albela-51, Hangama-52, Shagufa-53, Jhanjar -53, Anarkali-53, Insaniyat-55, Azaad-55 etc. In 1957, Rajendra Krishna wrote songs for AVM’s film Bhabhi. The songs became popular and the film was a great Hit.

S.S.Vasan did not like this. He was upset that a Lyricist from his camp worked for AVM. He decided that he will never take Rajendra krishna for his films hereafter. When he planned the Hindi film Raaj Tilak in 1958, he informed C. Ramchandra not to bring Rajendra Krishna with him. C.Ramchandra suggested the name of Santoshi, which was accepted by Vasan. When Rajendra Krishna learnt that C.Ramchandra had taken Santoshi as his Lyricist to Madras, he was furious thinking that CR had ditched him and he decided to leave CR hereafter. Not only this, he started suggesting the names of Ravi, and Chitragupta to Madras filmmakers. CR stopped getting films from the south and lost their favour. Professionally, this was a great setback to him in 1958, losing a friend like Rajendra Krishna, due to a misunderstanding.

At personal level, his relations with his ‘ friend’, Lata Mangeshkar soured and she decided never to sing for him after Raaj Tilak. Even for this film, she sang only 2 songs and refused a duet with him, citing prior commitments with other MDs. That duet was sung by Usha Mangeshkar and C.Ramchandra. Thus the year 1958 rang the death knell for CR’s career and he slipped downwards, getting only a few small budget films.

The cast of the film Raaj Tilak-1958 was Gemini Ganeshan, Vaijayantimala, Padmini, Pran, Jagirdar, Bipin Gupta, Lalita Pawar, Durga Khote, Agha , Shammi etc. The story of this film was….The loyal Diwan of the kingdom accuses the Senapathi to have planned the killing of the young prince. The king ,as a punishment, banishes him to another country, but Senapati hides in the kingdom itself. One day he kills the king and becomes the ruler. Before dying, the king asks his loyal Diwan to save the prince and the princess. Diwan takes them and runs away, leaving his own wife and children.
Senapati captures Diwan’s wife, keeps her in prison on an island and leaves his son and daughter in the flowing river. Some kind person saves the children and they grow up as Chander ( G.Ganesan) and sister Gowri ( Vijaya kumari). Senapati comes to know about them and abducts Gowri and arrests Chander and keeps him in a prison on the same island as his mother. Gowri dies while attempting to run away.
Chander meets his mother and learns everything. He vows to kill the Senapathi. He tries to escape from the island with his mother, but mother dies on the way and Chander is thrown into the raging sea. He survives and reaches Ratna island. The Rajkumari Mandakini of Ratna island loves him. He narrates everything to her and she allows him to go to his kingdom to kill Senapathi. He comes to the kingdom where he meets his father and also princes Padma who loves him. Meanwhile Mandakini also reaches the kingdom. Padma and Mandakini meet and Padma allows them their love, sacrificing her love.
However during the final battle, in an attempt to save Chander, Mandakini dies. Senapathi is killed and peace returns to the kingdom. Padma and Chandar marry and he gets the Raj Tilak !

In the cast, the name of Pran is mentioned. We all know about Pran very well, so there is no point in giving his Bio-data here. Few days back I found an article on Pran on http://www.rediffmail.com. This article gave interesting points about Pran’s life, which normally are not known to most people. Here is an excerpt from this article, duly edited by me.

Pran’s full name is Pran Krishan Sikand. Pran wanted to be a photographer and even took up a job as an apprentice in A Das & Co, Delhi. Pran’s first ever acting role was Sita to Madan Puri’s Ram in Shimla, at a local Ramlila. Since Pran’s father was a civil contractor with the government, Pran studied at various schools in Kapurthala (Punjab), Unnao, Meerat and Rampur (Uttar Pradesh) and Dehradun (Uttarakhand).

Pran’s first film was in Punjabi called Yamla Jat (1940), where he played a villain. It was a huge hit. Pran did not tell his father that he was shooting for a movie, as he thought his father would not permit him to have an acting career. When his first interview appeared in a newspaper, Pran asked his sisters to hide the papers. When his father finally learnt of his career, he was not upset as Pran had expected. In one of his early films, Pran played hero to Noor Jehan in Khandaan (1942).

Pran came to Mumbai from Lahore on August 14, 1947, just a day before India’s Independence, with his wife and one-year-old son Arvind. According to Pran, one of the most precious things he lost in the Partition was his dog. When Pran became popular, he would name his dogs Bullet, Whisky and Soda.

Before Pran came to Mumbai, he had already acted in 22 films as a villain. Due to the Partition, his career had a brief pause. When Pran came to Mumbai, he stayed at the Taj Mahal hotel. As he had no work, money started running out, and the family had to shift to smaller and smaller hotels. Finally, they had to stay in a guest house. After eight months of arriving in Mumbai, Pran — with the help of writer Saadat Hasan Manto and actor Shyam — got a role in Shaheed Latif’s Ziddi (1948), starring Dev Anand and Kamini Kaushal.

Ziddi was a hit. Within a week of its release, Pran signed three more films: S M Yusuf’s Grihasti, Prabhat Films’s Apradhi and Wali Mohammad Wali’s Putli. BR Chopra’s Afsana (1951) was Pran’s first biggest hit after he shifted to Mumbai.

Pran had three children — Arvind, Sunil and Pinky — and five grandchildren.

Ashok Kumar and Pran were the best of friends and have acted in more than 25 films together, including Afsana, Victoria No 203, Chori Mera Kaam, Chor Ke Ghar Chor, Apna Khoon, Aap Ke Deewane, Raja Aur Rana, Inspector, Lakeeren, Mr X, Pooja Ke Phool, Purab Aur Pachhim, Adhikar, Naya Zamana and Aansoo Ban Gaye Phool.

Pran even played Valmiki in a mythological film called Luv-Kush. When Pran was signed up for Halaku, Meena Kumari was quite upset but when she saw him in costume, and a few rushes from the film, she was very happy. Pran would work on his make-up well. He would have an artist at home, who would sketch the kind of look he wanted. Then, his make-up man and wig-maker would work on it.

Pran acted in several Bengali films as well, including Joy Mukherjee’s Sonai Dighe, directed by Ashim Banerjee.

It was Pran who recommended Amitabh Bachchan to Prakash Mehra for Zanjeer, which had been offered to Dev Anand, Raaj Kumar and Dharmendra earlier. Pran acted with Amitabh in 15 films like Zanjeer, Kasauti, Don, Amar Akbar Anthony, Majboor, Dostana, Naseeb, Kaalia and Sharaabi. Not many know that Pran was paid more than Amitabh Bachchan. In the 1970s, only Rajesh Khannna was paid more than Pran. In the 1950s and 1960s, only Dilip Kumar, Dev Anand, Raj Kapoor and Rajendra Kumar were paid more than Pran.

Pran started rejecting film offers in the 1990s citing age-related problems. But when Amitabh was going through a rough patch in his career, he requested Pran to act in his film Mrityudaata and Tere Mere Sapne. Pran readily agreed. During the filming of both Mrituyudata and Tere Mere Sapne, Pran’s legs used to tremble. So he shot most of the scenes in a seated position. After 2000, he made very few guest appearances in films.

Pran was a member of various social organisations, and even had his own football team called the Bombay Dynamos Football Club.
Pran’s favourite word ‘Barkhurdaar’ became immensely popular over the years.

In 2001, Pran got a Padma Bhushan, India’s third highest civilian award from the government of India. Pran’s biography is titled ” …And Pran ” because in most of his movies, his name in the credits would appear last and read as …and Pran. Sometimes, it would be …above all Pran.

When I saw actor Pran’s name in the cast of this film, I remembered that Pran had also acted in another same titled film Raaj Tilak-84, featuring Dharmendra, Hema etc. Pran’s first Hindi film – as a Hero – was Khandan-42 in Lahore. he again acted in another same name film Khandan-in 1965. In the 42 film he was the Hero, but in the 1965 film he was a Villain. He did exactly opposite in another same name film. In film Aan Baan-56 ( Ajit-N.Jaywant), he was a Villain, but in the 1972 film Aan Baan (Rajendra kumar-Rakhi) he did a benevolent person’s sober role in this film ! Pran acted as a Villain in film Chingari-55(Shekhar-N.Jayawant) and also in film Chingari-89 (Sanjay Khan-Leena Cghandavarkar).

Pran did role in many remakes of his films. When he came to Bombay from Lahore in 1948, he got roles in films Grihasthi, Ziddi and Chunaria. In 1948, two of his Lahore made films – Birhan and Barsat ki ek raat – released in India. In both these films, he was the Hero, but in India, he started as a villain in his first 3 films. Kishore Sahu remade film Grihasthi-48 as Film “Ghar Basaa ke Dekho”-1963. In this film Pran did the same role as in the 48 film. Comedian Gope had made a film “Malkin” in 1951 (Gope and Yakub). His brother Ram Kamlani remade this film as “Biradari’ in 1966 (Mehmood and Kanhaiyalal). Pran was villain in both the films.

In his 66 years of career, Pran did variety of roles. Besides acting in remakes and same title films, he also worked in 2-3 generations of actor families. In film Rajkumar-1964, he worked with Prithviraj Kapoor. With Raj Kapoor, he did films like Aah, Chori chori, Jis desh mein Ganga behti hai etc etc. He worked with Shammi Kapoor and Shashi Kapoor also. In 1973, he worked in film Rikshawala, with Randhir Kapoor and in film Bobby, with Rishi Kapoor. Thus he worked in 3 generations of Kapoor family.

Pran worked with Naseem Bano in film Sindbad the sailor-52 and worked in many films with Saira Bano-her daughter. He worked with Mumtaz Ali and Mehmood. Pran acted with Sunil Dutt and Sanjay Dutt. He also worked with Dharmendra and Sunny Deol.

There was no other actor like him in Hindi film industry ever again.

Today’s song is sung by Manna Dey and Vinod (not to be confused with Music director Vinod). Enjoy….

Song- Bam Bholanath Bam Bhola (Raaj Tilak)(1958) Singers- Manna Dey, Vinod, Lyrics-P L Santoshi, MD-C Ramchandra

Lyrics

Bam bholanath
bam bhola
kahaan gaye tum
arre dhoondh rahe ham
kahaan gaye tum
arre dhoondh rahe ham
chale aao bedhadak
khuli saaf hai sadak
chale aao bedhadak
dhoondh rahe ham

Arre bhagtan
phoonk de shankh arrey phoonk de shankh
zara bhar ke dam
bam bam bam bam

kahaan gaye tum
arre dhoondh rahe ham
chale aao bedhadak
khuli saaf hai sadak
dhoondh rahe ham

khoj phira main duniya saari
khoj phira main duniya saari
mili na aanhkon ki jyot hamaari
kaisi chinta o sansaari
Maadhav ki patni kare rakhwaari
Maadhav ki patni kare rakhwaari

idhar udhar kyun bhatak rahe ho
bhagton ka ye dhaam
kar lo kuchh aaraam yahaan tum
kar lo kuchh aaraam yahaan tum
yahin milenge Raam
ho yahin milenge Raam
Seeta Raam Seeta Raam
Seeta Raam Seeta Raam

Tags: 1958, Agha, C Ramchandra, Manna Dey, P L santoshi, Raaj Tilak, Shammi, Vinod (singer)

Hanske jaane waali zulf teri latke

Posted by: Atul on: April 12, 2023

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 :

5381

Post No. :

17655

———————————————–—————————————
Blog 10-Year Challenge (2013-2023) – Song No.74
————————————————————————————–

On this date ten years ago (12 April 2013), eight songs from eight different movies, plus one Non Film song, were covered in the blog. Here are the details:-

Post No	Song Title	Name of the movie	Remarks
7877	Kar sakega na juda kabhi tumko hamse zamaana	Aayiye (1949)	Movie YIPPEED in the blog by now
7878	Amma roti de baba roti de	Sansaar(1951)	6 songs covered out of 14 by now
7879	Sainyya tere prem ki deewaani ban aayi hoon	Bahut Din Huye(1954)	4 songs covered out of 17 by now
7880	Jiyenge magar muskura na sakenge	Mukesh NFS( 1952)
7881	Dil ko bachaana ae ji dil ko bachaana	Dekhi Teri Bambai(1961)	4 songs covered out of 7 by now
7882	Chadhhti jawaani meri chaal mastaani	8 Caravan (1971)	Movie YIPPEED in the blog by now
7883	Dekh hamen muskaaye kyun	Duniya Ek Saraai(1947)	4 songs covered out of 9 by now
7884	Tu hai kamaal maula tu hai kamaal	Sultanat(1986)	One song covered out of 6
7885	Ho nahin sakta	Diljale (1996)	2 songs coverd out of 8 by now

We observe that two movies (out of eight) whose songs were covered in the blog on this date ten years ago (on 12 April 2023) have since been YIPPEED in the blog. That leaves us with six unYIPPEED movies that are eligible for Blog Ten Year Challenge today (12 April 2023).

“Dekhi Teri Bombay”(1961) is one of the BTYC eligible movies today.

“Dekhi Teri Bombay”(1961) was produced by Kailash Bhandari for Sheetal Movies, Bombay. The movie had Purnima, Daljit, Shammi, Shaikh, Radhika, Jagdish Kamal,
Prakash Kaur, Ramlal, Tilak Raj, Kothana, Haider, Raju etc. The movie also introduced Anand,Master Shashi and Aruna Kumari.

“Dekhi Teri Bombay”(1961) had seven songs in it. Four songs have been covered in the blog so far.

Here is the fifth song from the movie to appear in the blog. HFGK is silent about the singers of this song. Prakashchandra, who sent the lyrics of this song guesses that S Balbir and Sudha Malhotra are the singers. I agree with his identification.

Aziz Kashmiri is the lyricist. Music is composed by Vinod.

The song is picturised on Shammi and Shaikh.

video link:

Song-Hanske jaane waali zulf teri latke (Dekhi Teri Bombay)(1961) Singers-S Balbir, Sudha Malhotra, Lyrics-Aziz Kashmiri, MD-Vinod

Lyrics(Provided by Prakashchandra)

hanske jaane waalee eee eee huhh
zulf teri latke
paa na jaayein soolee eee
kaheen log haayye
kaheen log
bhooley bhatke

jaao ?? do
jaake apni ???hatke
aate hain pyaar mein
bade bade jhatke
hey aey ae hhey ae
hum to yoon rahengey
ye raah mein teri attke
aate hainto aane do o
pyar ke jhatkey
aate hain aen aen
to aane do ooo ooo
dil se dil milaane do ooo (aaa aaa aaaa aaaaa aa)
hmm…mmm…mmmmmmm
hmm…mmm…mmmmmmm
aan haan aaan aaan haaan aaan
hhaan aaan aaaa

tere pyaar mein phirtaa hoon ghabraayaa aaa aa
ek zaraa main dil nazranaa laayaa aa
tere pyaar mein phirtaa hoon ghabraayaa aaa
ek zaraa main dil nazranaa laayaa
kahaan chalee hai chhodke meri maayaa
kahaan chalee hai chhodke meri maayaa
meri lailaa
meri billo o o
meri lailaa
meri billo o o o
rambha sambha dekh palat ke
rambha sambha dekh palat ke
rambha sambha dekh palat ke
rambha sambha dekh palat
aate hain pyaar mein
bade bade phatke/jhatkey
arrey aate hain to aane do
pyaar ke jhatke
aate hain aen aen aen
to aane do ooo ooo
dil se dil..lll milaane do o ooo (aaa aaa aaaa aaaaa aa)

tujh jaise aawaaraa se dar laagey ae ae
kyun phirtaa hai mere peechhey aagey (apni qismat hee aisi hai)
tujh jaise aawaaraa se dar laagey ae
arrey kyon phirtaa hai mere peechhey aagey ae
pyaar ke dar se bade badey hain bhaagey
pyaar ke dar se bade badey hain bhaagey
mere majnoo
mere raanjhey ae
mere majnoo
mere raanjhey ae
rehnaa zaraa peechhey hatke
rehnaa zaraa peechhey hat
rehnaa zaraa peechhey hatke
rehnaa zaraa peechhey hatke
hatke ae ae ae jaa
aate hain pyaar mein
badey badey jhatke
arrey aate hain to aane do
pyaar ke jhatke
aate hain aen aen aen
to aane do ooo oo
dil se dil..lll milaane do o (aaa aaa aaaa aaaaa aa)

Tags: 1961, Aziz Kashmiri, Dekhi Teri Bombay, S Balbir, Shammi, Sheikh, Sudha Malhotra, Vinod

Chalna sambhal sambhal ke jee

Posted by: Atul on: June 3, 2020

Blog Day:

4338

Post No.:

15636

Today’s song is from film Raaj Tilak-1958.

This was a S.S.Vasan film from his Gemini Pictures, Madras. Film Raaj Tilak was a remake of the original popular film in Tamil-“Vanji Kottai Valiban”( The youth from Vanji Fort). It was loosely based on the famous adventure novel, “The Count of Monte Cristo”, written by Alexander Dumas and first published in 1844. Its Telugu version was titled “Vijay Kota Veerudu”and the Hindi version was Raaj Tilak.

AVM and Gemini, the two giants from Madras were keen on making Bi-Lingual (Tamil-Hindi/Tamil-Telugu,Telugu-Hindi) or Tri-lingual (Tamil-Telugu-Hindi) films to capture all the three big markets. Southern bosses took pleasure in engaging artistes from Bombay and in return Bombay artistes were happy to work in southern films, because they were disciplined, punctual and worked methodically. Their payments, staying arrangements and the treatment to Hindi artistes was very satisfying.

From the time Vasan’s multilingual Blockbuster, Chandralekha’s success in 1948, it dawned on south producers that a huge market in Hindi belt was available for their successful south films. One after another hit films started from South, like Nishan-49, Mangala-50,Bahar-51, Mr. Sampat-52, Miss Mary-57, Asha-57 and such other films, which were either remakes of Tamil/Telugu hit films or films made in Madras.

During this period, C Ramchandra and his songs were very popular in south. At the same time, his favourite Lyricist Rajendra krishna also had a great demand in south. Rajendra Krishna worked for both AVM and Gemini films. Vasan wanted that Rajendra krishna should work only for Gemini and not AVM. However, Rajendra Krishna continued working for AVM, so Vasan decided not to take Rajendra krishna for Gemini films anymore.

In 1957, AVM’s film Bhabhi became a Hit film. Rajendra krishna had written all the songs for Bhabhi. In 1958, when Vasan Planned to make Raaj Tilak in Hindi and its Tamil and Telugu versions, at the same time, he selected C Ramchandra as its Music Director. That time C Ramchandra was working for film Amardeep-58 in Bombay and Rajendra krishna was the Lyricist. C Ramchandra knew that Vasan will not take Rajendra krishna as a Lyricist for Gemini films anymore. At that time only, P L Santoshi met C Ramchandra. He had fallen on bad days and requested C Ramchandra for his help.

With consideration for past successful association with Santoshi, C Ramchandra recommended Santoshi’s name to Vasan. He also agreed. When Rajendra Krishna came to know this, he did not like it and he severed ties with C Ramchandra. The two never worked together again. The year 1958 was not a good year for C Ramchandra anyway. Lata had given indications that after Raaj Tilak, she would not sing for C Ramchandra. She did only one solo and one duet in this film. After Rajendra krishna split with C Ramchandra, he started recommending Chitragupta, Madan Mohan and others to South producers. C Ramchnadra stopped getting their offers. In addition film Raaj Tilak also did not do so well.

The cast of film Raaj Tilak-58 was Vaijayanti Mala, Padmini, Gemini Ganeshan, Pran, Jagirdar, Bipin Gupta, Lalita Pawar, Durga Khote etc etc. Gemini Ganeshan (17-11-1920 to 22-3-2005), better known in Hindi belt as actress Rekha’s father, started his Hindi films with Devta-56. Then came Miss Mary-57 and his third film was Raaj Tilak-58. He acted in 24 Hindi films. His last film was Allauddin and wonderful Lamp-82. After his death in 2005, two films were released in 2009, namely Shivdoot and Devi Saraswati, both dubbed films.

There was no other actor like him in Hindi film industry ever again.

Coming back to film Raaj Tilak-58, the story of the film was….

The loyal Diwan of the kingdom accuses the Senapathi to have planned the killing of the young prince. The king ,as a punishment banishes him to another country, but Senapati hides in the kingdom itself. One day he kills the king and becomes the ruler. Before dying, the king asks his loyal Diwan to save the prince and the princess. Diwan takes them and runs away, leaving his own wife and children.

Senapati captures Diwan’s wife, keeps her in prison on an island and leaves his son and daughter in the flowing river. Some kind person saves the children and they grow up as Chander ( G.Ganesan) and sister Gowri ( Vijaya kumari). Senapati comes to know about them and abducts Gowri and arrests Chander and keeps him in a prison on the same island as his mother. Gowri dies while attempting to run away.

Chander meets his mother and learns everything. He vows to kill the Senapathi. He tries to escape from the island with his mother, but mother dies on way and Chander is thrown into the raging sea. He survives and reaches Ratna island. The Rajkumari Mandakini of Ratna island loves him. He narrates every thing to her and she allows him to go his kingdom to kill Senapathi. He comes to the kingdom where he meets his father and also princes Padma who loves him. Meanwhile Mandakini also reaches the kingdom. Padma and Mandakini meet and Padma allows them their love, sacrificing her love.

However during the final battle, in an attempt to save Chander, Mandakini dies. Senapathi is killed and peace returns to kingdom. Padma and Chandar marry and he gets the Raj Tilak !

Today’s song from film Raaj Tilak-58 is sung by Asha, Rafi, Vinod and chorus. In the video, one can see Agha, Jagirdar, Shammi and Padmini. This will be the 4th song from this film to feature here.

Audio

Video

Song-Chalna sambha sambhal ke jee (Raaj Tilak)(1958) Singers-Rafi, Asha Bhonsle, Vinod, Lyrics-P L Santoshi, MD-C Ramchandra
All

Lyrics

ha ha
sambhal ke bhai
chalna sambhal ke ji sambhal sambhal ke chalna
chalna sambhal ke ji sambhal sambhal ke chalna
ho o raahi ho
ho o raahi ho
chalna sambhal sambhal ke ji chalna sambhal ke
hoy chalna sambhal sambhal ke ji chalna sambhal ke

ho gaadi waale
dekh gali ke khadke gaali re chalaaye
naazuk naazuk dil hai mera
gachke na khaaye
piya gachke na khaaye
atak datak kyun tu bole
ye to meethhe methhe hichkole laage halke halke
hoy chalna sambhal sambhal ke ji chalna sambhal ke

manzil hai kitni door oor
manzil hai kitni door
jaanoon na haaye re ae
soch ke yahi mera aa aa
jiya ghabraaye re
jiya ghabraaye re
hone aayi shaam
hone aayi shaam
ek na taara jhhalke
hoy chalna sambhal sambhal ke ji chalna sambhal ke

meelon ki koson ki tu dekh na doori
tu dekh na doori
man mein jo aasha teri hogi wo poori
hogi wo poori
sooraj niklega phir
ek baar dhhal ke
hoy chalna sambhal sambhal ke ji chalna sambhal ke
hoy chalna sambhal sambhal ke ji chalna sambhal ke

hoshiyaar
khabardaar

Tags: 1958, Agha, Asha Bhonsle, C Ramchandra, P L santoshi, Padmini, Raaj Tilak, Rafi, Shammi

Jhinchak jhinchak jhin chakaachak pyaar karo

Posted by: Atul on: April 14, 2020

In: Dance song | Duet | Rafi songs | Shamshad Begam Rafi duet | Shamshad Begam songs | Sheila Vaz Dance Songs | Songs of 1950s (1951 to 1960) | Songs of 1960 | Yearwise breakup of songs
2 Comments

Blog Day :

4288

Post No. :

15538

“Laal Quila”(1960) was produced by H L Khanna and directed by Nanabhai Bhatt for H L K Productions. The movie had Nirupa Roy, Jairaj, Helen, Tiwari, Kumar, Kamal Kapoor, Rajan Haksar, Ram Singh, Altaf, Rajan Kapoor, Sundar, Shammi, Mridula, Ratnamala, Sheila Vaz, D Babulal, B M Vyas etc in it.

The movie had seven songs in it. Five songs have been covered in the past.

Today (14 april 2020) is the 101^st bith anniversary of Shamshad Begam (14 April 1919 – 23 April 2013). On this occasion, here is a duet song from “Laal Quila”(1960). This song is a dance song which is sung by Rafi, Shamshad Begam and chorus. Bharat Vys is the lyricist. Music is composed by S N Tripathi.

I am unable to identify the actors seen in the picturisation. I request our nowledgeable readers to help identify them.

Audio

video (Full)

Song-Jhinchak jhinchak chakaachak pyaar karo (Laal Quila)(1960) Singers-Rafi, Shamshad Begam, Lyrics-Bharat Vyas, MD-S N Tripathi
Chorus

Lyrics

hey
hey
jhin chak jhin chak
jhin chaka chak
pyaar karo
bhai pyaar karo
jhin chak jhin chak
jhin chaka chak
pyaar karo
bhai pyaar karo
aayi suhaani raat suno ji baat
haath mein haath kisi ka lekar ankhiyaan chaar karo
bhai pyaar karo
jhin chak jhin chak
jhin chaka chak
chaka chak
chaka chak
pyaar karo
bhai pyar karo
bade puraane log ye humko keh gaye baat anoothhi
dil se dil ka pyaar hai saccha
aur baat sab jhoothhi re bhai
aur baat sab jhoothhi

suno ji suno ji sarkaar
suno ji suno ji sarkaar
nahin bekaar humse takraar karo
hum jawaan tum boodhhe
(cough cough cough)
hum jawaan tum boodhhe
kaise pyaar karo ji pyaar karo
kya khaakh pyaar karen be
jhin chak jhin chak
jhin chaka chak
chaka chak chaka chak
pyaar karo
bhai pyaar karo
aayi suhaani raat suno ji baat
haath mein haath kisi ka lekar ankhiyaan chaar karo
bhai pyaar karo
jhin chak jhin chak
jhin chaka chak
chaka chak chaka chak
pyaar karo
bhai pyaar karo

arre tu kya dikhaata hai apni adaa
meri baaanki adaa pe zamaana fidaa
jo mere husn ko apne bas mein kare
aise mardon ki moochhon pe taav nahin
aise mardon ki moochhon pe taav nahin
aise mardon ki moochhon pe taav nahin
aise mardon ki moochhon pe taav nahin
aise mardon ki moochhon pe taav nahin
aise mardon ki moochhon pe taav nahin
ek taraf hai tirchhi nazar
aur ek taraf hai patli kamar
aag(?) baraabar lagi huyi
na idhar kasar na udhar kasar
jhinkchak
hoy jhinchak
hoy jhinchak
jhinchak jhin chakaachak
pyaar karo bhai pyaar karo
jhinchak jhinchak jhin chakaachak
jhinchak jhinchak jhin chakaachak
jhinchak jhinchak
jhinchak jhinchak
jhinchak jhinchak
jhinchak jhinchak
hoy jhinchak
hoy jhinchak
hoy jhinchak
hoy jhinchak
jhinchak
jhinchak
jhinchak
jhinchak
jhinchak
jhinchak
jhinchak
jhinchak
jhinchak jhinchak jhin chakaachak
pyaar karo bhai pyaar karo
jhinchak jhinchak jhin chakaachak
pyaar karo bhai pyaar karo
jhinchak jhinchak jhin chakaachak
pyaar karo bhai pyaar karo
jhinchak jhinchak jhin chakaachak
pyaar karo bhai pyaar karo
jhinchak jhinchak jhin chakaachak
pyaar karo bhai pyaar karo
jhinchak jhinchak jhin chakaachak
pyaar karo bhai pyaar karo

Tags: 1960, Bharat Vyas, Helen, Kamal Kapoor, Laal Quila, Rafi, Rajan Haksar, S N Tripathi, Shammi, Shamshad Begam, Sheila Vaz, Sunder

Ek anaar do beemaar badi mushqil hai

Posted by: Atul on: July 29, 2019

Blog Day :

4028

Post No. :

15142

In old days, we had days of specialists. Hero, Heoine would sing songs, play lovey dovey, etc.

Villain’s would made the life of hero and heoine miserable. They would have mujra and or cabarat dancers as part of villain’s set up.
Singing quawwali in disguise would be the response of the lead actors.

Then there was comic side plot. And then character artists, such as parents of the lead actors, siblings of the lead actors etc.

From 1970s onwards, days of multitasking began and specialists found themselves threatened. Here the hero himself would do comedy as well as villainy. The heroine would perform cabarat/ mujra herself.

Fortunately, one did not witness multi tasking till 1960s and specialists ruled the roost those days.

As far as comedy was concerned, Johny Walker was the go to man, and he was followed by Mehmood.

When I try to analyse Johny Walker’s comedy, I find that his comedy often involved being in the wrong books of ladies. Sometimes he would find himself on the wrong side of dogs as well. 🙂

Johny Walker had acted in not one but two movies called “Baazi”, viz “Baazi” (1951) and “Baazi”(1968). “Baazi”(1951) was his debut movie, whereas “Baazi”(1968) came towards the fag end of his career.

“Baazi”(1968), lesser known that the 1951 namesake, was directed by Moni Bhattacharya for Golden Films Production, Bombay. The movie had Dharmendra, Waheeda Rehman, Johnny Walker, Mehmood, Helen, Ansari, Nazir Hussain, Ullhas, Chans Usmani, Amar, Manmohan, Keshto Mukherjee, Pinchoo Kapoor etc in it.

The movie had five songs in it. Two songs have been covered in the past.

Today (29 july 2019) is the 16^th remembrance day of Johny Walker (11 November 1926 – 29 July 2003). As a tribute to him, here is a song from “Baazi”(1968). IT is a Johny Walker type comedy song, viz a song where he is in trouble at the hands of the fair sex. It turns out that he sees not one but two ladies simultanously and he finally gets caught by both.

So here is this song from “Baazi”(1968). it is sung by Manna Dey. Shakeel Badayuni is the lyricist. Music is composed by Kalyanji Anandji.

The song shows Johny Walker being taken to task by Helen and Shammi. Singing while being chased by two ladies, that is Johny Walker for us. 🙂

Lyrics of this song were sent to me by Avinash Scrapwala.

Audio

Video

Song-Ek anaar do beemaar badi mushqil hai (Baazi)(1968) Singer-Manna Dey, Lyrics-Shakeel Badayuni, MD-Kalyanji Anandji

Lyrics (Provided by Avinash Scrapwala)

Are dil hamaara
uyi
Husn waalon ka akhaadaa
Akhaadaa ho gaya
Apne hi haathon se khud apna
Are apna kabaada ho gaya

Ek anaar
Do beemaar
Ek anaar do beemaar
Kaisi uljhan mein hain pyaar
Badi mushkil hai
Haan Badi mushkil hai
Haan haan badi mushkil hai ae

Do do ulfat ke bazaar
Hoga kaise karobaar
Badi mushkil hain
Haan badi mushkil hai
ho ho badi mushkil hai
Ek anaar do bimaar
Kaisi uljhan mein hai pyaar
Badi
Haan badi
Haan haan
Badi mushkil hai ae

Koyi mere ae
Koyi mere do tukde kar ke
Rok de is bumbaari ko o o o
Koi mere do tukde karke
Rok de is bumbaari ko
Ek tukdaa shole ko de de
Aur ik tukdaa chingaari ko
Is jhamele se yaaron main gharbra gaya aa
Is jhamele se yaaron main gharbra gaya
Dil dhadkane lagaa
Sar bhi chakra gaya
Gaya gaya gaya aa aa
Meri khaatir do do yaar
Meri khaatir do do yaar
Ladne marne ko taiyyaar hain
Badi mushkil hai
Haan badi mushkil hai
Haan haan badi mushkil hai
Ek anaar do beemaar
Kaisi uljhan mein hai pyaar
Badi mushkil hai
Haan badi mushkil hai
O ho badi mushkil hai

Uparwaale ae
Uparwaale ne mujhko
Do kaan diye do aankhen
Do o kaan diye do aankhen
Mil jaate jo do dil mujhko
Phir yoon naa ukhadti saansen
Phir yoon naa ukhadti saanse
Do ke chakkar mein meri akal phans gayi
Do ke chakkar mein meri akal phans gayi
Maine kheli thhi single
Double phans gayee
Double phans gayee
Da da da ba ba ba la la la
Double
Phans gayee ee ee ee
Badi samjhe mujhko yaar
Chhoti hai meri dildaar
Badi samjhe mujhko yaar
Chhoti hai meri dildaar
Badi mushkil hai
Haan Badi mushkil hai
Haan haan badi mushkil hai
Ek anaar do beemaar
Kaisi uljhan mein hai pyaar
Badi
Haan badi
Haan haan badi mushkil hai
Do do ulfat ke bazaar
Hoga kaise karobaar
Badi mushkil hai
Haan badi mushkil hai
Haan haan badi mushkil hai ae ae ae
————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————
अरे दिल हमारा
ऊए
हुस्न वालों का अखाड़ा
अखाड़ा हो गया
अपने ही हाथों से खुद अपना
अरे अपना कबाड़ा हो गया

एक अनार
दो बीमार
एक अनार दो बीमार
कैसी उलझन में है प्यार
बड़ी मुश्किल है
हाँ
बड़ी मुश्किल है
हाँ हाँ बड़ी मुश्किल है ए

दो दो उल्फत के बाज़ार
होगा कैसे कारोबार
बड़ी मुश्किल है
हाँ बड़ी मुश्किल है
ओ हो बड़ी मुश्किल हैं

एक अनार दो बीमार
कैसी उलझन में है प्यार
बड़ी
हाँ बड़ी
हाँ हाँ बड़ी मुश्किल है ए

कोई मेरे ए
कोई मेरे दो टुकड़े करके
रोक दे इस बम बारी को ओ ओ ओ
कोई मेरे दो टुकड़े करके
रोक दे इस बम बारी को
एक टुकड़ा शोले को दे दे
और एक टुकडा चिंगारी को
इस झमेले से यारों मैं घबरा गया आ
इस झमेले से यारों मैं घबरा गया
दिल धडकने लगा
सर भी चकरा गया
गया गया गया आ आ
मेरी खातिर दो दो यार
मेरी खातिर दो दो यार
लड़ने मरने को तैयार
बड़ी मुश्किल है
हाँ बड़ी मुश्किल है
हाँ हाँ बड़ी मुश्किल है
एक अनार दो बीमार
कैसी उलझन में है प्यार
बड़ी मुश्किल है
हाँ
बड़ी मुश्किल है
ओ हो बड़ी मुश्किल है ए

उपरवाले ए
उपरवाले ने मुझको
दो कान दिए दो आँखें
दो ओ कान दिए दो आँखें
मिल जाते जो दो दिल मुझको
फिर यूं ना उखड्ती साँसे
अई
फिर यूं ना उखड्ती साँसे
दो के चक्कर में मेरी अक्ल फँस गयी
दो के चक्कर में मेरी अक्ल फँस गयी
मैंने खेली थी सिंगल
डबल फँस गयी
डबल फँस गयी
ड ड ड ब ब ब ल ल ल
डबल
फँस गयी ई ई ई
बड़ी समझे मुझको यार
छोटी हैं मेरी दिलदार
बड़ी समझे मुझको यार
छोटी हैं मेरी दिलदार
बड़ी मुश्किल है
हाँ
बड़ी मुश्किल है
हाँ हाँ बड़ी मुश्किल हहै

एक अनार दो बीमार
कैसी उलझन में है प्यार
बड़ी
हाँ बड़ी
हाँ हाँ बड़ी मुश्किल है ए
दो दो उल्फत के बाज़ार
होगा कैसे कारोबार
हाँ बड़ी मुश्किल है
हाँ हाँ हाँ बड़ी मुश्किल है ए ए ए

Tags: 1968, Baazi, Helen, Johny Walker, Kalyanji Anandji, Manna Dey, Shakeel Badayuni, Shammi

Sun Gori Khol Zara Ghunghat Ka Door

Posted by: skapur01 on: January 21, 2019

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

Blog Day :

3839

Post No. :

14851

Mohammed Rafi – Duets – ‘अ’ से ‘ह’ तक (From ‘अ’ to ‘ह’) – 33
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘स’ – सुन गोरी खोल ज़रा घूँघट का डोर ॰ ॰ ॰

– – – –

॰ ॰ ॰जिनके मिलन को तरसे
वो तो ना आए
मौसम आए जाये॰ ॰ ॰

It is your words that tell of this predicament. Seasons come and go, as they have, year on year on year. . . but the one who this heart wants to listen to again, has not returned after going away. . .

– – – –

Rafi Sb has sung playback for a whole range of performers all the way from mid 1940s to early 1980s, and then some. He never declined to sing for any actor, be that a newcomer, a junior artist, or even non-entities who made just one song, one film appearances. On the other hand, the association of Rafi Sb’s voice with some very important and specific performers, has been well discussed and documented. Almost invariably, Rafi Sb was the singing voice for these artists, no matter what.

One name that is very familiar in this context is Johnny Walker. Starting his career as a small time comedian, Johnny Walker went on to command such importance in the film world that his role, and invariably a song lip-synched by him, was part of a formula in the world of Hindi cinema. Pick any Johnny Walker film in 1950s and 1960s – you can be sure there is also a song performed by him, with playback from Rafi Sb. Rafi Sb was able to create that unique and peculiar rendition for Johnny Walker songs, that blended so seamlessly with actor’s dialogue delivery and acting styles. That is the depth of the singing prowess of Rafi Sb. And it applies across all actors. He sang for them, in their own styles, almost completely making himself invisible inside that actor.

Today’s song in this series is a typical Johnny Walker song. The film is ‘Phool Baney Angaarey’ from 1963. The film is produced under the banner of Asiatic Arts Production, and is directed by Suraj Prakash. This is a social drama that weaves a story of a joint family during the period of India’s 1962 war with China. The star cast includes Mala Sinha, Raj Kumar, Johnny Walker, Ashish Kumar, Shammi, Mumtaz Begum, Mukri, Nasreen, Tuntun, Sarita Devi, Lakshmi, Leela Mishra, Chaman Puri, Ravikant, Mansaram, and Bhalla amongst others.

Geet Kosh lists six songs for this film. All songs are written by Anand Bakshi, and the music is composed by Kalyanji Anandji. Two songs of this film are already showcased here.

In this duet, Rafi Sb is accompanied by Kamal Barot. On screen, the song is performed by Johnny Walker and Shammi. The scenario is the first night of a newlywed couple. The groom is making efforts and requesting the bride to open her ghunghat and allow him to see her face. The exchange is comical, of course, given that Johnny Walker is the groom. He even mentions that yes, they have met before also, but that he just wants to confirm that he got married to the same person.

Enjoy this fun song, the penultimate in this series. Concluding episode should be coming shortly. 🙂

Audio

Video

Song – Sun Gori Khol Zara Ghunghat Ka Door (Phool Baney Angaarey) (1963) Singer – Mohammed Rafi, Kamal Barot, Lyrics – Anand Bakshi, MD – Kalyanji Anandji

Lyrics

sun gori khol zara ghunghat ka door
ghunghat ka door
honay bhi de zara akhiyaan four
oon hoon
sun gori khol zara ghunghat ka door
ghunghat ka door
honay bhi de zara akhiyaan four

yaad hai tujhe chaupaati ka wo footpath
hui thi jahaan hamaari pehli mulaqaat
aaa haan
yaad hai tujhe chaupaati ka wo footpath
hui thi jahaan hamaari pehli mulaqaat
dekhoon zara tu hai wahi ya hai koi aur
sun gori khol zara ghunghat ka door
ghunghat ka door
honay bhi de zara akhiyaan four
oon hoon
sun gori khol zara ghunghat ka door
ghunghat ka door
honay bhi de zara akhiyaan four

main hoon tera husband
tu hai meri wife
ye hi afsos to rahegi saari life
ain
kya kaha
hee
arey main hoon tera husband
tu hai meri wife
ye hi afsos to rahegi saari life
life pe karenge hum phir kabhi gaur
sun gori khol zara ghunghat ka door
ghunghat ka door
honay bhi de zara akhiyaan four
oon hoon
sun gori khol zara ghunghat ka door
ghunghat ka door
honay bhi de zara akhiyaan four
bhaai
four

yaad hai tujhe wo mera taan tod saang
saang tha kaahe ka wo thi murge ki baang
[cock a doodle sounds]
yaad hai tujhe wo mera taan tod saang
sang tha kaahe ka wo thi murge ki baang
tu ne usi baang pe kaha tha once more
o sun gori khol zara ghunghat ka door
ghunghat ka door
honay bhi de zara akhiyaan four
oon hoon
sun gori khol zara ghunghat ka door
ghunghat ka door
honay bhi de zara akhiyaan four

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

सुन गोरी खोल ज़रा घूँघट का डोर
घूँघट का डोर
होने भी दे ज़रा अखियाँ फोर
ऊँ हूँ
सुन गोरी खोल ज़रा घूँघट का डोर
घूँघट का डोर
होने भी दे ज़रा अखियाँ फोर

याद है तुझे चौपाटी का वो फूटपाथ
हुई थी जहां हमारी पहली मुलाकात
आ हाँ
याद है तुझे चौपाटी का वो फूटपाथ
हुई थी जहां हमारी पहली मुलाकात
देखूँ ज़रा तू है वही या है कोई और
सुन गोरी खोल ज़रा घूँघट का डोर
घूँघट का डोर
होने भी दे ज़रा अखियाँ फोर
ऊँ हूँ
सुन गोरी खोल ज़रा घूँघट का डोर
घूँघट का डोर
होने भी दे ज़रा अखियाँ फोर

मैं हूँ तेरा हसबेंड
तू है मेरी वाइफ़
ये ही अफसोस तो रहेगा सारी लाइफ
ऐं
क्या कहा
ही
अरे मैं हूँ तेरा हसबेंड
तू है मेरी वाइफ़
ये ही अफसोस तो रहेगा सारी लाइफ
लाइफ पे करेंगे हम फिर कभी गौर
सुन गोरी खोल ज़रा घूँघट का डोर
घूँघट का डोर
होने भी दे ज़रा अखियाँ फोर
ऊँ हूँ
सुन गोरी खोल ज़रा घूँघट का डोर
घूँघट का डोर
होने भी दे ज़रा अखियाँ फोर

याद है तुझे वो मेरा तान तोड़ सांग
सांग था काहे का वो थी मुर्गे की बांग
[मुर्गे की बांग का शब्द]
याद है तुझे वो मेरा तान तोड़ सांग
सांग था काहे का वो थी मुर्गे की बांग
तूने उसी बांग पे कहा था वंस मोर
ओ सुन गोरी खोल ज़रा घूँघट का डोर
घूँघट का डोर
होने भी दे ज़रा अखियाँ फोर
ऊँ हूँ
सुन गोरी खोल ज़रा घूँघट का डोर
घूँघट का डोर
होने भी दे ज़रा अखियाँ फोर

Tags: 1963, Anand Bakshi, Johny Walker, Kalyanji Anandji, Kamal Barot, Mohammed Rafi, Phool Baney Angaarey, Shammi

Paise Ka Kaajal Daike Na Lo Hamri Jaan

Posted by: skapur01 on: July 18, 2018

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

Blog Day :

3652

Post No. :

14505

Today is the death anniversary of one of India’s biggest superstars, Rajesh Khanna, affectionately referred to as Kaka. He passed away on the 18^th of July 2012. I remember being shocked to hear of his death – and even wrote an emotional post on my blog on the occasion. Although I did know that he had been suffering from cancer, the news hit me hard. Today, it is already 6 years since his death. How time flies!

Maybe it’s a reflection of the person he was, but it seems to me that any conversation about Kaka invariably goes beyond his films, and delves into his personal life and relationships. His, admittedly none too positive, image seems to take over – at the cost of discussion about his films. This is unfortunate – but, to some extent, Kaka probably brought this on himself.

We all know he let success go to his head – and paid a heavy price for it. Like I’ve said before, maybe that was one of his roles here on this earth. To NOT be a role model, to be someone that can be held up as an example by parents to children of how NOT to let success get to your head. Anyway, later in life, Kaka did admit to the mistakes he’d made – and, on this Remembrance Day, I think I’d like to not talk about his mistakes. I’ve discussed them at length in previous posts – I don’t want to repeat myself.

Today, as I remember him, all I want to do is to thank him for the performances he gave me when I was just a young boy, growing up in the late 60s / early 70s. I’m going to pause just a bit here to remember those performances.

There were many – his filmography of that period and his success rate would put any other actor in the shade. Not even the big 3 (Dilip, Raj Kapoor and Dev Anand) who came before him could deliver that many hits in that short a time frame. Or the biggie who followed right after. But personally I couldn’t care less about the box-office success of those films. I was just a young boy – what did I know about the box-office? All I knew was, there was this “hero” on screen who, through his smile, or tilt of the head, or “guru” kurta, or dialogue delivery had me mesmerized in film after film, singing one blissful song after another (at that time I didn’t know about playback).

I didn’t always understand the storyline, or even all the dialogues, but everytime he would be romancing the heroine, whether it was Sharmila or Mumtaz or Tanuja or Hema or another, it felt like all was just perfect with the world. It wasn’t as if other heroes didn’t have romantic scenes with the heroines, but somehow it seemed different in Kaka films. Later, when I thought about this, I felt it was possibly because romance was usually intrinsic to Kaka films. It formed part of the main plot itself. Whereas for others, it was an important element no doubt, but the storyline often had a crime-related plot – like smuggling. Note that wherever romance IS the plot, the film seems very Kaka-like. For example, ‘Aa Gale Lag Ja’ (1973) could very well have been a Kaka film, though it had Shashi Kapoor in the main lead.

Of course, it was not always a happy ending. Kaka would often die in the film, breaking my heart. This only made the film a bigger hit, so storylines were devised accordingly.

I thoroughly enjoyed those films – have fond memories of ‘Aradhana’, ‘Aan Milo Sajna’, ‘Kati Patang’, ‘Dushman’, ‘Apna Desh’, ‘Haathi Mere Saathi’, ‘Mere Jeevan Saathi’, and so many others. Whether it was “Mere Sapnon Ki Rani”, “Yahaan Wahaan Saare”, “Ye Shaam Mastaani”, “Waada Tera Waada”, “Rona Kabhi Nahin Rona”, “Dilbar Jaani”, “O Mere Dil Ke Chain” or any of his numerous hits of the time, I knew them all by heart – all stanzas. We’d often sing these songs amongst friends.

At that time I had no idea about Kaka beyond his screen presence. Ignorance was truly bliss.

Then things began changing.

Suddenly he didn’t seem to have the same magic anymore. I tend to associate this with his “long hair” phase but, to be fair to him, that was just the fashion of the time. Hamming seemed to have set in – even the films seemed to lack that romantic feel about them. The last couple of movies I remember of that era that I saw, and could accept, were ‘Aap Ki Kasam’ (1974) and ‘Prem Kahaani’ (1975).

Mehbooba (1976) was probably the first big shock for me. It was highly hyped at the time – what with the two biggest names, Kaka and Hema, as the lead actors. Not to mention RD Burman’s music. I remember the film being a big flop. Later I read that the decline started even earlier but for me, at that age, Mehbooba was the marker.

That was a terrible period for him. Flop after flop. I clearly remember ‘Bundalbaaz’, ‘Chalta Purza’, ‘Aashiq Hoon Baharon Ka’, even BR Chopra’s ‘Karm’ (another much-awaited film) – all failed. But there were more.

Oh, one thing. I said I didn’t know about box-office but there was one indicator for me. I used to travel by school bus to school, 30 km away. En-route there was a film theatre. From the bus, we could see which film was running. That gave us a pretty good idea of hit or flop. I remember ‘Yaadon Ki Baaraat’ running for many weeks, whereas ‘Bundalbaaz’ and ‘Chalta Purza’ just came and went.

After watching ‘Aashiq Hoon Baharon Ka’, I really couldn’t take it anymore. What had happened to my “Ye Shaam Mastaani” Rajesh Khanna? How had he morphed into this “I am in love, you are in love, he is in love, she is in love” Rajesh Khanna? I stopped seeing his movies. I couldn’t bear to.

Later, in the mid-80s, I did watch a few – but only because they were on Doordarshan. ‘Thodisi Bewafai’ (1980), ‘Avtaar’ (1983) and ‘Aakhir Kyon’ (1985). I quite liked them. But only these.

For the next 25 years, I stayed away from Kaka films that I had not watched. Sure, I watched the old ones to relive their magic. But none of his post-1977 films. Only a few years ago, I mustered the courage to watch this category. I think it had to do with his death. Maybe I felt I was doing him grave injustice by avoiding these films. After all, he must have worked just as hard in them, as in his early films. So why not at least give them a shot? For Kaka’s sake.

I started with the more successful ones – at least those with popular songs. Like ‘Agar Tum Na Hote’ (1983), ‘Kudrat’ (1981), ‘Rajput’ (1982). I kept my expectations very low. I quite liked all these films. And I was quite impressed by Kaka too. I don’t recall seeing much of the hamming that I had dreaded. Sure they were very different from his early 1970s films – but that’s to be expected.

Recently I got into the mood again – and did a Kaka binge. I watched ‘Amrit’ (1986), ‘Dhanwaan’ (1981), ‘Dard’ (1981), ‘Aanchal’ (1980), ‘Janta Hawaldar’ (1979) and ‘Amar Deep’ (1979), all within the last month. As usual, keeping expectations low. I liked some more than the others, of course. But what I realized is each of their story lines is very different from the rest. That also made me realize that Kaka’s movies often had that – different story lines. This, at a time in the late 70s or in the 80s, when usually you had formulaic dhishum-dhishum films, either as multi-starrers, or hero taking revenge on the villain.

I now plan to watch more Kaka films of the period. Even if they’re not good, that’s ok. I keep my expectations low – and I’m watching them for Kaka. His looks aren’t what they were in the early 1970s – but that only seems to make him all the more real for me. And, worst case, the film will probably have a reasonable story line.

Moving on to today’s song.

Now having watched all these Kaka films recently, and most of them not being much represented on the blog, I was somewhat spoilt for choice today. I could have picked at least half a dozen Kaka songs from these films alone – and I do plan to write up more from these films. But for today, I’ve chosen “Paise Ka Kaajal” from ‘Aanchal’ (1980).

Firstly, this song comes in the category of “ye gaana IS film mein hai?” for me. I’d heard it all those years ago but didn’t know which film it was from. Secondly, ‘Aanchal’ is not represented yet on the blog, so it makes its debut today. Thirdly, it is a song & dance – and I quite like song & dance. 🙂 What I particularly liked about this one, apart from the song itself, is Kaka’s style. Not that he was a great dancer, but his style here reminded me of the Kaka of the early 1970s, when he’d dance similarly opposite heroines of the time. 🙂

The film stars Kaka, Rekha, Raakhee, Amol Palekar and Prem Chopra. It’s a village-based story, where Kaka and Amol Palekar are brothers, with Raakhee married to Amol Palekar. Since Kaka is her husband’s younger brother, Raakhee treats him with great affection. Kaka too has highest regard for his bhabhi. Prem Chopra, who has a score to settle with Amol Palekar, plays mischief, creating misunderstanding in his mind about the relationship between Raakhee and Kaka. Also, doing the same to Rekha, who is in love with Kaka.

To be honest, the film picks up only in the second half – the first half is rather slow. But maybe it is a build-up to show the relationships between the characters. I was rather keen for the film to get on with the plot. 🙂

In any case, do listen to this fairly catchy tune composed by RD Burman. Lyrics are by Majrooh Sultanpuri. The song is sung by Kishore Kumar and Asha Bhosle. As usual, the lyrics have been provided to me by Avinash ji. He is always very helpful in this respect, sending me lyrics for any post I plan to write.

Not only this, he is a huge Kaka fan – a much bigger fan than I am. Avinash ji did tell me that he might not be able to write a post for Kaka on this occasion. So this is our joint tribute to Kaka, as we remember him fondly today.

Kaka, hope you are at peace, wherever you are. And thanks for all the memories.

Video

Audio

Song – Paise Ka Kaajal Daike Na Lo Hamri Jaan (Aanchal) (1980) Singer – Kishore Kumar, Asha Bhosle, Lyrics – Majrooh Sultanpuri, MD – RD Burman
Chorus

Lyrics (Provided by Avinash Scrapwala)

paise ka kaajal
daike na lo hamri jaan
paise ka kaajal
daike na lo hamri jaan
laakhon ki hai hamri jaan babuaa
dhhikki naaki dhhikki naaki
dhhikki naaki dhhikki naaki
dhhikki naaki naa aa aa aa aa

o o o o
nainaa hai chanchal
kaise na maarenge baan
nainaa hai chanchal
kaise na maarenge baan
ho
ham ho gaye hain jawaan babuaa
dhhikki naaki dhhikki naaki
dhhikki naaki dhhikki naaki
dhhikki naaki naa aa aa aa aa

mele mein bhi ham akele hain
tum hamre sang aao naa
sang aao naa
are phir jaate jaate ye chhalla
nishaani mein de jaao naa
are de jaao naa
aa ha
chhalla mera naa mehanga pade
loot jaaoge khade hi khade
ho
bachaaye tumhe raam
dhhikki naaki dhhikki naaki
dhhikki naaki dhhikki naaki
dhhikki naaki naa

o o o o o o o o o o o
nainaa hai chanchal
kaise na maarenge baan
ho
ham ho gaye hai jawaan babuaa
dhhikki naaki dhhikki naaki
dhhikki naaki dhhikki naaki
dhhikki naaki naa aa aa aa aa aa aa

jeewan se jaaoge sainyyaan
jo hamse nazar mil gayee
nazar mil gayee
ho kitni dafaa hamre kaaran
yahin pe chhuri chal gayee
chhuri chal gayee
are hum dilwaale bhi dikhlayenge
dekh lena tumko le jaayenge
bachaaye tumhe raam
dhhikki naaki dhhikki naaki
dhhikki naaki dhhikki naaki
dhhikki naaki naa aa
o o o o
paise ka kaajal
daike naa lo hamri jaan
laakhon ki hai hamri jaan babuaa
dhhikki naaki dhhikki naaki
dhhikki naaki dhhikki naaki
dhhikki naaki naa aa aa aa aa

main jo is aanchal ko chhodun to
jag me rahaa kya mera
rahaa kya mera
are duniya ko maalum kya hai
jo tumse hai naata mera
hai naata mera
sab hai jhootha taraana tera
harjaaee kya hai thikaana tera
sikhaaye tumhe raam
dhhikki naaki dhhikki naaki
dhhikki naaki dhhikki naaki
dhhikki naaki naa
o o o o o o o o o o o
nainaa hai chanchal
kaise na maarenge baan
ho
ham ho gaye hai jawaan babuaa
dhhikki naaki dhhikki naaki
dhhikki naaki dhhikki naaki
dhhikki naaki naa aa aa aa aa aa

paise ka kaajal
daike na lo hamri jaan
laakhon ki hai hamri jaan babuaa
dhhikki naaki dhhikki naaki
dhhikki naaki dhhikki naaki
dhhikki naaki naa aa aa aa aa aa

dhhikki naaki dhhikki naaki
dhhikki naaki dhhikki naaki
dhhikki naaki naa

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

पैसे का काजल
दैके ना लो हमरी जान
पैसे का काजल
दैके ना लो हमरी जान
लाखों कि है हमरी जान बबुआ
धिक्की नाकी धिक्की नाकी
धिक्की नाकी धिक्की नाकी
धिक्की नाकी ना आ आ आ आ
ओ ओ ओ ओ
नैना है चंचल
कैसे ना मारेंगे बाण
नैना है चंचल
कैसे ना मारेंगे बाण
हो
हम हो गए है जवान बबुआ
धिक्की नाकी धिक्की नाकी
धिक्की नाकी धिक्की नाकी
धिक्की नाकी ना आ आ आ आ

मेले में भी हम अकेले है
तुम हमरे संग आओ ना
संग आओ ना
अरे फिर जाते जाते ये छल्ला
निशानी में दे जाओ ना
अरे दे जाओ ना
आ हा
छल्ला मेरा ना महंगा पड़े
लूट जाओगे खड़े ही खड़े
हो
बचाए तुम्हे राम
धिक्की नाकी धिक्की नाकी
धिक्की नाकी धिक्की नाकी
धिक्की नाकी ना
ओ ओ ओ ओ ओ ओ ओ ओ ओ ओ
नैना है चंचल
कैसे ना मारेंगे बाण
हो
हम हो गए है जवान बबुआ
धिक्की नाकी धिक्की नाकी
धिक्की नाकी धिक्की नाकी
धिक्की नाकी ना आ आ आ आ आ आ

जीवन से जाओगे सैंय्या
जो हमसे नज़र मिल गयी
नज़र मिल गयी
हो कितनी दफा हमरे कारण
यही पे छुरी चल गयी
छुरी चल गयी
अरे हम दिलवाले भी दिखलायेंगे
देख लेना तुम्हे जायेंगे
बचाए तुम्हरे राम
धिक्की नाकी धिक्की नाकी
धिक्की नाकी धिक्की नाकी
धिक्की नाकी
ओ ओ ओ
पैसे का काजल
दैके ना लो हमरी जान
लाखों कि है हमरी जान बबुआ
धिक्की नाकी धिक्की नाकी
धिक्की नाकी धिक्की नाकी
धिक्की नाकी ना आ आ आ आ

मैं जो इस आँचल को छोडूं तो
जग में रहा क्या मेरा
रहा क्या मेरा
अरे दुनिया को मालुम क्या है
जो तुमसे है नाता मेरा
है नाता मेरा
सब है झूठा तराना तेरा
हरजाई क्या है ठिकाना तेरा
सिखाये तुम्हे राम
धिक्की नाकी धिक्की नाकी
धिक्की नाकी धिक्की नाकी
धिक्की नाकी ना
ओ ओ ओ ओ ओ ओ ओ ओ ओ ओ
नैना है चंचल
कैसे ना मारेंगे बाण
हो
हम हो गए है जवान बबुआ
धिक्की नाकी धिक्की नाकी
धिक्की नाकी धिक्की नाकी
धिक्की नाकी ना आ आ आ आ आ

पैसे का काजल
दैके ना लो हमरी जान
लाखों कि है हमरी जान बबुआ
धिक्की नाकी धिक्की नाकी
धिक्की नाकी धिक्की नाकी
धिक्की नाकी ना आ आ आ आ आ
धिक्की नाकी धिक्की नाकी
धिक्की नाकी धिक्की नाकी
धिक्की नाकी ना
धिक्की नाकी धिक्की नाकी
धिक्की नाकी धिक्की नाकी
धिक्की नाकी ना

Tags: 1980, Amol Palekar, Asha Bhosle, Kishore Kumar, Majrooh Sultanpuri, Prem Chopra, Raakhee, Rajesh Khanna, RD Burman, Rekha, Shammi

Tum Chale. . . Kyon Chale

Posted by: skapur01 on: April 26, 2018

Blog Day :

3569

Post No. :

14305

Thoda Sa Dil Laga Ke Dekh. . .

Film – ‘Musafirkhana’ from 1955, she plays the role Mary, the love interest of Frankie (Johnny Walker). Mary’s mother fancies another match for her daughter, and Frankie is contemplating suicide on that account. As it often happens in films, Mary breaks out into a song, trying to lift up Frankie’s dying spirits.

1958 – she plays the role of Nargis, the bosom friend of Sheela (Nutan), in this confused and comic scenario of mixed identities and true love – ‘Aakhiri Daao’. Funny to note that Nargis is her real name. And casting credit lists her assumed name. Always life is so interesting.

On to 1960 and ‘Dil Apna Aur Preet Paraayi’. Now she is Sheela, the naughty and playful nurse, who is reprimanded by the head nurse for putting on too much lipstick. Then it is ‘Half Ticket’ in 1962. As Lily, a partner in crime with Raja Babu (Pran) – the scene is simply hilarious, as she tries again and again to pat Vijay’s (Kishore Kumar) bottom – actually his back pocket, searching for an expensive diamond that Raja Babu has hidden there. There is a whole music and dance sequence, with a tape recorder keeping company, as she tries to extract the stolen goods from Vijay, without letting him know.

In 1965, she is Stella, the au pair companion to Rita (Nanda), in the musical romantic drama ‘Jab Jab Phool Khile’. 1970, moving into senior roles; the film is ‘Purab Aur Paschim’, and she herself is Rita, the British Indian wife of Sharma (Madan Puri), always with a smoking cigarette in her hand.

Fast forward forty years, to 2012 – she is very much on screen, this time playing the mother in law to Nargis (Daisy Irani) and grandmother of Farhad (Boman Irani) in ‘Shirin Farhad Ki To Nikal Padi’.

6^th March earlier this year, she passed away in her sleep, just some weeks short of her 89^th birthday. A memorable career for more than six decades, with quite over 200 films in her portfolio, and a number of very successful TV serials thrown in for good measure. Nargis Rabadi – she would have been 89 today.

Born this day in 1929, Nargis’ father was a priest in the Parsi temple. She was just 3 years old when her father passed away. Her mother raised her two daughters, working as a cook at the Parsi community festivals. After completing her studies, her elder sister got a job as an office secretary at Johnson & Johnson. So when Nargis completed her studies, she also came to Johnson & Johnson, working in the packaging department.

A close family friend and uncle, Chinuu Mama, was associated with the film industry. One thing led to another, and Nargis was introduced to Sheikh Mukhtar, who at that time was searching for a second lead lady for his film ‘Ustad Pedro’ (1951). At first, he was concerned that Nargis may not be able to handle the Hindi/Urdu dialogue, being a Parsi. But Nargis talked to him and the director Harish, and they were convinced she could do the role. That’s how she got her first break in films.

And with the first break, she also got a new name. The film’s director was concerned that her name might be confused with another rising star of those years – Nargis. And so he suggested her to change her name to Shammi. She did, and the name served her well for the remainder of her life. In later years, she became to be better known as Shammi Aunty.

Stringing through the cameos above, an interesting thing emerges. Her name is Nargis. She changes that to Shammi. In the 1958 film ‘Aakhiri Daao’, her name in credit appears as ‘Shammi’, and her screen name is Nargis. Then in 2012, her screen name is not clearly evident (in ‘Shirin Farhad. . .’), but then her daughter in law (Daisy Irani) has the screen name of Nargis. 🙂

Alongside ‘Ustad Pedro’, Harish was also directing another film at the same time – ‘Malhaar’ (produced by Mukesh, the singer). Impressed by her performance during the shooting of ‘Ustad Pedro’, he cast her as the heroine of ‘Malhaar’ opposite to another new face, Arjun. Although ‘Ustad Pedro’ did good business and was popular, ‘Malhaar’ failed to impress at the box office. The prospects of growing as a leading lady in the industry slowly receded.

But on the other hand, she became very much in demand for second lead female roles. Especially if the role demanded some comic goofiness, Shammi was quite the first name that the producers thought of. With little breaks here and there, she continued her cinematic journey, playing oh so many an endearing roles, leaving behind indelible memories. The wide eyed shocked look on her face as she opens the door to find her grandson (Boman Irani) standing there, as if coming out of a melee – is simply priceless. So many more of such moments flicker through the mind’s eye, as I pull together this piece today.

The song that I present today, however, is on a more somber note, the words expressing the very emotion that the heart wants to convey – “तुम चले॰॰॰ क्यों चले”. The film is ‘Awaara Ladki’ from 1967. This is an Asha Bhosle solo rendition that is picturized on a much younger Shammi. In the clip, we also see Sudesh Kumar – with a very lost look on his face, walking away from her, and then the song begins.

It is a peculiar situation – I am reminded of the one earlier song that I had posted from this film. The emotional mood of the song and the situation of that song is precisely the same – Sudesh Kumar + lost look + walking away, only the lady singing that song is different. It is Sheela Ramani singing “Arre Jaane Waale Nazar To Mila Ja”. Discovery of these two similar songs indicate some sort of a love triangle in the film’s story. Interesting – prompts me to watch this film.

This song is not listed in the Geet Kosh, although the print does indicate that there are more songs than the four listed. Music is by Dhaniram, and the uploader of this video clip, a dear friend Dharmesh from Rohtak, has indicated that the lyrics are from the pen of Kaif Irfani. So I will go by that information for now.

Bidding a good bye to a dear goofy artist, and to the long innings she has played on screen. Rest in peace, Nargis; or maybe I should say, wallow in mirth Shammi Aunty, wherever you are.

Adios and farewell.

Song – Tum Chale. . . Kyon Chale (Awaara Ladki) (1967) Singer – Asha Bhosle, Lyrics – Kaif Irfani, MD – Dhaniram

Lyrics

toot chukka hai
dil pehle bhi
soch to mujh par thukraate zaalim
na loot naseeba banta hai abhi bhi

tum chale. . . kyon chale
tum chale. . . kyon chale
doley hansi labon pe
doley hansi labon pe
bhool rahe hain muskaana
bhool rahe hain muskaana
tum chale. . . kyon chale

dhadkan ke saaz par hook ye kehti
dhadkan ke saaz par hook ye kehti
palak kinaara nadiyaan ansuwan ki behtin
palak kinaara nadiyaan ansuwan ki behtin
shaam e gham hi mera mausam suhaana
bhool rahe hain muskaana
bhool rahe hain muskaana
tum chale. . . kyon chale

shab se shabnam rotey rotey kehti
shab se shabnam rotey rotey kehti
besahaara aaj dekh ek taara
besahaara
sun zara haaye
kehta angaara afsaana
bhool rahe hain muskaana
tum chale. . . kyon chale

bin ishaare tere maut bhi na aati
bin ishaare tere maut bhi na aati
tu kar ehsaan main nadaan sahi
nadaan sahi
maut ki maujon mein
beh jaaun to chale jaana
bhool rahe hain muskaana
tum chale. . . kyon chale

tum chale. . . kyon chale
doley hansi labon pe
doley hansi labon pe
doley hansi labon pe
doley hansi labon pe
doley hansi labon pe
doley hansi labon pe

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

टूट चुका है
दिल पहले भी
सोच तो मुझ पर ठुकराते ज़ालिम
ना लूट नसीबा बनता है अभी भी

तुम चले॰ ॰ ॰ क्यों चले
तुम चले॰ ॰ ॰ क्यों चले
भूल रहे हैं मुसकाना
भूल रहे हैं मुसकाना
तुम चले॰ ॰ ॰ क्यों चले

धड़कन के साज पर हूक ये कहती
धड़कन के साज पर हूक ये कहती
पालक किनारा नदियां अंसुवन की बहतीं
पालक किनारा नदियां अंसुवन की बहतीं
शाम ए ग़म ही मेरा मौसम सुहाना
भूल रहे हैं मुसकाना
भूल रहे हैं मुसकाना
तुम चले॰ ॰ ॰ क्यों चले

शब से शबनम रोते रोते कहती
शब से शबनम रोते रोते कहती
बेसहारा आज देख एक तारा
बेसहारा
सुन ज़रा हाए
कहता अंगारा अफसाना
भूल रहे हैं मुसकाना
तुम चले॰ ॰ ॰ क्यों चले

बिन इशारे तेरे मौत भी ना आती
बिन इशारे तेरे मौत भी ना आती
तू कर एहसान मैं नादान सही
नादान सही
मौत की मौजों में
बह जाऊँ तो चले जाना
भूल रहे हैं मुसकाना
तुम चले॰ ॰ ॰ क्यों चले

तुम चले॰ ॰ ॰ क्यों चले
डोले हंसी लबों पे
डोले हंसी लबों पे
डोले हंसी लबों पे
डोले हंसी लबों पे
डोले हंसी लबों पे
डोले हंसी लबों पे

Tags: 1967, Asha Bhosle, Awaara Ladki, Dhaniram, Kaif Irfani, Shammi, Sudesh Kumar

Garaz Ho To Nakhre Dikhaati Hai Biwi

Posted by: skapur01 on: March 2, 2016

Mohammed Rafi – ‘अ’ से ‘ह’ तक (From ‘अ’ to ‘ह’) – 12
– – – – – – – – – – – – – – – – – – – – – – – – – –

‘ग’
“गरज़ हो तो नखरे दिखाती है बीवी”

The voice of Rafi Sb has played in the back for umpteen actors, all the way from mid 1940s the 1980s. But there are two actors who screen performances have a very special connection with Rafi Sb. Not difficult to guess, I am sure. Yes, Shammi Kapoor is one, and Johnny Walker is the second.
Read more on this topic…

Tags: 1962, Johnny Walker, Mohammed Rafi, N Datta, Sachche Moti, Sahir Ludhianvi, Shammi

Ae Ishq Isey Barbaad Na Kar

Posted by: Atul on: September 6, 2015

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

The decade of the 50s and the 60s clearly belonged to Johnny Walker. From 1951 to 1969, JW worked in 142 films – an average of 6 films per year. This means, every 2 months a JW film was released. This is a very high average, which I feel many leading stars also must have found difficult to achieve for successive years. There must be very few to get this number. In the year 1955 alone his 17 films were running at a time in theatres ! In the period 1970 to 1989 he did only 42 films, which averages to almost just 2 films a year.
Read more on this topic…

Tags: 1959, G M Durrani, Johny Walker, Naashaad, Nirmala Devi, Rafi, Raja Mehdi Ali Khan, Shammi, Suresh, Tony Walker, Zara Bach Ke

Older Entries

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

Posts Tagged ‘Shammi’

Hanske jaane waali zulf teri latke

Chalna sambhal sambhal ke jee

Jhinchak jhinchak jhin chakaachak pyaar karo

Ek anaar do beemaar badi mushqil hai

Sun Gori Khol Zara Ghunghat Ka Door

Paise Ka Kaajal Daike Na Lo Hamri Jaan

Tum Chale. . . Kyon Chale

Garaz Ho To Nakhre Dikhaati Hai Biwi

‘ग’
“गरज़ हो तो नखरे दिखाती है बीवी”

Ae Ishq Isey Barbaad Na Kar

What is this blog all about

Important Announcement

Total number of songs posts discussed

Number of movies covered in the blog

Search

Total visits so far

Top Posts

Subscribe to the blog

Bookmark

Recent comments

Meta

Category of songs

Like us at Facebook

Current Visitors

Historical dates

networked blogs

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Tag cloud

Posts Tagged ‘Shammi’

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

‘ग’ “गरज़ हो तो नखरे दिखाती है बीवी”

Share this:

Share this:

What is this blog all about

Important Announcement

Total number of songs posts discussed

Number of movies covered in the blog

Search

Total visits so far

Top Posts

Subscribe to the blog

Bookmark

Recent comments

Meta

Category of songs

Current Visitors

Historical dates

networked blogs

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Tag cloud

‘ग’
“गरज़ हो तो नखरे दिखाती है बीवी”