Posts Tagged ‘Shanker Jaikishan’
Badan Pe Sitaare Lapete Huye
Posted on: December 24, 2019
- In: Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | One song used in more than one movie | One song used in two movies | Post by Sudhir | Song used in more than one film | Songs of 2010s (2011 to 2020) | Songs of 2018 | Sonu Nigam Solo Songs | Sonu Nigam Songs | Stage song | Yearwise breakup of songs
- 5 Comments
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.
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Blog Day : |
4176 | Post No. : | 15353 | Movie Count : |
4232 |
Songs Repeated in Hindi Films – 13
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A great day today. The remembrance day of one of most recognized icons of the Golden Era of Hindi film music. Rafi Sb. The name says it all. It is our own compulsions that drive us to write again and again about him, but yes, the name says it all. The mere mention brings to mind spontaneously, the journey spanning four decades, and thousands of rich gems that he rendered and bequeathed to us. The one voice that makes loving this music oh so easy.
We already have two posts today, enriching his memory, and talking about his work and his personality. The adjectives and epithets have all been used, time and again, so one is at a loss to say new things about him. There is a celebration gathering that happens at this residence today. Many devoted fans from across the country are in Bombay for this occasion. Our dear Bakshi ji is there today – have to hear from him his account of the visit to Rafi Mansion today.
Besides Bakshi ji, there are two more very good friends who are there today. Both of them are in the category of devotion beyond definition. It is a devotion that takes on the form of worship, which in of itself is a quality to be appreciated. Their life is all about Rafi Sb, their work is all about trying to perpetuate his memory. My meeting with them individually was through other friends, who introduced us. And it did not take any time to acknowledge and understand – this is going to be a lifelong association. I will briefly talk about them today.
Ahsan Qasim is a resident of Hapur, a small town that is about one a half hour’s drive from Delhi. He runs a small restaurant in his neighborhood, and has also setup a small coaching school for basic teaching of English and computers. He is an avid searcher and collector of anything that relates to Rafi Sb. As of now, we are quite much at the limits of Rafi Sb’s recorded songs. Yes, some numbers are still not accounted for, and I dare say, some numbers are still to be identified, given the gap in information available for some untraceable films of the era. But that does not limit his search. He is continuously searching for recordings of live programs, sitting through complete films looking to find out snippets of Rafi Sb’s voice used for items that do not qualify as complete songs, and hence have not been part of 78 rpm or LP releases. The verses sung in the film ‘Pyaasa’ (1957) are quite well known. But there are dozens of more such snippets that Ahsan Bhai has searched out.
He also collects videos of Rafi Sb’s songs, and hence he also continuously digging to locate films that are not yet in public domain. He has a channel on YouTube by his own name. He continuously adds to it – rare audios and videos of Rafi Sb songs. Recently he has uploaded a small video segment of a Rafi Sb song from the film ‘Kahin Aur Chal’ (1968), a film that decidedly has been categorized as lost, for now.
He has made a detailed listing of all the stars, and many who do not qualify as stars, to whom Rafi Sb has given playback. Rafi Sb never shied away from singing for completely new and unknown actors, as well as on screen characters. Ahsan Bhai’s drive is to identify such actors – he has a list and video clips of many totally unknown faces who are lip syncing Rafi Sb’s voice. And to say the least, his endeavor to dig out old films has been so beneficial for armchair collectors like me. 🙂 He is the person who was finally able to acquire ‘Karvaan e Hayaat’ and shared with me. Like so, he has dug out many other rare films, which we know that are not available in public domain.
The second person I wish to talk about today is another dear friend – Arun Gautam. The name plate outside his door reads as ‘Rafi Arun Gautam’. He is a resident of Delhi. When I visited his home for the first time, I was amazed to see – he has one room completely devoted to Rafi Sb. The room is almost like a museum, and also a room where he hosts his friends for listening sessions. The walls of the room are adorned with portraits and photographs of Rafi Sb, some are absolutely rare. All the shelves are full of books, cassette tapes, 78 rpm records and LPs. In between spaces are full of small and large memorabilia that relates to Rafi Sb. There is a harmonium, although not the original, but an exact replica of the one owned by Rafi Sb. There is telephone instrument, with Rafi Sb’s home phone number written on it – once again an exact replica of the original. There are two small cars (toy cars actually) – one a white Ambassador, and the second one a red Fiat, complete with the actual numbers on the number plates. The cars models and numbers are exactly the ones owned by Rafi Sb. There is a small statue of Rafi Sb. There are road signs – place of birth of Rafi Sb, his residence area in Bombay etc. I mean, it is a real treat for the fans of Rafi Sb. And Arun ji has such a childlike pleasure as he shows us visitors around the room.
There is an old gramophone player – the original HMV 102. If any of the readers have heard this sound they will understand. And for those who haven’t, I recommend them to listen to one if possible. Arun ji has a Philips player also – which is electronic. He played the same records on both the machines. The sound from the 102 – it shook my inside. Never ever have I heard such a complete and such a rich sound being reproduced from a 78 rpm record. Yes, we all know that the 78 rpm recording and reproduction is the ultimate. But that day, listening on the 102 was an unsurpassed, never before experience. A machine that is just cranked by hand, no electric or electronics involved. Just a very good sound box and a very good needle. The sound filled the room as I have never heard before. And with the same childlike eagerness, Arun ji played so many rare records. Not that we have not heard the audio before. But the records themselves are so rare, only one or maybe a few acknowledged copies to be existing in public domain. It was a memorable session we had that day, on my first visit. And of course, followed up later with more such sessions.
Arun ji also played some very rare and unheard snippets. Do you know that Rafi Sb has sung two lines of the immortal ghazal of Saigal Sb from ‘Shahjehan’ – “Gham Diye Mustaqil. . .”. This snippet is hidden away in the film ‘Reporter Raju’ (1962); it is not on any record, and only someone painstakingly searching for such things will be fortunate enough to locate it. And then, at the end of the session, as we were preparing to say goodbye, he asked us to wait for a minute. He went inside, and returned with a small plastic package. Opening it, he showed us a necktie – an original worn by Rafi Sb at recordings. Around the room he pointed out to a couple of photographs wherein Rafi is sporting that very necktie. We find out that it is presented to Arun ji by Rafi Sb’s daughter herself, when she visited Delhi and also came to Arun ji’s home. That was the most exhilarating close encounter for me.
And one more thing about Arun ji. He is the convener of the group that is petitioning for the Bharat Ratna award for Rafi Sb.
The most endearing thing about these two gentlemen – very soft spoken, very friendly, extremely humble, and a heart that will share anything you ask of them. True and devoted lovers of music, I must say. And I am fortunate to be in their circle of friends.
Memories of Rafi Sb, shaken and enlivened by these reminiscences.
The song today – although it is a Rafi song, but today’s presentation is not in his own voice. This song, “Badan Pe Sitaare. . .”, originally from the film ‘Prince’ (1969) – Rafi Sb giving playback for Shammi Kapoor, has got repeated in the film ‘Fanney Khan’ from 2018. Yes, so recent. The magic of the golden era lives on and on. This version is sung by Sonu Nigam, and performed on screen by Anil Kapoor.
This song comes to us courtesy of Peevesie’s Mom – the lady is always on the lookout to combine events and anniversaries. Today, 24th is the birth anniversary of Rafi Sb. And it is also the birth anniversary of actor Anil Kapoor. She located this song, and then graciously called me to take it on and present it as part of the ‘repeat songs’ series. Of course, with a short notice (like less than 24 hrs 🙂 ), and a opportunity to combine celebrations that is very difficult to pass. The song had to, has to come today, and today only. Of course, the pleasure of rewards is quite commensurate with the bait proffered. 😀
As I mentioned, the singing voice is Sonu Nigam – a sound that is quite close to Rafi Sb’s singing, as per many opinions. I am retaining the original credits of lyrics and music composition. On screen, we see Anil Kapoor, a part time vocalist in a local orchestral group in the film, attempting a ‘Shammisque’ perfromance. How far successful, I leave it to the readers to judge. For one, Shammi Kapoor would never have a set of dancers around him, in the manner in which the latter day dances are choreographed.
Some other links that come to mind. The dance starts with the rapid shaking of a hand by Anil Kapoor – memories of the dance in the song “Aa Ja Aa Ja, Main Hoon Pyaar Tera” (‘Teesri Manzil’, 1966). Then, we have the initial ‘alaap’ sounds, so to say. The first “lallalllallaaa, la llarrall lallaa lallallaaa” reminds one of the famous Rajesh Khanna performance of “Gulaabi Aankhen Jo Teri Dekhin. . .” (‘The Train’, 1970). Then there is a second piece that goes like “la ra la la la ra la la la ra la la la ra laa” – I am not able to decipher its ‘hear-alike’ source. Then there is the 3rd piece “pappaa pa pappaa pa” – if I am not mistaken, it reminds one of the opening sounds of “Duniya Mein, Logon Ko. . .” (‘Apna Desh’ 1972). Request readers to please add to or comment on these observations.
So a song with many entanglements. Original Rafi Sb song, rendered by a Rafi Sb ‘hear alike’. Original song performed by a Kapoor, now performed by another Kapoor. And the two anniversaries to add to the mix. Quite an interesting addition to the repeat song series. Thanks Peevesie’s Mom ji.
Happy and healthy wishes to Anil Kapoor – goodness, he turns 63 today. Last year he was 62. My, my. 🙂
And long live the memories of Rafi Sb. The best thing that God gave to Hindi films. Unforgettable.
Song – Badan Pe Sitaare Lapete Huye (Fanney Khan) (2018) Singers – Sonu Nigam, Lyrics – Hasrat Jaipuri, MD – Shankar Jaikishan
Lyrics
lallalllallaaa
la llarrall lallaa lallallaaa
la llarrall lallaa lallallaaa
la llarrall lallaa lallallaaa
la ra la la la ra la la la ra la la la ra laa
la ra la la la ra la la la ra la la la la laa
la ra la la la ra la la la ra la la la ra laa
paraa pappaa
paraa pappaa
paraa pappaa
paraa pappaa
pappaa pa pappaa pa
pappaa pa pappaa pa
pabbaa ba babbaa ba
babbaa ba babbaa ba
riul rham jham
jhamriul rham jham
jhamriul rham jhalurum
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Hindi script lyrics (Provided by Sudhir)
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लल्ल लल्ल लल्ल ला
ला लारल्ल लल्ला लल्ललल्ला
ला लारल्ल लल्ला लल्ललल्ला
ला लारल्ल लल्ला लल्ललल्ला
ला रा ला ला ला रा ला ला ला रा ला ला ला रा ला
ला रा ला ला ला रा ला ला ला रा ला ला ला ला ला
ला रा ला ला ला रा ला ला ला रा ला ला ला रा ला
परपप्पा
परपप्पा
परपप्पा
परपप्पा
पप्पा पा पप्पा पा
पप्पा पा पप्पा पा
पब्बा बा बब्बा बा
बब्बा बा बब्बा बा
रीउल रह्म झम
झमरीउल रह्म झम
झमरीउल रह्म झालूरम
बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो॰॰ओ॰॰ओ
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये
बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये
है बनने सँवरने का जब ही मज़ा
कोई देखने वाला फन्ने तो हो
नहीं तो ये जल्वे हैं बुझते दिये
कोई मिटने वाला इक फन्ने तो हो
बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये
बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये
[तुरही वादन]
बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये
Aawaara Hoon. . .
Posted on: August 27, 2019
- In: Background song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | Mukesh solo | Mukesh songs | One song used in more than one movie | One song used in two movies | philosophical song | Poignant Song | Post by Sudhir | Same song used in two or more movies | Song Filmed at an Aiorport | Song not figuring in HFGK | Song not mentioned in Hindi Film Geet Kosh | Song used in more than one film | Songs of 1960s (1961 to 1970) | Songs of 1970 | Yearwise breakup of songs
- 8 Comments
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 : | 4057 | Post No. : | 15190 |
Songs Repeated in Hindi Films – 10
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Blog 10-Year Challenge (2009-19) – Song No. 43
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As Gajendra ji had commented, couple of episodes ago – I am quite sure the readers are now beyond getting surprised by the songs posted in this series. Yes, some very interesting repeats, but oh well. . .
The interesting thing about today’s post is, well, two things. It is the singer’s Remembrance Day today, as well as, we also are showcasing the song as part of the 10 year challenge series.
10 years ago, this day, six songs were posted. Those were the days, when Atul ji was at his prolific best, and six new songs on the blog was quite the norm. And he followed an interesting convention. The songs he posted on one day, used to be in the incremental chronological order, as you can notice in the short table below.
| Chup Hojaa Ameeron Ke Ye Sone Ki Ghadi Hai | Bandi | 1957 | 1814 |
| O Pawan Veg Se Udne Waale Ghode | Jai Chittod | 1961 | 1815 |
| More Ang Lag Jaa Baalmaa | Mera Naam Joker | 1970 | 1816 |
| Gore Gore Gaalon Waale…Kahte Hain Mujhko Haseenon Ka Devtaa | Haseenon Ka Devta | 1971 | 1817 |
| Mile Mile Do Badan Khile Khile Do Chaman | Blackmail | 1973 | 1818 |
| Pahraa Hai Yahaan Pahraa | Badnaam | 1975 | 1819 |
There were two debut films that day – ‘Jai Chittod’ and ‘Haseenon Ka Devta’. And quite interestingly, both the films are at present miles away from being yippeee’d. Since that day, only one song has been added for ‘Jai Chittod’ (12 songs listed in Geet Kosh), and none for ‘Haseenon Ka Devta’ (6 songs listed in Geet Kosh). The remaining 4 films, ‘Bandi’ (1957), ‘Blackmail’ (1973), ‘Badnaam’ (1975) and ‘Mera Naam Joker’, the magnum opus by Raj Kapoor, have completed their account on the blog.
And yet, today, “Mera Naam Joker’ makes another appearance here, on account of an unlisted song. In that, it is a repeat song from RK’s own film from 1951 – ‘Awaara’. Being his own film, of course it would have been a simple thing to reuse the earlier song.
In the iconic song “Ae Bhai Zara Dekh Ke Chalo”, the poet Neeraj declares,
haan babu ye circus hai
aur ye circus hai show teen ghante ka
pehla ghanta bachpan hai
doosra jawaani hai
teesra buddhaapa hai
The entire film was presented as three chapters, with two intermissions. And quite literally, RK has presented three phases of life in these three segments – childhood, youth, and old age. And in each of these phases, there is a different lady with whom the Joker’s heart gets entangled. And every time, his emotions and timid overtures are eventually disregarded – in face of certain compulsions of life that each one of those lady characters struggle with, in their own lives. In the first phase, there is a mismatch of age. In the second, there is a mismatch of location / language / societal background. And in the third, there is a mismatch of aspirations in life versus the values of life.
The reprisal of this song occurs close to the end of the second segment. The Joker has lost his heart to a circus artist visiting from Russia. And as their visit and stay comes to a close, the lady has to leave, and go back to her own country with her group. The circus manager (role played by Dharmendra), in an earlier conversation, has already cautioned him against getting too friendly with the visitors. That caution has now become a prophesy realized. Marina (role played by Russian actress Kseniya Ryabinkina) has to leave. The Joker is at the airport, with Sher Singh (role played by Dara Singh), his partner in crime, or let’s say, his ustaad in the art of romance. The Joker has come to bid farewell to the departing Russian troupe, and his lady love, who cannot stay. There is a brief exchange between the two lovers, and the lady leaves, planting a kiss on the Joker’s lips, and waving a good bye. Sher Singh asks the Joker as to what the lady has said in her native language. The Joker replies forlornly, that her words reminded him of an old song.
And then this song from two decades earlier is played once again, as a background piece. Marina walks to the plane, and the plane departs. And the verses penned by Shailendra are re-told yet once again in the life of the Joker –
duniya mein tere teer ka
ya taqdeer ka maara hoon. . .
This verse segment is the one that I never seem to have been able to get over all my life. “That, in this life of mine, I have been vanquished either by my own destiny, or the glance arrows coming from your eyes – I do not know which one.” Such a powerful assertion in just ten words, ensconcing within itself a myriad philosophies of life, in a moment narrating and laying bare everything that can and could have gone wrong in an overwhelmed life. The emotions these ten words evoke inside, lie crumpled, tightly wound like a giant ball of thread, with no end visible – not enough words to unravel it and express it.
This song is probably one of the most recognizable songs ever in the ocean of Hindi film music – not only here in India, but also in many parts of this world, where RK’s films are loved as part of their own cultures. The first few bars of the prelude music start to play, and practically every one can recognize which song is coming up. And so, I remember, the first time I saw ‘Mera Naam Joker’, and this scene played out on the screen, and the Joker tells about being reminded of an old favorite song, and the prelude music begins to play – it was quite a shock of recognition that overpowered the heart. Yes, RK presenting this song at this juncture, makes all the sense, rounds up everything that he has been wanting to say through this film – ‘Mera Naam Joker’ – a wayward truant clown I am in this life.
An interesting throwback on this song – it was also repeated within the original film itself. Regular folks would remember, the closing scene – Nargis and Prithviraj Kapoor are visiting RK in the prison, after he has been incarcerated post his trial. It is a brief meeting – about two minutes or so. And as Nargis is asked to take leave, there is this standard dialogue that RK utters – “. . . meri soorat hi aisi hai”. Overcome by the understated innocence and simplicity, plus the unpretentious hangdog look on his face, Nargis once again rushes back into his arms, and exactly the same stanza starts to play in the background.
A few interesting observations about these two reprisals. Take the music and rendition. The song that plays in ‘Mera Naam Joker’ is very nearly the original, but as one listens carefully, one can make out small pieces of extra orchestral music that S-J have weaved in, merging it with the overall background score of the scene. And in the original film ‘Awaara’, the rendition has a small variation at the end. The words of the last line that Mukesh has sung include a very delicate and lovable “हाय” ~ “haaye” –
haaye. . .
awaara hoon..oon..oon. . .
This addition has made this line oh so much more endearing and adorable. Listening to this last one snippet made my day – more than all the pleasure and emotions that are flowing with the original complete version of the song. So surely, this segment, or at least this last line has been re-recorded, even then back in 1951, and presented separately as the end piece.
Next, in both these reprisals, there is a close, very close proximity of the lady love. In ‘Awaara’, the kiss almost happens – just short of the waving scissors of the censor board. And in ‘Mera Naam Joker’, the kiss does happen, with Marina forcefully planting it on the lips of the Joker. Oh well, I don’t know – should we expect a kiss, whenever this part of the song is played ?? Ha, ha, I am sure you will tell me – it happens only in the reel world. 🙂 🙂
Another cute co-incidence I discovered in the last scene of ‘Awaara’. RK and Nargis are in each others arms, and a loud voice calls out in the background, probably the prison warden or constable – “ओ क़ैदी नंबर 308, चलो” (“O prisoner no. 308, come on move.”). I made a little connect in my mind – I don’t know whether that was the intention of the director and dialogue writer. The number 308 – it rang a bell. 308 –> 30-8 –> 30th August –> Shailendra’s birthday. 🙂 🙂
Back to ‘Mera Naam Joker’, I might as well document it here, for possibly no more posts of this film could be forthcoming in the future. The three ladies who appear in each of the three chapters of this film, just examine the screen names – Mary, Marina, Meena. Sound quite connected, flowing right into each other. You combine Mary and Meena – becomes Marina. Just some musings of the wandering mind. Just like the three magazines that RK, Rajendra Kumar and Padmini are seen browsing through on the flight – Time (Padmini), Fortune (Rajendra Kumar) and Life (RK). 🙂 🙂
And then, back to Mukesh, after all so much wandering of the silly mind over the terrain of anecdotes and co-incidences. Even till late afternoon today, I hadn’t the faintest idea whether I would be writing post for the remembrance day today. Mahesh ji’s post, so wholesome and so satisfying, after posting that in early morning, I was not picking up new ideas to write another post on Mukesh. Later, in the afternoon, I was just browsing through the list of songs etc., and don’t know why, but I decided to check out the 10-year-challenge thing for today. Pulled out the list of songs for 27-08-2009. The title ‘Mera Naam Joker’ jumped out at me immediately, and before I could say bambi, my mind had made a few jumps around, connected other material, and brought out this well baked idea of doing a combined 10-year-challenge and repeat-songs post. Yes, I had this repeat song on my list, and had not yet planned when to post it. The mind made that decision for me today, and quite swiftly so, without taking me along on the steps of decision making.
I am glad I checked this out, and got to make this connection and getting this post out today. In the earlier post today, Mahesh ji has mentioned a figure of ~80% songs of Mukesh being hit songs. I cannot think of any other singer, at this level of prolific output, who can be associated with this high a percentage of successful and popular songs from his or her body of work. And then the second connect came when Arun ji deposited on the Whatsapp group, a reminder of the Mukesh anniversary program on Doordarshan seven years ago. I recalled that this was also the very first question that the person interviewing me and Shikha ji, put to me in this program. That question was – “Mukesh ji has about 800 songs to his credit? Why does it always seem that has sung much more?”
And my answer was exactly on these lines – in any singer’s body of work, there is a certain percentage of songs which are memorable, which became popular, and which are quite well retained in the memory. However, with all other singers, this ratio of popular and memorable songs to their total repertoire, is comparatively lower. By extrapolating this expectation, the mind always thinks that in case of Mukesh, his body of work ought to be much larger, if the number of his popular and memorable songs is so much. This is a very interesting point. After that TV program, I had this very discussion with a number of friends, and mostly we agreed to this conclusion.
No doubt the music director and the poet – they have a very significant contribution towards the creation of a song. But it is the voice of Mukesh, that makes something different out of any song. That is what has made so large a percentage of his songs popular and memorable. A soulful voice – that was my assertion on that TV program also, that – “मुकेश जी की आवाज़ में एक अनोखी आत्मीयता है, जो किसी और गायक में नहीं मिलती”. There is this so unique a characteristic of his rendition – an effortless exposition of the emotions, expressed in a most relaxing mode.
I feel I could go on and on. But then, not now. Another song, another post – there seems to be so much more one wants to say about this soulful, mellifluous voice – almost divine.
Song Repeat – Mera Naam Joker (1970)
Song Reprised at End – Awaara (1951)
Song – Aawaara Hoon. . . (Mera Naam Joker) (1970) Singers – Mukesh, Lyrics – Shailendra, MD – Shanker Jaikishan
Lyrics
aabaad nahin barbaad sahi
gaataa hoon khushi ke geet magar
gaataa hoon khushi ke geet magar
zakhmon se bharaa seena hai mera
hansti hai magar ye mast nazar
duniyaa aaa..aaa aaa..aaa
duniyaa mein tere teer kaa
ya taqdeer kaa maara hoon
aawaara hoon
aawaara hoon
ya gardish mein hoon aasmaan ka taara hoon
aawaara hoon
aawaara hoon
aawaara hoon
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Hindi script lyrics (Provided by Sudhir)
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आबाद नहीं बर्बाद सही
गाता हूँ खुशी के गीत मगर
गाता हूँ खुशी के गीत मगर
ज़ख़्मों से भरा सीना है मेरा
हंसती है मगर ये मस्त नज़र
दुनिया आ॰॰आ॰॰आ॰॰ आ॰॰आ॰॰आ॰॰
दुनिया में तेरे तीर का
या तक़दीर का मारा हूँ
आवारा हूँ
आवारा हूँ
या गर्दिश में हूँ आसमान का तारा हूँ
आवारा हूँ
आवारा हूँ
आवारा हूँ
- In: "chal ud ja re panchi" song | Blog ten year challenge (2009-2019) | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | Poignant Song | Post by Sudhir | sad song | Sharda solo | Sharda songs | Songs of 1970s (1971 to 1980) | Songs of 1973 | Yearwise breakup of songs
- 5 Comments
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 : | 3963 | Post No. : | 15043 |
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Blog 10-Year Challenge (2009-19) – Song No. 32
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Another date, and another look at our blog’s history. Ten years ago – well just a thought came to mind. If, say, we were more than two decades active with this blog, and then this idea occurred that we should start looking at our history, then guess, what would be the title of this series. 🙂 🙂 Nothing so straightforward as ‘Blog 10-Year Challenge’. The title then would be ‘Bees Saal Baad’. Sadly enough, there is no film in Hindi cinema history that talks something about a 10 year gap. 😀 😀
Coming to 25th May of 2009. Quite as regularly, six songs were posted that day. The films covered were
- Patita 1953
- Shabnam 1964
- Main Suhaagan Hoon 1964
- Ganwaar 1970
- Naina 1973
- Asha 1980
Of these six films, all but one have already been yippeee’d. The one remaining film is ‘Naina’ from 1973.
This film is one of those which suffered delays because of the unexpected departure of Rajshri from India. Rajshri, daughter of V Shantaram from his second wife Jaishree, made her debut as a child artist at the age of 4, in V Shantaram’s film – ‘Dr Kotnis Ki Amar Kahani’ (1948). She continued to appear in child roles for the next decade or so, all appearances in her father’s films – ‘Bhool’ in 1949 and ‘Subah Ka Taara’ in 1954. In 1961, she appears in a side role in the film ‘Stree’.
Her break in commercial cinema other than her father’s productions came in 1963, when she was cast opposite to Manoj Kumar in two films ‘Ghar Basa Ke Dekho’ and ‘Grahasthi’. Then in 1964, V Shantaram produced another musical spectacle – ‘Geet Gaaya Patthron Ne’, in which he cast Rajshri opposite to Jeetendra in his debut role as a hero. The same year we also see her in ‘Ji Chaahta Hai’ with Joy Mukherji and ‘Shehnai’ with Biswajit. Her career seems to be taking off well, as she is being actively cast opposite to the top line leading men in the industry.
1965 she gets into top casting with Shammi Kapoor in ‘Jaanwar’. The same year, we have another Biswajit starrer – ‘Do Dil’. The next year, she makes her presence felt with ‘Mohabbat Zindagi Hai’, working opposite to Dharmendra. In the same year, another film with Biswajit – ‘Sagaai’. About this time, the preparations are on for a supposed blockbuster, a film that went to multiple foreign locations, stringing in a loose story and a large cast of actors, led by Raj Kapoor and Rajshri. She was really in the top bracket now. Being the leading lady with Raj Kapoor as the hero, was still a big thing at that time.
But then, destiny intervened. Working on locations in the US, she met with an American young man – Greg Chapman, and promptly fell in love. They got married in 1969, and off she went and settled in the US – in Los Angeles, where she still lives with her husband, together managing their clothing business. A number of producers in Bombay got badly hit by this move, with the films and projects that had been launched and even partly made, with Rajshri in the lead. There was a lot of mixed press that happened at that time, when she announced to just up and leave India, and leave her work and career too.
In 1967, two films were released – ‘Dil Ne Pukaara’ with Shashi Kapoor, and ‘Gunahon Ka Devta’ with Jeetendra. In 1968 came ‘Brahmchari’ again with Shammi Kapoor, probably the last film that she completed before her departure from India. In 1968, also came ‘Suhaagraat’ working with Jeetendra again. I remember clearly, in one of the film magazines, maybe Madhuri or some other – a photograph of Rajshri appeared. And the caption of that photo was – “सुहागरात पूरी हो या न हो, मैं तो चली।” (“Whether Suhaagraat (literally the nuptial night) is accomplished or not, I am going”). That caption drew a lot of attention at that time. Essentially, the shooting work of ‘Suhaagraat’ was not complete when she left. The producer and director somehow assembled the material that was already shot, and then improvised to complete the rest of the scenes without the physical presence of Rajshri. E.g. the song “Ho Ganga Maiya Main Jab Tak Ki Paani Rahe” – just view the video of this song. Except for a couple or three close ups which seem to be stock shots from some other scene, in the scenes where Rajshri’s presence is required, the director has been clever enough to not close up the camera to the lady’s face. In the entire song one does not get to see clearly, the face of the lady in white. In one of the scenes a lady’s hands are shown carrying flowers and running towards the River Ganga – the face of the lady is not shown. This entire song was improvised, as were few other shots in the film.
Now coming to ‘Naina’. The release date of this film as 1973 anyway sounds dubious since Rajshri had already left India in 1969-70 time frame. I remember having read, once again in film magazine of that era, that the producer, sitting on a partially completed film, and having failed to convince Rajshri to cooperate to get it to completion, made a decision to modify the storyline, include an accidental death of the character played by Rajshri, bring in another female lead – Moushumi Chatterji, bring in one more dancer – Padma Khanna, and completed the film. The film in its final production was very different from the original conception. A couple of songs and some scenes with Rajshri are retained. And the rest of the storyline was changed and re-shot. And yes, Moshumi Chatterji gets the top billing, ahead of Rajshri.
The film is produced by Shakti International and is directed by Kanak Mishra. Geet Kosh lists seven songs for this film, written by three songwriters – Hasrat Jaipuri, Indiwar and Kaifi Azmi. Music is by Shanker Jiakishan. The star cast is listed as Shashi Kapoor, Moushumi Chatterjee, Rajshri, Rehman, Akashdeep, Devid, Padma Khanna, Sanjana, Shaukat Kaifi, Praveen Pal, Madhumati, Jagirdar, Nagar, Samson, Firoza, Tirath, Paulson, Dhanraj, Sitaram, Krishan Kumar, Radheshyam, Jugnu, Darpan, Sidharth, Farida Jalal, and AK Hangal.
Coming to this song today. As I remembered, and then again scanned this film today, this song is not present in the film. Possibly this is another casualty of the change in storyline. The song is recorded and is part of the records that were released for this film. But it is not carried in the film.
The lyrics are written by Hasrat Jaipuri. Music is by Shanker Jaikishan – in all likelihood, this music would have been scored prior to the passing away of Jaikishan in 1971. The singing voice is of Sharda. The song is a sad, ‘chal ud ja re panchhi’ type of song. Maybe, after the change in storyline, the director found it difficult to fit it into the revised scheme.
A very well written, very well composed and very well sung song this one is. I am sure you will also like it very much.
Song – Mann Ke Panchhi Kahin Door Chal Door Chal (Naina) (1973) Singer – Sharda, Lyrics – Hasrat Jaipuri, MD – Shanker Jaikishan
Lyrics
hmmmm hmm hmmmmm hmmmmm
hmmmm hmm hmmmmm hmmmmm
mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin
gair ki hai dagar
gair ka hai nagar
saans lene ka bhi ek sahaara nahin
mann ke panchhi kahin. . .
koi humdum nahin
na wafaadaar hai
zindagi ab to jeene se bezaar hai
koi humdum nahin
na wafaadaar hai
zindagi ab to jeene se bezaar hai
gham ke toofaan hain
jis taraf dekhiye
aur toofaan mein koi kinaara nahin
mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin
mann ke panchhi kahin. . .
hum ne dekhe yahaan
pathhron ke sanam
pooj kar bhi jinhen
hum to pachhtaayen hain
hum ye dekhe yahaan
pathhron ke sanam
pooj kar bhi jinhen
hum to pachhtaayen hain
zindagi ke liye haath phailaayen hum
aisa jeena to hum ko gawaara nahin
mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin
mann ke panchhi kahin. . .
ye zameen beraham
aasmaan pur-sitam
in hadon se bhi aage
nikal jaayen hum
ye zameen beraham
aasmaan pur-sitam
in hadon se bhi aage
nikal jaayen hum
aasmaanon pe bhagwan bhi khaamosh hai
aisi kismet hai koi hamaara nahin
mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin
mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin
gair ki hai dagar
gair ka hai nagar
saans lene ka bhi ek sahaara nahin
mann ke panchhi kahin. . .
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Hindi script lyrics (Provided by Sudhir)
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हम्मममम हम्म हम्ममम हम्ममम
हम्मममम हम्म हम्ममम हम्ममम
मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं
गैर की है डगर
गैर का है नगर
सांस लेने का भी एक सहारा नहीं
मन के पंछी कहीं॰ ॰ ॰
कोई हमदम नहीं
ना वफादार है
ज़िंदगी अब तो जीने से बेज़ार है
कोई हमदम नहीं
ना वफादार है
ज़िंदगी अब तो जीने से बेज़ार है
ग़म के तूफान हैं
जिस तरफ देखिये
और तूफां में कोई किनारा नहीं
मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं
मन के पंछी कहीं॰ ॰ ॰
हम ने देखे यहाँ
पत्थरों के सनम
पूज कर भी जिन्हें
हम तो पछताए हैं
हम ने देखे यहाँ
पत्थरों के सनम
पूज कर भी जिन्हें
हम तो पछताए हैं
ज़िंदगी के लिए हाथ फैलाएँ हम
ऐसा जीना तो हमको गवारा नहीं
मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं
मन के पंछी कहीं॰ ॰ ॰
ये ज़मीन बेरहम
आसमान पुर-सितम
इन हदों से भी आगे
निकल जाएँ हम
ये ज़मीन बेरहम
आसमान पुर-सितम
इन हदों से भी आगे
निकल जाएँ हम
आसमानों पे भगवन भी खामोश है
ऐसी किस्मत है कोई हमारा नहीं
मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं
मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं
गैर की है डगर
गैर का है नगर
सांस लेने का भी एक सहारा नहीं
मन के पंछी कहीं॰ ॰ ॰
Bhanwre Ki Gunjan Hai Mera Dil
Posted on: April 15, 2019
- In: "Bhanwra" song | 15K Song Milestone Celebration Posts | Aspirations of Love | Dance song | Devnagri script lyrics by Avinash Scrapwala | Feelings of heart | Guest posts | joie de vivre | Kishore Kumar solo | Kishore Kumar songs | Love song | Lyrics contributed by readers | Party song | Post by Avinash Scrapwala | Romantic song | Songs of 1970s (1971 to 1980) | Songs of 1971 | Yearwise breakup of songs
- 19 Comments
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3923 | Post No. : | 14989 |
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Atul Song-A-Day 15K Song Milestone Celebrations – 2
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Welcome all to this special occasion where we are now celebrating Fifteen thousand song-posts on the blog!!! My heartiest congratulations to Atul ji, Sudhir ji and our respected senior and other team members on the blog and to all of our readers and well-wishers of this blog.
Well, my ‘love story’ (‘Prem Kahaani’, pehle ‘affair’ likhnewaala tha, phir ‘relationship’, phir thhik karke ‘love story’ likha 🙂 ) with this blog started around 2009 and it was because of Sahir Saab’s song ‘Dil Karta O Yaara Dildaara Mera Dil Karta’ (which I was looking because it was in my memory and nostalgic for me). So, thanks are very much due to Sahir Saab and I thank him for that. (I am sure he is accepting it there 🙂 )
My first comment was also on a song penned by Sahir Saab ‘Kashti Ka Khamosh Safar Hai’ – that was in 2009. Still, it took me three years more to become a contributor on this blog which happened in 2012.
How much I loved this blog and how HFM was my hobby earlier and became a passion later, and how HFM and this blog became an important part of my life thereafter, has been mentioned by me in few of my other posts on the blog. So, I will not go into more details on that. Rather I would like to write what I have not said earlier.
I came into writing when I was studying into eighth standard and my first article was published from a district newspaper from Akola then. It was an article about Chetan Chauhan when he was dropped from the playing side of India in test cricket. After that few more articles, all on cricket, were published in the same newspaper that time. Simultaneously after that I was approaching tenth standard and the board examinations, but still cricket was always on top in my mind. I did send few articles to the popular magazines in circulation then, but they were returned with some suggestions to me and that gave me a learning on how to plan and arrange the articles.
However, everything changed after I passed out matriculation and joined vocational subjects in eleventh instead of the subjects I liked most i.e. ‘Arts’. I have mentioned that journey on the blog in this article here. And during these two years I was more on movies and cricket and so as expected I failed in the examination. After that I joined a construction company and start working there and continued to working after that.
Now between all these years i.e. 1985 to 2009 I was working and continuing with my hobby of collecting cassettes, watching movies, listening music. And that was the biggest recreation and motivation for me during all those years. It so happened in 2009 that my close friends working in the same company with me in Kachchh but in different units/departments, push me to take up writing and that is how I started my blog and after that my younger daughter who used to write regularly became a part of that blog.
So finally the circle came to round and life brought me back to my passion of writing after a gap of almost twenty-seven years. And when I came into contact with this blog and started sending my contribution for lyrics earlier in 2012 I thought to give a try for writing articles and my first article appeared on the blog in 2013.
When I became a lyric contributor to the blog, that was my ‘new birth’ and at that point, life started again for me with new purpose, new energy, inspiration and motivation. And all these factors – purpose, energy, inspiration, motivation, celebration, and nostalgia keep growing further as my journey with the blog has been continued and still going …
Many childhood memories of watching movies, of songs from movies of yesteryears, keep surfacing and it was like one memory triggering other memory and bringing close to its related vague memories of those beautiful years. I started getting connected to many incidences which were lying dormant in my memory or which I had forgotten. And, I must say that since coming into the contact with the blog and specially after having HFGK Vol-V (1971-1980) when I started sharing song posts of songs with the seventies, I had been transformed to that era only when my age was growing between eight to fifteen years.
In my circles whenever someone asks my age, I always used to tell them that ‘I am only seventeen years old and do not to grow more than that’. But the blog has reduced my age between eight-fifteen and I keep shuffling in that ‘age-era’ only i.e. if I considered up to 1983. And if I considered up to 1980 then my age is twelve years only.
I think I have also mentioned this earlier that finding this blog and being a part of this was a feeling like ‘this was the destination of my life’ and ‘all these years of life I was alive for this purpose only’. Always feeling fortunate and blessed to be a part of this journey and a member of this team …
Meeting some of the team members and seniors in the group during the ‘gang-outs’ has given many unforgettable memories and those are the most cherished moments of my life. And it is going to continue in future too 🙂 . The joy from discussions during such meetings and sharing of thoughts also cannot be expressed in words. And most importantly during such meetings I also got a chance to meet many respected and dedicated ‘like-minded peoples’ who in their own capacity are not less than a ‘encyclopaedia’ about yesteryears Hindi films and Hindi film music.
Thanking again to Atul ji and all other members and this wonderful blog. . . I am trying to express my feelings in the following ‘poem’;
उन यादों को, उन किस्सों को,
उस कहानी को,
शायद इसी दिन के लिए संभाला था
मन गुंजन करता ये भंवर
शायद इसी पल के लिए बेताब थादिल का ये भंवर
नादान ही तो था
कुंज कुंज करता गुंजन
भीतर भीतर बेचैन था
मिले जो आप तो ये चहकने लगा
सुरीली यादें बिखेरने लगा
बचपन फिर से मुस्काया
जवानी ने जैसे ली अंगडाई
एक कहानी को मंजिल मिली
कुछ यादों को भूली हुयी तारीख मिली
कुछ किस्सों को एक पड़ाव मिला
तन्हाई को एक महफ़िल मिली
साथी नए नए मिले
सुरीले सफ़र का कारवां मिला
And let us now enjoy the song with a vintage Kishore voice from the 1971 movie ‘Kal Aaj Aur Kal’. (Yes, the year of this movie is to be corrected as ‘1971’ on the blog and for the two posts already posted on the blog. Though in the second post one tag ‘songs of’ is correct i.e. ‘songs of 1971’)
‘Kal Aaj Aur Kal’ was directed by Randhir Kapoor for R.K. Films, Bombay. This was Randhir Kapoor’s first movie too and he was introduced or launched in style with also given direction of this movie. It was produced by Raj Kapoor.
It had Prithviraj Kapoor, Raj Kapoor, Babita, Narendranath, Roopesh Kumar, Achala Sachdev, David, Tiwari, Iftekhar, Abhi Bhattacharya, Vishwa Mehra, Sarita, Aarti, Asha Chandra, Shri Ram Shastri, Mansaram, Sumita Khurana, Pardesi, Uma Dutt, Rashid Khan, Mandhir Siyal, Prakash Mishra, Ranveer Raj, Ghanshyam Rohida and others.
Story, Screenplay and Dialogues of this movie were written by Virendra Sinha. Editing of this movie was done by S.R. Kabre. It was passed by Censor Board on 11.11.1971.
This movie has six songs penned by three lyricists – Hasrat Jaipuri (two songs), Neeraj (three songs) and Shaily Shailendra (one song). Music for this movie is composed by Shankar-Jaikishan. Asha Bhonsle, Kishore Kumar, Manna Dey, Mukesh, and Sharda had given their voices to the songs in this movie.
I think I have watched some part of this movie or may be the whole movie on TV or somewhere else, but I do not remember it now except I remember vaguely about its storyline. Knowledgeable readers may kindly throw more light on this movie and its songs please.
Two songs from this movie have already been posted on the blog earlier. And the today’s song is the third song of this movie being presented on the blog on the special occasion of ‘Blog’s 15k Songs Festival’ 😊
Today is also the 97th birth anniversary of songwriter Hasrat Jaipuri.
Song – Bhanwre Ki Gunjan Hai Mera Dil (Kal Aaj Aur Kal) (1971) Singer – Kishore Kumar, Lyrics – Hasrat Jaipuri, MD – Shankar Jaikishan
Chorus
Lyrics
bhanware ki gunjan
hai mera dil
kab se sambhaale rakha hai dil
tere liye
tere liye
tere liye
tere liye
bhanware ki gunjan
hai mera dil
kab se sambhaale rakha hai dil
tere liye
tere liye
tere liye
tere liye
mujhe kab se thhi pyaar ki justaju
meri zindagaani mein hai tu hi tu
mujhe kab se thhi pyaar ki justaju
meri zindagaani mein hai tu hi tu
main aaya hoon duniya mein tere liye
mere dil mein jhoomein teri aarzoo
bhanware ki gunjan
hai mera dil
kab se sambhaale rakha hai dil
tere liye
tere liye
tere liye
tere liye
tere liye
hmm hmm hmm
aa ha haa
hmm hmm hmm
tere liye
hmm hmm hmm
hmm hmm hmm
gagan se bhi ooncha mera pyaar hai
tujhi par mitoonga ye iqraar hai
gagan se bhi ooncha mera pyaar hai
tujhi par mitoonga ye iqraar hai
tu itna samajh le
mere humsafar
tere pyaar se mera sansaar hai
bhanware ki gunjan
hai mera dil
kab se sambhaale rakha hai dil
tere liye
tere liye
tere liye
tere liye
bhanware ki gunjan
hai mera dil
kab se sambhaale rakha hai dil
tere liye
tere liye
tere liye
tere liye
hmm hmm hmm
he he he ae
hmm hmm hmm
ho ho ho ho
tiri ri ri ri ri ri ee ee ee
hmm hmm hmm
tudu du du du du oo oo oo
hmm hmm hmm
tiri ri ri ri ri ri ee ee ee
hmm hmm hmm
tudu du du du du oo oo oo
———————————————————-
Hindi script lyrics (Provided by Avinash Scrapvaala)
———————————————————-
भंवरे कि गुंजन
है मेरा दिल
कब से संभाले रक्खा है दिल
तेरे लिए
तेरे लिए
तेरे लिए
तेरे लिए
भंवरे कि गुंजन
है मेरा दिल
कब से संभाले रक्खा है दिल
तेरे लिए
तेरे लिए
तेरे लिए
तेरे लिए
मुझे कब से थी प्यार कि जुस्तजू
मेरी ज़िंदगानी में है तू ही तू
मुझे कबसे थी प्यार कि जुस्तजू
मेरी ज़िंदगानी में है तू ही तू
मैं आया हूँ दुनिया में
तेरे लिए
मेरे दिल में झूमें
तेरी आरज़ू
भंवरे कि गुंजन
है मेरा दिल
कब से संभाले रक्खा है दिल
तेरे लिए
तेरे लिए
तेरे लिए
तेरे लिए
तेरे लिए
हम्म हम्म हम्म
आ हा हा
हम्म हम्म हम्म
तेरे लिए
हम्म हम्म हम्म
हम्म हम्म हम्म
गगन से भी ऊंचा मेरा प्यार है
तुझी पर मिटूंगा ये इक़रार है
गगन से भी ऊंचा मेरा प्यार है
तुझी पर मिटूंगा ये इक़रार है
तू इतना समझ ले
मेरे हमसफ़र
तेरे प्यार से मेरा संसार है
भंवरे कि गुंजन
है मेरा दिल
कब से संभाले रक्खा है दिल
तेरे लिए
तेरे लिए
तेरे लिए
तेरे लिए
भंवरे कि गुंजन
है मेरा दिल
कब से संभाले रक्खा है दिल
तेरे लिए
तेरे लिए
तेरे लिए
तेरे लिए
हम्म हम्म हम्म
हे हे हे ए
हम्म हम्म हम्म
हो हो हो हो
टीरी रि रि रि रि ई ई ई
हम्म हम्म हम्म
टुडू डू डू डू डू ऊ ऊ ऊ
हम्म हम्म हम्म
टीरी रि रि रि रि ई ई ई
हम्म हम्म हम्म
टुडू डू डू डू डू ऊ ऊ ऊ
In Nigaahon Mein Ghar Tumhaara Hai
Posted on: March 30, 2018
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 : | 3542 | Post No. : | 14220 |
1971 – the turn of a decade, that took away, and was destined to take away, many things that were loved and prized in the industry.
The 1960s ended; and with that, an era came to close. An era, when music and melody ruled supreme in Hindi films. Shades of things to come had already started to appear in this decade. And the transition would be sort of complete by the time the world turned into the 1970s.
Connecting this thought with the turn of that decade and some of the people connected with the film that we are bringing in to Yippeee land tonight.
1971 – it was the year when Jaikishan passed away. I remember that issue of Filmfare where this news was announced. I would be too young to know anything much about the music and the music makers of Hindi films, and Jaikishan was just another name to me at that time. All the details and their significance would fill in many years later. That day, that issue of Filmfare, the one thing that stuck to my mind was – there is so little color in this issue, so much black and white it is. Just 41 years – not an age to go. But then, as always, our arguments and desires stand nowhere in this arena.
1971 – and the closure of the young baby faced flamboyance of the Golden Boy of the Sixties. Yes, Shammi Kapoor. Having blasted through the decade with an average of almost 3 musical hits of his own peculiar genre every year, the baby face was getting puffy, as was the midriff. 1971 was the time that he bade farewell to the lead roles and after the release of ‘Andaaz’, ‘Jaane Anjaane’, ‘Preetam’ and ‘Jawaan Mohabbat’ that same year, the next that we see him is three years later – 1974, as Dhoopu, the boisterous owner of the ‘Dhoop Chhaon’ café, all stacked with a beard on his face and suspenders to hold up his pants. There was this one exception though – the film ‘Chhote Sarkar’ with him in the lead role opposite to Sadhna, was released in 1974. But that we know was a much delayed release of a film from mid 1960s, on account of Sadhna’s health problems.
1971 – the perky and the chirpy Sunita of ‘Teesri Manzil’ (1966), was still being readily cast opposite to the newer crop of heroes – Jeetendra and ‘Caravan’ (1971); Rajesh Khanna and ‘Aan Milo Sajna’ (1970); Navin Nischol and ‘Nadaan’ (1971); Vijay Arora and ‘Rakhi Aur Hathkadi’ (1972) et al. But these releases were also interspersed with other screenplays where Asha is one of the two pairs in the film, obviously the elder one – ‘Samadhi’ (1972), ‘Heera’ (1973), ‘Anjaan Raahen’ (1974), ‘Zakhmee’ (1975) et al; the transition successfully moving towards senior roles, undoubtedly.
Many a facet of an old order changed or were changing when 1971 turned on. Through the rest of the decade, we would see the passage of oh so dearly loved legendary singers – Mukesh, Rafi Sb. The color of Hindi film music would be changed. . . forever.
‘Jawaan Mohabbat’ – a film to be remembered, not just for the good music – some of its songs are so readily recall-able as listening favorites on the radio, but also as the phasing out of two very attractive leading artists who had ruled the industry top line for the entire decade of the 1960s. Asha had her debut opposite to Shammi Kapoor in the 1959 film ‘Dil Deke Dekho’. The two would be paired again as love birds three more times during the next twelve years – ‘Teesri Manzil’ in 1966, ‘Pagla Kahin Ka’ in 1970 and the Yippeee film of today – ‘Jawaan Mohabbat’ in 1972. ‘Jawaan Mohabbat’ – it was about young hearts in love. But in 1972, the future of these young hearts was all but moving to senior elevations in the screenplay.
The film is produced under the banner of Rupanjali Films, Bombay and is directed by Bhappi Soni. The cast of actors of this film is listed as Shammi Kapoor, Asha Parekh, Balraj Sahni, Rajendra Nath, Nirupa Roy, Pran, Shashikala, Dhumal, Raj Mehra, Madhavi, Krishan Dhawan, Kumud Tripathi, Baby Sarika, Mansaram, Ravikant, Sujata, Madhumati, Daisy Irani, Madan Kenny, and Vimal Chadha.
The seven songs of this film are shared amongst three writers, with Hasrat Jaipuri leading the honors with five songs and Rajendra Krishan and Shailendra doing one song each. S-J have composed the music in their own typical orchestral signatures. The earlier posted songs are listed here again for your review and recall.
| Na Rootho Rootho Na | Jawaan Mohabbat | 1971 | 577 | 19-Jan-09 |
| Zulmo Sitam Ko Bhi | Jawaan Mohabbat | 1971 | 744 | 14-Feb-09 |
| Jab Muhabbat Jawaan Hoti Hai | Jawaan Mohabbat | 1971 | 1043 | 6-Apr-09 |
| Mere Sapnon Ki Raani Tum Nahin Ho | Jawaan Mohabbat | 1971 | 6958 | 6-Nov-12 |
| O Mil Gayi O Mil Gayi Mere Sapnon Ki Raani Mujhko Mil Gayi | Jawaan Mohabbat | 1971 | 6958 | 6-Nov-12 |
| Jawaan Mohabbat Jahaan Jahaan Hai | Jawaan Mohabbat | 1971 | 7861 | 9-Apr-13 |
| Nazar Mein Rang Aur Masti Bhara Toofaan Le Ke | Jawaan Mohabbat | 1971 | 14216 | 29-Mar-18 |
Today’s final song of this film to find its place on our blog, is a solo sung by Asha Bhosle. From the words and the style of singing, it appears to be a song of enticement. A song that would most likely be performed on screen by someone like Helen. However, not seeing her name in the list of actors, my guess is that this song is performed by Shashikala.
A wonderful recall of many thoughts and people, as we bring to close the list of songs of this film on our blog – ‘Jawaan Mohabbat’ of 1971 joins the Yippeee club, with all its songs now showcased here.
Audio
Song – In Nigaahon Mein Ghar Tumhaara Hai (Jawaan Mohabbat) (1971) Singer – Asha Bhosle, Lyrics – Hasrat Jaipuri, MD – Shanker Jaikishan
Lyrics
in nigaahon mein
ghar tumhaara hai
tum jo aa jaao
to mazaa aaye
haaye
in nigaahon mein
ghar tumhaara hai
tum jo aa jaao
to mazaa aaye
haaye
in nigaahon mein
roop ki shehzaadi hoon
dil lubhaane aayi hoon
aao meri mehfil mein
aaj lene aayi hoon
roop ki shehzaadi hoon
dil lubhaane aayi hoon
aao meri mehfil mein
aaj lene aayi hoon
mast baahon mein
ek jannat hai
mere ban jaao
to mazaa aaye
haaye
in nigaahon mein
ghar tumhaara hai
tum jo aa jaao
to mazaa aaye
haaye
in nigaahon mein
baat meri maano tum
doob jaao aankhon mein
haaye kaisi hulchul hai
aag jaisi saanson mein
baat meri maano tum
doob jaao aankhon mein
haaye kaisi hulchul hai
aag jaisi saanson mein
in andheron mein
in ujaalon mein
tum jo takraao
to mazaa aaye
haaye
in nigaahon mein
ghar tumhaara hai
tum jo aa jaao
to mazaa aaye
haaye
in nigaahon mein
gair ko main jaanoon kya
tum hi mere qaatil ho
tum to mere jeevan mein
jaane kab se shaamil ho
gair ko main jaanoon kya
tum hi mere qaatil ho
tum to mere jeevan mein
jaane kab se shaamil ho
in ishaaron mein
dil ki baatein hain
tum samajh jaao to
to mazaa aaye
haaye
in nigaahon mein
ghar tumhaara hai
tum jo aa jaao
to mazaa aaye
haaye
in nigaahon mein
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
इन निगाहों में
घर तुम्हारा है
तुम जो आ जाओ
तो मज़ा आये
हाए
इन निगाहों में
घर तुम्हारा है
तुम जो आ जाओ
तो मज़ा आये
हाए
इन निगाहों में
रूप की शहजादी हूँ
दिल लुभाने आई हूँ
आओ मेरी महफिल में
आज लेने आई हूँ’
रूप की शहजादी हूँ
दिल लुभाने आई हूँ
आओ मेरी महफिल में
आज लेने आई हूँ’
मस्त बाहों में
एक जन्नत है
मेरे बन जाओ
तो मज़ा आये
हाए
इन निगाहों में
घर तुम्हारा है
तुम जो आ जाओ
तो मज़ा आये
हाए
इन निगाहों में
बात मेरी मानो तुम
डूब जाओ आँखों में
हाए कैसी हलचल है
आग जैसी साँसों में
बात मेरी मानो तुम
डूब जाओ आँखों में
हाए कैसी हलचल है
आग जैसी साँसों में
इन अँधेरों में
इन उजालों में
तुम जो टकराओ
तो मज़ा आये
हाए
इन निगाहों में
घर तुम्हारा है
तुम जो आ जाओ
तो मज़ा आये
हाए
इन निगाहों में
गैर को मैं जानूँ क्या
तुम ही मेरे क़ातिल हो
तुम तो मेरे जीवन में
जाने कब से शामिल हो
गैर को मैं जानूँ क्या
तुम ही मेरे क़ातिल हो
तुम तो मेरे जीवन में
जाने कब से शामिल हो
इन इशारों में
दिल की बातें हैं
तुम समझ जाओ
तो मज़ा आये
हाए
इन निगाहों में
घर तुम्हारा है
तुम जो आ जाओ
तो मज़ा आये
हाए
इन निगाहों में
- In: Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Kishore Kumar songs | Kishore Kumar-Asha Bhonsle duet | Lyrics contributed by readers | Post by Sudhir | Songs of 1970s (1971 to 1980) | Songs of 1971 | Yearwise breakup of songs
- 5 Comments
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.
From the very early childhood, probably the deepest interest that I have is gathering and storing away in memory – facts, curious info, peculiar data, and a plethora of such interesting information that I would use (still use 🙂 ) to make interesting conversations and, ahem, impressing others :). In short, I have been a General Knowledge (GK) buff since I was toddler. In my class, I was known as the best and the worst – always scored the highest, mostly perfect scores, in the GK papers, and always, without fail, scored the lowest in art and painting. (The art teachers were generous; they would give me just enough not to spoil my averages.)
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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