Posts Tagged ‘Shantanu Moitra’
Chandaa re chandaa re
Posted on: March 18, 2024
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5722 | Post No. : | 18241 | Movie Count : |
4894 |
‘Eklavya’ (2007) was produced by Vidhu Vinod Chopra under his banner, Vinod Chopra Productions and was directed by him. The cast included Amitabh Bachchan, Saif Ali Khan, Sanjay Dutt, Vidya Balan, Jackie Shroff, Boman Irani, Jimmy Shergill, Sharmila Tagore, Raima Sen, Parikshit Sahni, Mitha Vashisht etc. The film is an action costume drama with a background of a Royal family in a contemporary setting. The film was majorly shot in Rajasthan.
The title of the film, ‘Eklavya’ has nothing to do with Eklavya of Mahabharat. In the film, the mother of the royal guard tells her son that he should be like Eklavya in following the dharma which is his duties towards the Royal family. Just to avoid some confusion, the official name of the film is ‘Eklavya – The Royal Guard’.
The story of the film is as under:
Eklavya (Amitabh Bachchan) is a loyal bodyguard of an aging Rana Jaywardhan (Boman Irani), the present king of Devigarh. Now aged, Eklavya is nearly blind. Rana Jaywardhan is sitting besides his dying wife, Queen Suhasini Devi (Sharmila Tagore) when she faintly utters ‘Eklavya’ a number of times. Rana gets mad and the queen gets killed by the hands of Rana. Her mentally challenged daughter, Nandini (Raima Sen) is present during the death of the queen. Somehow, Rana starts believing that Eklavya knows a secret about the Royal couple. He orders his younger brother, Jyotiwardhan (Jackie Shroff) to execute Eklavya. Actually, Jyotiwardhan and his son, Udaywardhan (Jimmy Shergill) are conspiring to get rid of Rana.
Meanwhile, Prince Harshwardhan (Saif Ali Khan) returns from London to perform the last rites of His mother queen. Of many persons come to receive him, he is happy to see his driver (Parikshit Sahni) and his daughter, Rajjo (Vidya Balan) besides Eklavya. Rajjo meets Prince Harshwardhan and hands over a closed letter written by the queen and addressed to Harshwardhan. He reads the letter with a shocking expression because she has revealed in the letter that Eklavya is the real father of Harshwardhan and his sister, Nandini.
The other development is that there is a death threat to Rana due to rising unrest among the farmers as their lands have been seized by the royals. Inwardly, there is a prevalence of uneasy relationship between Rana’s family and his younger brother, Jyotiwardhan’s family. So, DSP, Pannalal (Sanjay Dutt) meets Rana to assure him of police protection. But before it is being implemented, there is an assassination attempt on Rana who is now angry. He instructs his brother, Jyotiwardhan to kill Eklavya. Instead, Jyotiwardhan kills Rana during which his driver also gets killed.
Now it becomes free for alls in Royal family. Eklavya gets some clue to conclude that it was Jyotiwardhan and his son, Udaywardhan to be responsible in killing Rana. Eklavya kills Udaywardhan and takes his father Jyotiwardhan to his dead body with the intention of killing him also. Before that, Jyotiwardhan reveals to Eklavya that it was the Prince Harshwardhan who ordered killing of Rana. In a fit of anger, Eklavya kills Jyotiwardhan.
Prince Harshwardhan reveals to Rajjo that it was he who managed to get Rana killed. Rajjo leaves the Prince since he was indirectly responsible for her father, Omkar Singh getting killed. Now it is the turn of Eklavya to kill the Prince, his biological son as per his dharma. However, before that, Eklavya wants to know from him as to why he ordered killing Rana. Prince Harshwardhan explains the reason for killing Rana because his sister, Nandini who was the witness at the time of the death of her mother, saw Rana smothering the semi-conscious mother to death because she uttered Eklavya’s name. Prince Harshwardhan tells Eklavya to kill him to adhere to his dharma. But Eklavya’s hand trembles. Prince Harshwardhan decides to commit suicide by his revolver. But before that, Eklavya throws his dagger to dislodge the revolver from his hand thus saves Prince Harshwardhan and hugs him.
After Harshwardhan take charge of the royal duties, he calls all the villagers who have lost their lands and distributes the legal documents making them owners of the land. He also announces publicly that from now onwards, he regards Eklavya as his father. DSP, Pannalal visits the palace showing a suicide note which says that Jyotiwardhan and his son Udaywardhan, afraid of being caught by the police for killing Rana, committed suicide in front of a speeding train. Rajjo reconciles with Prince Harshwardhan when she comes to know the real reason for Rana getting killed.
I am happy that I watched this beautifully crafted film with technical excellence, a few days before writing this article. It has a shade of Shakespearean tragedy. All the main actors have given excellent performances. The dramatic verbal duel between Amitabh Bachchan and Saif Ali Khan, especially of about 10 minutes duration towards the end of the film are of high calibre. Some of the close-up photography of the main actors speaks much more than the dialogues. There are some excellent shots of night photography. The visuals are appealing. The costumes look authentic and why not. They have been designed by Raghavendra Rathod who is from the royal family of Jaipur. This film is mainly meant for the niche audience. For the general audience, the film may be too slow to enjoy.
The film had three songs written by Swanand Kirkire and set to music by Shantanu Moitra. I am presenting the first song from the film, ‘chandaa re chandaa re dheere se muskaa’ to appear on the Blog. The song is rendered by Hansika Iyer who sings for Vidya Balan. Saif Ali Khan and Raima Sen are also in the picturisation frames of the song.
The song is composed like a lullaby, but the lyrics of the song give the impression that Vidya Balan who is in love with Saif is coaxing him to shade his pride and smile. The reason is that a small part of the song is also used in a different scene as a lullaby in the background when Saif is putting his mentally challenged sister (Raima Sen) to sleep.
It is a lovely song with the soft orchestration.
Video Clip:
Audio Clip:
Song-Chanda re chanda re (Eklavya)(2007) Singer-Hansika Iyer, Lyrics-Swanand Kirkire, MD-Shantanu Moitra
Chorus
Lyrics (Based on Audio Clip):
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
chandaa re chandaa re
dheere se muskaa
haule se haule se
palkon mein chhup jaa
chandaa re chandaa re
dheere se muskaa
haule se haule se ae
palkon mein chhup jaa
haule se haule se
chhan chhan chhan chhan chhan chhan chhana
baadal ke jhoole pe
khhan khhan khhan khhan khhan khhan khhana
haule se haule se
baadal ke jhoole pe
muskaa
chandaa re chandaa re
dheere se muskaa
haule se haule se
palkon mein chhup jaa
hmm hmm hmm la la laa
dheere se muskaa
hmm hmm hmm la la laa
palkon mein chhup jaa
arre lukka chhipi khele
chandaa taaron ke sang
kaun thhaame dori
tu hai kis kee patang
chandaa o re chandaa
tera kaisa guroor
hans de zaraa saa
barsaa de tu noor
chhan chhan chhan chhan chhan chhan chhana
khhan khhan khhan khhana khhan khhan khhana
(ho ooooooooooo)
chandaa re chandaa re
dheere se muskaa
haule se haule se
palkon mein chhup jaa
hmm hmm hmm la la laa
dheere se muskaa
hmm hmm hmm la la laa
palkon mein chhup jaa
Arziyaan de rahaa hai dil aao
Posted on: February 1, 2024
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5676 | Post No. : | 18188 | Movie Count : |
4885 |
‘Bobby Jaasoos’ (2014) was produced by Dia Mirza and Sahil Sangha under the joint banners of Born Free Enterprises and Reliance Entertainment and was directed by debutant Samar Shaikh who also wrote the story. The screenplay and dialogues were written by Sanyukta Chawla-Shaikh. Vidya Balan and Ali Fazal were in the lead roles supported by Supriya Pathak-Kapur, Tanvi Azmi, Zarina Wahab, Arjan Bajwa, Rajendra Gupta, Kiran Kumar, Anupriya Goenka, Prasad Barve, Aakash Dahiya etc.
This is a story about a girl nicknamed Bobby from a conservative Muslim joint family based in the outskirt of Hyderabad. She wants to be detective much against the wishes of her father. She does start the detective work and becomes successful. But it is more with comical elements than with her professional touch. The story of the film becomes a bit complex when a local TV host who wants to avoid marriage fixed by his father, tries to engage Bobby to find out some adverse things about the girls on the basis of which he can reject the marriage proposal. But things work out something else between TV host and Bobby leading to some unexpected twist in the story.
The story of the film in some details is as under:
Bilqis, nicknamed as Bobby (Vidya Balan) lives with her conservative family in the outskirt of old Hyderabad. She is past her marriageable age. But she has an unconventional dream. She is addicted to watching TV serials ‘CID’ which has created interest in her to become a detective. She goes to a reputed detective agency to get employed but the owner refuses to employ her because of her unsophisticated behaviour and lack of higher education. Bobby decides to set up her own detective agency. Initially, she gets some small inconsequential detective work in which she becomes successful. In this, Tasawwur (Ali Fazal), a TV host is her regular client who seeks Bobby’s services in warding off his father’s pressure to get married by giving unfavourable reports on the girls his father has chosen as his bride. She also get a case from Lala (Arjan Bajwa), a local goon to break the proposed marriage of his girl friend, Afreen (Anupriya Goenka) to a groom selected by her father. Despite her success, Bobby continues to face disapproval of her father (Rajendra Gupta). The only silver lining to pursue her detective job is the tacit support from her mother (Supriya Pathak) and her Aunt (Tanvi Azmi).
But Bobby is not happy in solving local detectives cases which neither give her thrill in solving the cases nor are they lucrative. But luck smiles on her. She gets a wealthy client, Anees Khan (Kiran Kumar) who has given Bobby to search for a missing girl without providing much of a detailed background except her date of birth and a birthmark on her hand. She visits many places in disguise, such as a bangle seller, coaching classes, beauty parlours etc and she cracks the case by finding out her whereabouts.
Happy with Bobby’s success, Khan promptly pays her fees and gives her another case of a missing girl with the only information of a birth mark on her arm. This time, Bobby changes her strategy of investigation. Instead of visiting many places, she calls girls for the audition of a fake TV show. Many girls report for the audition during which Bobby sees their bare arms for the birthmark. She finds the missing girl among them with the birthmark with minimum efforts. Again, Khan showers her with large cash.
In the meanwhile, Tasawwur (Ali Fazal) who is not interested in marriage, works out a plan to ward off his father’s pressure on him to get married. He reveals to his father that he is in love with Bobby. After his initial reservation, his father is happy that at least his son has now agreed to get married. He promptly meets Bobby’s parents who are also pleased with the marriage proposal. Tasawwur has planned this under the presumption that Bobby would definitely reject his marriage proposal knowing her nature. Then he can indefinitely postpone the marriage in the guise of a jilted lover. But his plan fails. Bobby is angry with Tasawwur for playing the games with his family for his self-interest. In a fit of anger, Bobby agrees for the marriage to teach him a lesson. The engagement ceremony takes place. Tasawwur asks her in desperation whether she is really prepared to marry him. She responds by saying that she is currently busy with solving a case of a missing boy and if he helps her in this case, she would think about the marriage afterwards.
Anees Khan wants Bobby to find yet another missing person, this time a boy with a damaged toe. Bobby is happy with this case as she gets more money. But a doubt creeps in her mind fed by Lala as to why Anees Khan is ready to spend so much money to find them. She had also observed that Anees Khan had paid money to an unknown person after both the girls were found. She does a reality check. She finds that of the two missing girls she found out for him, one has disappeared and the family of the second girl has left the place for some unknown destination. Bobby starts doubting about Anees Khan’s intention. So, instead of starting her new detective work to find out the missing boy for Anees Khan, she starts the detective work to find out the antecedent of Anees Khan.
With the help of Tasawwur and some luck factors in her favour, Bobby finds that Anees Khan is the father of two missing girls and a boy who is none other than Lala. They went missing after a communal riot. After finding two girls, Anees Khan has sent them to London for higher studies and had paid money to an unknown person who was the foster father of his two missing daughters.
The film ends with Bobby and Tasawwur in love with each other but still undecided about the marriage.
I found the film interesting and entertaining with down to earth characters. The film does have a predictable suspense but the underlying purpose of the film was not to make it a suspense thriller. The film conveys a subtle message through a comical detective character, Bobby and the TV host, Tasawwur that every man and woman have right to live on their own terms. In a way, ‘Bobby Jaasoos’ (2014) is a Muslim social film with a blend of traditionality with modernity. The film flopped at the box office but I am sure that this film would be as critically discussed as other flopped films in this comedy genre like ‘Jaane Bhi Do Yaaron’ (1983) and ‘Andaaz Apna Apna’ (1994).
‘Bobby Jaasoos’ (2014) had 4 songs written by Swanand Kirkire and set to music by Shantanu Moitra. I am presenting the first song from the film, ‘arziyaan de rahaa hai dil aao’ to appear on the Blog. It is a duet song rendered by Papon (Real Name: Angaraag Mahanta) and Shreya Ghoshal. The main song is preceded by what sounds like a Sufi-style invocation which is again rendered in-between the song and at the end of the song. It gives a feeling of a mystical love song and this fits well in the situation. Bobby (Vidya Balan) and Tasawwur (Ali Fazal) are in love with each other yet it is illusive for both of them for different reasons.
The main song has been composed in the traditional ghazal tune with the soulful rendition of Papon and Shreya Ghoshal. There is an excellent Veena rendition in the last interlude which gives a feel of Carnatic music . The song has been shot with Golconda Fort and Qutb Shahi Tombs in the background, giving a nostalgical feelings.
Video Clip:
Audio Clip:
Song-Arziyaan de raha hai dil aao (Bobby Jaasoos)(2014) Singers- Shreya Ghoshal, Papon, Lyrics-Swanand Kirkire, MD-Shantanu Moitra
Both
Lyrics (based on audio clip):
tu meraa afsaanaa
tu meraa paimaanaa
tu meri aadat ibaadat hai tu
tu meraa muskaanaa
tu meraa ghabraanaa
tu meri gustaakhi maafi bhi tu
tu meri rag rag mein
tu meri nas nas mein
tu meri jaan hai aur tu meri rooh
tu hi junoon bhi hai
tu hi nashaa bhi hai
tu hi duaa meri sajdaa bhi tu
tu meraa afsaanaa
tu meraa paimaanaa
tu meri aadat ibaadat hai tu
arziyaan de rahaa hai dil aao
sun lo kuchh keh rahaa hai dil aao
aahaten kuchh nayi si jaagi hain
mausiki ik nayi hai sun jaaon
arziyaan de rahaa hai dil aao…
sun lo kuchh keh rahaa hai dil aao
tu meraa afsaanaa
tu meraa paimaanaa
tu meri aadat ibaadat hai tu
tu meraa muskaanaa
tu meraa ghabraanaa
tu mere gustaakhi maafi bhi tu
tu meri rag rag mein
tu meri nas nas mein
tu meri jaan hai aur tu meri rooh
tu hi junoon bhi hai
tu hi nashaa bhi hai
tu hi duaa meri sajdaa bhi tu
tu meraa afsaanaa
tu meraa paimaanaa
tu meri aadat ibaadat hai tu
aa aa aa aaaa
aa aa aaa aaaa
aa aa aa aa aa
la la la la la
aa aa aa aa aaa
jaagi si aankhon ko
de do na palkon ki chaadar zaraa
rookhe se honthon ko
de do na saanson ki raahat zaraa
tanhaa si raaton ko
de do na khwaabon ki saubat zaraa
khwaaishen ye kahe
de do na apni si ulfat zaraa..
ranjhishen bhool kar chale aao
arziyaan de rahaa hai dil aao
aahaten kuchh nayi si jaagi hain
mausiki ik nayi hai sun jaao
arziyaan de rahaa hai dil aao
suno kuchh keh rahaa hai dil aao
bin tere zindagi youn hi bewajah bemaani lage
bin tere zindagi jaise adhoori kahaani lage
bin tere bastiyaan kyun dil ki sooni veeraani lage
bin tere zindagi kyun khud hi khud se begaani lage….
marziyaan mod kar chale aao
arziyaan de rahaa hai dil aao
aahaten kuchh nayi si jaagi hain
mausiki ik nayi hai sun jaao
arziyaan de rahaa hai dil aao
suno kuchh keh rahaa hai dil aao
tu meraa afsaanaa
tu meraa paimaanaa
tu meri aadat ibaadat hai tu
tu meraa muskaanaa
tu meraa ghabraanaa
tu mere gustaakhi maafi bhi tu
tu meri rag-rag mein
tu meri nas-nas mein
tu meri jaan hai aur tu meri rooh
tu hi junoon bhi hai
tu hi nasha bhi hai
tu hi duaa meri sajda bhi tu
tu meraa afsaana
tu meraa paimaanaa
tu meri aadat ibaadat hai tu
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm
aa aa aa aa
aa aa aa aaa
- In: Bhajan | Devnagri script lyrics by Sudhir | Duet | Expecting the Almighty | Festival song | Guest posts | Hamsika Iyer Songs | Janmashtmi song | Krishn Bhajan | Lyrics contributed by readers | Post by Sadanand Kamath | Song from Animated Film | Songs of 2010s (2011 to 2020) | Songs of 2012 | Sonu Nigam Songs | Yearwise breakup of songs
- Leave a Comment
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5529 | Post No. : | 17984 | Movie Count : |
4812 |
Wishing all the readers of the Blog a happy and blessed Krishna Janmashtami. Let the flute recital of Lord Krishna bring the melody in everyone’s life. On this happy occasion, I have taken up for discussion in this article, a 3-D Animated film, ‘Krishna Aur Kans’ (2012) which was released in August 2012 around Krishna Janmashtami day.
The film simultaneously made in Hindi, English, Tamil, and Telugu was produced by Reliance Animation and was directed by Vikram Veturi. Kamlesh Pandey wrote the screenplay and dialogues. Vikram Veturi has been working with Reliance Animation as a Creative Director for the past 12 years. He has directed many award-winning animation films. His recent works as Director are ‘Little Singham’ for Discovery Kids India, and ‘Golmaal Junior’ for Nickelodeon India.
Being an animation film, ‘Krishna Aur Kans’ (2012) has no star cast. However, there were as many ‘voice cast’ for as many animation characters in the film. They included many well-known actors and voice-over artists. They were Manoj Bajpayee (for Nand), Juhi Chawla (Yashoda), Meghna Erande (Bal Krishna), Prachi Save (Grown-up Krishna), Rajshri Nath (Radha), Om Puri (Kans), Sachin Pilgaonkar (Vasudev), Supriya Pilgaonkar (Devki), Soniya Nair (Balram), AK Hangal (Ugrasen), Anupam Kher (Gargacharya), Ninad Kamat (Narad), Mukesh Khanna (Akroor) etc. Harish Bhimani was the narrator.
The largest numbers of crew for the film were those who were associated with Animation and Visual Effects. The target audience for the film was mainly kids though the film would also appeal to adults who would have accompanied children.
The story covered in the Animated film is well known as most of us would have read the story in our childhood. The broad sequence of the story in the film starts from the atrocities of Prince Kans, and the marriage of Devki with Vasudev. However, they are immediately put in the jail as soon as Kans hears the celestial announcement that the 8th child of his sister, Devki would end the tyranny of Kans. The next in sequence is the birth of the 8th child of Devki who is secretly taken to Gokul and given on adoption to Yashoda and Nand who have their own son, Balaram. Next is the parts of Krishna leela and the killing of demons, Bakasur, Trinavarta and Putna who were sent by Kans to kill Bal Krishna. The film ends with Bal Krishna killing Kans in duel with him in the stadium in front of a large crowd who hails Krishna for ending the tyranny of Kans.
I have watched a few animation films on TV channels like ‘Jungle Book’, ‘Doraemon’, the older ‘Tom and Jerry’ series. After watching ‘Krishna Aur Kans’ (2012), I feel that the quality of animation is comparable to those listed above. The slick screenplay has ensured that there are no dull moments while watching the film. Each of the main animation characters in the film has given a feel of their respective mood to the audience. For example, Kans looks a real tyrant. Ugrasen gives a feel of a helpless father of Kans. The birth of Krishna and his arrival at Gokul have been nicely depicted in animation characters in the rejoicing mood. Bal Krishna shows a look of innocence while caught in wrongdoings. The entire animated characters including Yashoda, Nand, Radha and gopis display gloomy faces when Krishna is leaving Vrindavan. The various moods in the scenes are well captured in animation.
Despite the film being widely distributed all over India and getting tax exemptions in some states, the film was a box office disaster according to Box Office Report.
The film has 9 songs and one vedic chanting. All 9 songs have been written by Swanand Kirkire which have been set to music by Shantanu Moitra. On the occasion of Krishna Janmashtami today, I am presenting the first song, “Aayega Koi Aayega, Jag Mein Chhaa Jaayega” from the film to appear on the Blog. The song is rendered by Sonu Nigam, Hamsika Iyer and chorus.
This is a song of the advent of Lord Krishna, the song of rejoice and hope.
Song – Aayega Koi Aayega, Jag Pe Chhaa Jaayega (Krishna Aur Kans) (2012) Singer – Sonu Nigam, Hamsika Iyer, Lyrics – Swanand Kirkire, MD – Shantanu Moitra
Sonu Nigam + Hamsika Iyer
Two Unidentified Male Voices
Sonu Nigam + Chorus
Chorus
Lyrics
[Aalaap and Vedic chanting]
chhaayi ghor amaasi
aao Hari aao
Hari aao na
saari dharti hai pyaasi
aao Hari aao
Hari aao na
dharti ko ghar banaane
dukh saare door bhagaane
andhiyaare saare mitaane
suraj sa jagmagaane aayega
jhoomon re naacho re
sab mil gaao re
preeti ki dhun leke hari aayenge
palken bichhaao re
mangal sab gaao re
maanav ka roop leke hari aayenge
aayega
koi aayega
jag pe chhaa jaayega
dag mag si naiya ko
paar lagaane ko
aayega koi aayega
mann mein chhaa jaayega
roti si dharti ko
khil khil hasaane ko
parvat saagar maati baadal
sab mein uska waas hai
koyal gaaye jhingur bole
uski hi aawaaz hai…
ho uska daras dikhe
har ek atma ki pyaas hai
aana hari aana ab to
tujhse saari aas hai…
bhanwre gaayen dekho
galiyaan gaayen dekho
teenon lokon ke waasi sawaagat ko aaye
aayega koi aayega
jag pe chhaa jaayega
dag mag si naiya ko
paar lagaane ko
o o aayega koi aayega
mann mein chhaa jaayega
roti si dharti ko
khil khil hasaane ko
bhatka bhola bhoola manva
jab bhi apni raah to
laga laga vasudha ko dukhon ka shraap to
ho oo bada chala bada jab dharti pe paap to
aaya Hari aaya karne paap kaa vinaash ho oo
kabhi to raha vaaman
naam banwaaya wo
teen pagon mein saari sristhi hai naapi
aayega koi aayega
jag pe chhaa jaayega
dag mag si naiya ko
paar lagaane ko
o o aayega koi aayega
mann mein chhaa jaayega
roti si dharti ko
khil khil hasaane ko
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
[आलाप और वेद मंत्र]
छाई घोर अमासी
आओ हरी आओ
हरी आओ ना
सारी धरती है प्यासी
आओ हरी आओ
हरी आओ ना
धरती को घर बनाने
दुख सारे दूर भगाने
अँधियारे सारे मिटाने
सूरज सा जगमगाने आएगा
झूमो रे नाचो रे
सब मिल गाओ रे
प्रीति की धुन लेके हरी आएंगे
पलकें बिछाओ रे
मंगल सब गाओ रे
मानव का रूप ले के हरी आएंगे
आएगा
कोई आएगा
जग पे छा जाएगा
डगमग सी नैया को
पार लगाने को
आएगा कोई आएगा
मन में छा जाएगा
रोती सी धरती को
खिल खिल हसाने को
पर्वत सागर माटी बादल
सब में उसका वास है
कोयल गाये झींगुर बोले
उसकी ही आवाज़ है
हो उसका दरस दिखे
हर एक आत्मा की प्यास है
आना हरी आना अब तो
तुझसे सारी आस है
भँवरे गायें देखो
गलियाँ गायें देखो
तीनों लोकों के वासी स्वागत को आए
आएगा कोई आएगा
जग पे छा जाएगा
डगमग सी नैया को
पार लगाने को
आएगा कोई आएगा
मन में छा जाएगा
रोती सी धरती को
खिल खिल हसाने को
भटका भोला भूला मनवा
जब भी अपनी राह तो
लगा लगा वसुधा को दुखों का श्राप तो
हो ओ बढ़ा चला बढ़ा जब धरती पे पाप तो
आया हरी आया करने पाप का विनाश हो
कभी तो रहा वामन
नाम बनवाया वो
तीन पगों में सारी सृष्टि है नापी
आएगा कोई आएगा
जग पे छा जाएगा
डगमग सी नैया को
पार लगाने को
ओ ओ आएगा कोई आएगा
मन में छा जाएगा
रोती सी धरती को
खिल खिल हसाने को
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5525 | Post No. : | 17975 | Movie Count : |
4810 |
During the last eight months or so, I have been writing articles for the Blog covering songs from films mostly released on or after 2000. In my view, the selected songs are melodious with good lyrics, yet underrated. These songs have, more or less the same vibes as that of the songs of the golden period of Hindi film music. It may be a mere coincidence, but I found that most of these songs are from films which are off the mainstream Hindi films.
In my quest for such songs, recently, I was led to a film, ‘Phir Kabhi’ (2009), the name I heard for the first time. I do not remember the advertisement of the film either on the newspapers or TV channels. The probable reason could be that the film was not released in the theatres. Instead, the producer and distributor of the film, UTV Motion Pictures decided to experiment with releasing the film for the first time in the history of Hindi films, directly on Home Video and Pay-Per-View DTH. The film’s director, V K Prakash, in an interview on the Times of India had said that he was unhappy about the film being not considered for theatrical release by the producer and distributor of the film.
‘Phir Kabhi’ (2009) was produced by Pradeep Guha and Ronnie Screwaala of UTV Motion Pictures and was directed by V K Prakash. The cast included Mithun Chakraborty and Dimple Kapadia in lead roles supported by Rati Agnihotri, Kitu Gidwani, Neha Jhulka, Gulshan Grover, Tinu Anand, Nishikant Dikshit, Sanjay Swarajya, Ushmey (Rimoh) Chakraborty, Gaurav Bajaj etc. Even though it was a low budget film, it had some big names like Nitin Desai as Art Director and Bhanu Athaiya as Costume Director. The film’s director, V K Prakash, who has been associated with ad films, switched over to directing feature films since 2000, mostly Malayalam films. But he had also directed Hindi, Marathi, Telugu, Kannada and Tamil Films. He has also acted in many Malayalam films.
This was the first time that Mithun Chakraborty and his son Ushmey Chakraborty acted together in this film. However, they did not face each other in the film as Ushmey Chakraborty was doing the teen-aged Mithun Chakraborty’s role in the film.
I watched the film on Dailymotion where it is available in 4 parts with average quality. The film has the offbeat story of two high school teenage lovers who rekindle their romance at a school reunion party about four decades later when they are in their twilight years. The man has recently lost his wife whom he loved the most, and the woman had remained unmarried, living alone. Their loneliness and the renewed familiarity bring mutual affections and caring for each other. But their friendship is resented by man’s daughter-in-law who feels that this old-age relationship would have negative influence on her daughter. The details of the story are as under:
Hari Singh (Mithun Chakraborty) and his wife, Laxmi (Rati Agnihotri) stay with his working daughter-in-law, Divya (Kitu Gidwani) and the college-going teenage granddaughter, Sonia (Neha Jhulka). His son is employed in the USA. All the family members have been living in harmony with Hari and Laxmi completing their 40 years of married life. One day, Hari’s wife, Laxmi suddenly passes away, leaving Hari alone in the house most of the time. He has been used to depend on his wife for most of his requirements for which he misses her a lot.
One day, Hari receives a letter from his schoolmate, Ganga (Dimple Kapadia) in which she invites him to attend the school’s reunion party for which all the past classmates have been invited. This rekindles Hari’s teenage love interest in Ganga which got aborted as he could not defy his father’s dictate. In the reunion party, he meets his close friend, Jagmohan Chadha (Gulshan Grover) who is aware of Hari’s relationship with Ganga during their school days. He takes Hari to Ganga who is eager but shy to meet him. Hari comes to know that after their aborted relationship, she has remained unmarried. Both Hari and Ganga recall their schooldays rendezvous through some flashback scenes.
After the reunion event is over, both of them exchanges letters. Hari often visits Ganga’s house for which he has to travel on the bus or take a scooter ride with Kanhaiya (Tinnu Anand). Over a period of time, they become affectionate and caring to each other. Kanhaiya, at first, disapproves this old age ‘romance’ and put blame on the ‘saas-bahu’ types of TV Serials. Later, he reconciles to Hari’s relationship with Ganga. Sonia, Hari’s granddaughter also gets to know about exchange of letters between her Daadu and Ganga, but she is ok with it because the letters are more of affections and caring for each other rather than the love letters that were exchanged as teenagers. Sonia herself is in a relationship with her boyfriend which she has shared with her Daadu as both are close to each other. She does not let out her Daadu’s friendship with Ganga to her mother.
Hari’s daughter-in-law accidentally comes to know about the exchange of letters between her father-in-law and Ganga and also his periodic visits to Ganga’s house. She politely tells him that the society will not like his ‘romance’ at this old age and it would have a bad influence on her daughter. Hari, after giving some thoughts over her observations, assures her that hence forward, he would not write any letter to Ganga, nor would he receive letters from her. He would also stop visiting Ganga’s place forthwith.
Hari is restless as he feels that he has once again let down Ganga in her old age. His uneasiness prompts Divya to call her husband who is in the USA to make an urgent trip to India. He comes to India and after discussion with his wife, they decide that they would have no objection to his father’s friendship with Ganga but not before meeting Ganga in her house to assess the situation. Sonia forces her Daadu to accompany them also.
Ganga on the other hand is upset that Hari who had succumbed to his father’s pressure not to go ahead with the relationship in their younger time, has once again succumbed to the family pressure. She leaves the place to settle in an ashram to take care of its inmates. She proceeds to railway station to take a train for her new destination. In the nick of the time, Hari and his family reach the station. But the train has already started moving. In keeping with his timid nature, Hari is in two minds whether to board the slow-moving train or not to meet Ganga. His family members and his friend, Jagannath force him to go ahead. Film ends with Hari boarding the slow-moving train and meeting Ganga.
Hats off to writer, M Sindhuraj for presenting a subtle heart-warming story. All the main characters have harmonious relationships, yet they are not presented as superhuman beings. There are minor faults and weaknesses in them. But those are part of any human relationship. The entire film is a showcase of positivity from beginning to end.
I was not a great admirer of Mithun Chakraborty for working in his brand of films. I always used to feel what a fall for him from winning the National Film Award for the best actor in his maiden film, ‘Mrigayaa’ (1976) to the roles in the likes of disco dancer, and fighter. He came back to his intense performances in films like ‘Swami Vivekanand’ (1998) and ‘Guru’ (2007). But above all, in the film under discussion, Mithun Chakraborty has given one of his best performances. All other main actors like Dimple Kapadia, Rati Agnihotri, Neha Jhulka and Gulshan Grover have also given the excellent performances in the film.
After watching the film, I felt that UTV Motion Pictures have erred in their judgement in not releasing the film in the theatres especially when the film had received positive responses at the International Film Festivals in Kolkata and Cochin. The film got awards for the Best Narrative Feature, the Best Director, the Best Feature Screenplay, the Best Original Score, the Best Production Design, and the Best Costume Design at the Los Angeles Reel Awards.
The film had 4 songs, all written by Ajay Jhingran which have been set to music by Shantanu Moitra. I am presenting the first song from the film, ‘jheeni jheeni jhilmilaati raat ho tum’ to appear on the Blog. The song is rendered by Bhupinder Singh and Hamsika Iyer and is picturised on Mithun Chakraborty and Neha Jhulka (Sonia) in the role of grandfather and granddaughter respectively.
The background to the song is that Sonia in her birthday party, has arguments with her boyfriend. In a huff, she walks out of the birthday party and returns home in an agitated mood. She reveals to her grandfather as to what happened in the birthday party. The grandfather takes her hand and starts dancing with her to cheer up as if she is dancing with her boyfriend.
Enjoy the ‘feel good’ song.
Video Clip:
Audio Clip:
Song-Jheenee jheenee jhilmilaatee raat ho tum (Phir Kabhi)(2009) Singers-Bhupinder Singh, Hamsika Iyer, Lyrics-Ajay Jhingran, MD-Shantanu Moitra
Both
Lyrics (Based on Audio Clip)
jheeni jheeni jhilmilaati raat ho tum
kori kori anchhuyi si paat ho tum
gungunaati suhaani baat ho tum
kaho na
kaho na saath ho tum
chhan chhananan chhan chhananan chhan chhananan
chhan chhan hey daadu
kal kal kal chhal chhal chhal
pal pal pal behta hai jaadoo
hmm
uchhale hai machale hainudta hai mann…
mera hai mera hai mera gagan
la la la la la la la la la
la la laa
aa aa aa
haa haa haa haa aa
la la laa
dil mera dil tera dil ek hai
tu hi to hai meri jaan
main tera thha
tera hoon har janam
tu hi to hai mera jahaan
chamchamaati aankhein meri hain darpan tera
aa haa aa
chulbuli si baatein laayi hain bachpan tera
chhan chhananan chhan chhananan chhan chhananan
chhan chhan hey daadu
kal kal kal chhal chhal chhal
pal pal pal behta hai jaadoo
uchhle hai machale hai udta hai mann…
mera hai mera hai mera gagan
hmm aa aa aaa
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
la la la laa…
ha aa aa aa
ha aa aa aa aa aa aa
la la laa…
ha aa aa aa aa aa aa
la la laa…
kal thha ye pal
kho na jaaye kahin
aa chhaan le narmiyaan…
din saare chhin jaaten hain ek din
rah jaaten hain mithe nishaan
khoyi khoyi jaagi soyi hai ye chaandni
halke halke chhalke dil se preet raagini
chhan chhananan chhan chhananan chhan chhananan
chhan chhan hey daadu
kal kal kal chhal chhal chhal
pal pal pal behta hai jaadoo
uchhle hai machale hai udta hai mann…
mera hai mera hai mera gagan
chhan chhananan chhan chhananan chhan chhananan
chhan chhan hey daadu
chhan chhan hey daadu
kal kal kal chhal chhal chhal
pal pal pal behta hai jaadoo
behta hai jaadoo
uchhale hai machale hai udta hai mann
mera hai mera hai mera gagan
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5492 | Post No. : | 17930 | Movie Count : |
4793 |
‘Laaga Chunari Mein Daag’ (2007) was produced under the banner of Yash Raj Films and was directed by Pradeep Sarkar. The star cast included Rani Mukherjee, Jaya Bahaduri, Konkana Sen Sharma, Anupam Kher, Abhishek Bachchan, Kunal Kapoor, Tinnu Anand, Sushant Singh, Kamini Kaushal, Suchitra Pillai etc. Hema Malini made a special appearance in the film in the role of a courtesan. This was the second film of Pradeep Sarkar as a director after his critically acclaimed film, ‘Parineeta’ (2005). The film is available for viewing only on the OTT platform.
The gist of the story of the film is as under:
The family of Shivshankar Sahay (Anupam Kher) consisting of his wife, Savitri (Jaya Bachchan) and the two daughters – Vibha (Rani Mukherjee) and Shubha (Konkona Sen Sharma) is going through hard days. Due to financial constraints, Vibha’s education has been discontinued after 12th standard. Their haveli located at Banaras ghat is in danger of going on the auction by the creditors including Shivshankar’s elder brother, Rajshankar (Tinnu Anand) who wants his share in it.
To take care of the financial problem of the family, Vibha moves to Mumbai to get a job. But her educational qualification is not enough to get her a job. Willy-nilly, she falls into a trap which forces her to become a call girl and later the job of an escort under a new name, Natasha. With her new job, Vibha is flushed with money not only to regularly remit the money to her family in Banaras, but she has an apartment to stay in and owns a car. Except her mother, none of the other members of the family is aware as to how Vibha earns so much money. But the financial crunch makes Savitri to keep mum.
With Vibha’s financial support, Shubha completes her MBA and moves to Mumbai for her internship in a company. She becomes close to Vivaan Verma (Kunal Kapoor) during her internship in the company. Vibha is sent to Switzerland as a part of her PR job to make necessary arrangements for a meeting. In the flight, she meets Rohan Verma (Abhishek Bachchan) and develops an acquaintance. She again meets him during the meeting, and they become close friends.
In Mumbai, the relationship between Shubha and Vivaan goes to a higher level and their marriage is fixed in Banaras. However, Savitri does not want Vibha to attend the marriage for fear of her antecedent. Shubha convinces Vibha to join her marriage in Banaras where she is surprised to see Rohan Verma joining the pre-marriage ceremony. He turns out to be the elder brother of the bridegroom, Vivaan Verma. During the ceremony, Rohan proposes to Vibha which she is reluctant to agree to. However, things are sorted out as Rohan is already aware of Vibha’s background and he has no reservation about it. The film ends with both brothers getting married to sisters on the same day.
The story discussed above seems to be a familiar one. Yes, ‘Aaina’ (1977) had, more or less, the same story. I will not be surprised, there could be a couple of more films with the near identical theme. That may be the reason as to why the film becomes predictable after Vibha moves to Mumbai for a job. Perhaps, for this reason, Rani Mikherjee’s role in the film, despite her good performance, does not generate sympathy.
After watching the film, I felt a let down from director, Pradeep Sarkar who had directed a sensitive film and critically acclaimed ‘Parineeta’ (2005). The problem starts with the selection of an outdated story which, to my mind, would not be good enough even as the family soap opera on TV channels. The film starts with a song picturised on Rani Mukherjee and Konkona Sen Sharma of more than 5 minutes duration when the credit titles are displayed. Though the picturisation has been aesthetically done, the song gives an impression more of a music video than a part of the film. Even the end of the film is lackluster.
‘Laagi Chunari Mein Daag’ (2007) had six songs accredited to Swanand Kirkire as a lyricist which were set to music by Shantanu Moitra. I am presenting the first song “Ehi Thaiyaan Motiya Hiraaye Gayili Raama” from the film to appear on the Blog. The song is rendered by Rekha Bhardwaj. The lyrics of the song are accredited to Swanand Kirkire probably because in the credit titles of the film, only his name appears as a lyricist. However, the lyrics are traditional if one goes by the renditions of the song by Hindustani classical singers like Rasoolan Bai, Girija Devi, Nirmala Devi and Pandit Channulal Mishra with, more or less, the identical wordings decades back.
The background to this song is that the haveli on the Banaras ghat in which the family of Shivshankar Sahay (Anupam Kher) are staying, has been selected for a film shooting. During the film unit’s reconnaissance visit to the haveli, one lady crew member, Sofia (Tarana Raja) wants to visit the kotha to watch and shoot the mujra dance of the famous Banaras courtesan, Dulari Bai (Hema Malini). Since the ladies are prohibited to watch mujra, Vibha and Shubha take Sofia to an ante room of the kotha from where she can watch and shoot the mujra dance through a lattice window. The song is picturised on Hema Malini who is performing a mujra dance in front of the select audience. The song is interspersed with the dialogues between Anupam Kher and Jaya Bahaduri in their haveli about their financial condition. The audio clip contains the full song.
This is a traditional Chaiti song – a sub-sect of Thumri/Dadra under semi-classical form of Hindustani classical music. Lyrics are mostly in Purbi dialect which is spoken in Eastern Uttar Pradesh and Western part of Bihar. Chaiti is sung in the Hindu month of Chaitra that falls in March-April. Chaiti songs generally have the romantic theme with words like ‘ho raama’, ‘arrey raama’, ‘re raama’.
The first line of the song has an erotic element. The deeper meaning of courtesan losing a nose ring is indicative of messing with her lover. In keeping with the erotic nature of the lyrics, Rekha Bhardwaj has sensually rendered the song.
The tune of the song under discussion sounds like that of “Kaise Din Beete Kaise Beeti Ratiyaan” from film ‘Anuradha’ (1960) which has been composed by Pandit Ravishankar. The song is based on Raag Manj Khammaj which is said to be invented by Ustad Allauddin Khan, the Guru of Pandit Ravi Shankar.
Video (Partial)
Audio (Full)
Song – Ehi Thaiyaan Motiyaan Hiraaye Gayili Raama (Laaga Chunari Mein Daag) (2007) Singer – Rekha Bhardwaj, Lyrics – Sawanand Kirkire, MD – Shantanu Moitra
Lyrics
(Based on Audio)
aa aa aa aa maa
aa aa aaa
aa aa aaa
ehi thaiyaan motiya hiraaye gayili raama..aa
kahaan wa….aa main dhoondoon
ehi thaiyaan motiya hiraaye gayili raama..aa
kahaan wa…aa main dhoondoon
ho o o
ae hi thaiyaan motiya hiraaye gayili raama..aa
kahaan wa…aa main dhoondoon
nathni se moti kahin hir gaya raama
nathni se moti kahin hir gaya raama
kahaan wa…aa main dhoondoo…..oon
haa……ay ehi thaiyaan
[Tabla Beats]
saasu se poochha
nanadiyaa se poochhaaa
aa aa aa aa
hey raam
saa..su se poochha
nanadiyaa se poochha
saiyyaan ji se poochha to lajaaye gayi raama
haan aa aan
saiyyaan ji se poochha to lajaaye gayi raama
kahaan wa main dhoondoo..oon
ehi thaiyaan
ehi thaiyaan
ehi thaiyaan aa aa aa aa
ehi thaiyana motiya hiraaye gayili raama
kahaan wa main dhoondoon
ehi thaiyaan
ehi thaiyaan
ehi thaiyaan
ehi thaiyaan aa aa aa aa
ehi thaiyaan motiyaa hiraaye gayili raama
kahaan wa..aa main dhoondoon
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
आ आ आ आ मा
आ आ आ आ
आ आ आ आ
एही थइयान मोतिया हिराये गईली रामा॰॰आ
कहाँ वा॰॰आ मैं ढूँढूँ
एही थइयान मोतिया हिराये गईली रामा॰॰आ
कहाँ वा॰॰आ मैं ढूँढूँ
हो ओ ओ
एही थइयान मोतिया हिराये गईली रामा॰॰आ
कहाँ वा॰॰आ मैं ढूँढूँ
नथनी से मोती कहीं हिर गया रामा
नथनी से मोती कहीं हिर गया रामा
कहाँ वा॰॰आ मैं ढूँढूँ
हाए
एही थइयान
[तबले की ताल]
सासू से पूछा
ननदिया से पूछा
आ आ आ आ
हे राम
सा॰॰सू से पूछा
ननदिया से पूछा
सइय्याँ जी से पूछा तो लजाये गयी रामा
हाँ॰॰आं
सइय्याँ जी से पूछा तो लजाये गयी रामा
कहाँ वा मैं ढूँढूँ॰॰ऊँ
एही थइयान
एही थइयान
एही थइयान आ आ आ आ
एही थइयान मोतिया हिराये गईली रामा॰॰आ
कहाँ वा मैं ढूँढूँ
एही थइयान
एही थइयान
एही थइयान
एही थइयान आ आ आ आ
एही थइयान मोतिया हिराये गईली रामा॰॰आ
कहाँ वा॰॰आ मैं ढूँढूँ
Piyu boley piyaa boley
Posted on: July 24, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5484 | Post No. : | 17916 |
‘Parineeta’ (2005) was produced by Vidhu Vinod Chopra and was directed by debutant Pradeep Sarkar. The star cast included Saif Ali Khan and the debutant Vidya Balan in the lead role with Sanjay Dutt, Dia Mirza, Raima Sen, Sabyasachi Chakraborty, Achyut Potdar, Surinder Kaur, Supriya Shukla, Rajesh Sharma etc. Rekha made a cameo appearance in the film.
The story of ‘Parineeta’ (2005) is based on Sharat Chandra Chattopadhyay’s famous Bengali novella of the same name. The first Hindi film based on this novella was made by Bimal Roy in 1953 with the same title. I will skip discussing the story of the film in this article as Peevesie’s Mom has already covered in this post. I would only add here that the debutant director, Pradeep Sarkar and the debutant lead actress, Vidya Balan gave the impression in the film that they were the seasoned artists. With this film, Saif Ali Khan proved that he could do challenging roles as well. Shantanu Moitra proved with his music direction in the film that he can compose songs like R D Burman in ‘1942 – A Love Story’ (1994).
There are 7 songs in the film of which 3 songs have already been covered on the Blog. I am presenting the 4th song which is my most favourite in the film. The song I am referring to is ‘piyu bole piya bole jiya dole jaanu na’. The song is rendered by Sonu Nigam, Shreya Ghoshal and Chorus on the words of Swanand Kirkire which is set to music by Shantanu Moitra. The song under discussion has impressed me so much that I have watched this song umpteen times. It turns out that minute details of the song have willy-nilly got engraved in my mind.
The background as well as situation of the song in the film is that Saif Ali Khan (Shekhar) who has more interest in Rabindra Sangeet and Elvis Presley than in his father’s business is struggling to compose a tune for a song on the piano. He calls Vidya Balan (Lalita) who is his next-door neighbour and a childhood friend to help him out.
Before the start of the main song, Saif Ali Khan plays piano for a tune and he starts humming the tune with vocables like ‘la la la la’ and ‘ hey ae ae’. Shreya Ghoshal singing for Vidya Balan helps Saif Ali Khan by joining him with his vocables. He encourages her by telling ‘not bad’ which is his catchphrase in the film. The beauty of the song is that from the start of the main song, Shreya Ghoshal sings with the accomplishment of the prominent tabla beats. And this remains throughout the singing part of the song. On a couple of occasions, solo flute is played within the antaras which is pleasing to the ears. The orchestration has been kept soft in the background throughout the song in keeping with the period of the story.
One unique feature of the song is the use of choir singing in the two interludes of the song. I think, there is some symbolism which the music director has tried to convey. The choir singing is symbolic of spirituality and union with the God. In this song, there is an inherent feeling of mutual love and the desire for the union in the minds of Shekhar and Lalita. The two antaras of the song give that indication of relationship, that is between a river and the ocean and between the rain-bearing clouds and the thirsty land. The choir singing in the interludes adds luster to the song.
The whole song is a musical conversation between Shekhar and Lalita. In my view, this song is a masterpiece because everything is perfect in this song – the lyrics, the music, the rendition, the picturisation and the performances of the actors involved in the song. I do not recall as to who said that poetry (lyrics) is the soul of a song. In this song, Shantanu Moitra has nicely ‘dressed up’ the song with the melody and rhythm. Sonu Nigam, Shreya Ghoshal and the chorus singers have provided the perfect ‘ornaments’ to the song. For me, the song under discussion has, in terms of gymnastic events, the score of perfect 10.
Video Clip:
Audio Clip:
Song-Piyu bole piya bole (Parineeta)(2005)Song-Saif Ali Khan, Sonu Nigam, Shreya Ghoshal, Lyrics-Swanand Kirkire, MD-Shantanu Moitra
Sonu+Shreya,
Chorus
Lyrics (Based on video clip)
hmm hmm hmm
la la la
hey ae ae
hmm hmm hmm
you are mine
hmm hmm hmm
la la la
hey ae ae
say, you are mine
hmm
achchi hai
thank you
hmm hmm hmm hmm
aa aa aa aa
aa aa aa aa
put in words (dialogue)
hmm hmm hmm hmm
piyu bole
piya bole
hmm hmm hmm hmm jaanoon na
jiya dole haule haule
kyun ye dole jaanoon na
not bad (dialogue)
dil ki jo baaten hain
baaten jo dil ki hain
dil hi mein rakhna piya
lab to na kholoon main
kholoon na lab to par
aankhon se sab keh diya
piyu bole piya bole
kya ye bole jaanoon na
jiya dole haule haule
kyun ye dole jaanoon na
piyu bole piya bole
kya ye bole jaanoon na
jiya dole haule haule
kyun ye dole jaanoon na
[Dialogues]
ha aa aa aa
ha aa aa aa
ha aa aa aa aaa
ha aa aa aa
ha aa aa aa
ha aa aa aa aaa
ek nadi se maine poochha
ithlaake chal di kahaan
door tere pi ka ghar hai
balkhaake chal di kahaan
thhoda wo ghabraayi
thhoda sa sharmaayi
uchhli yahaan se wahaan
saagar se milne ka
uska to sapna thha
meri hi tarah piya
o jiya dole haule haule
kyun ye dole jaanoon na
piyu bole piya bole
kya ye bole jaanoon na
jiya dole haule haule
kyun ye dole jaanoon na
ha aa aa aa
ha aa aa aa
ha aa aa aa aaa
ha aa aa aa
ha aa aa aa
ha aa aa aa aaa
maine poochha ik ghata se
itraake chal di kahaan
pyaas ki bhari zameen hai
barso bhi tarsaao na
thhoda wo gurraayi
thhoda sa tharraayi
garji yahaan phir wahaan
preet lutaati phir
jham jham jham barsi wo
teri hi tarah piya
hahah
piyu bole piya bole
kya ye bole jaanoon na
jiya dole haule haule
kyun ye dole jaanoon na
piyu bole piya bole
kya ye bole jaanoon na
jiya dole haule haule
kyun ye dole jaanoon na
hmm hmm hmm hmm
hmm hmm hmm hmm
(la la la la la la)
hmm hmm hmm hmm
(la………la la la)
piyu bole piya bole
(la la la la)
la la la jaanoon na
(hmm hmm hmm)
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5477 | Post No. : | 17897 | Movie Count : |
4782 |
‘Well Done Abba’ (2010) was produced under the banner of Reliance Big Pictures and was directed by Shyam Benegal. The main actors in the film are Boman Irani who played a double role of twin brothers and Minisha Lamba in the role of his daughter/niece. Other major actors in the film were Sameer Dattani, Ila Arun, Ravi Kishan, Sonali Kulkarni, Rajit Kapur, Ravi Jhankal, Yashpal Sharma, Rajendra Gupta, Rahul Singh, Salim Ghouse, Lalit Tiwari, Ayesha Jaleel, Deepika Amin etc. The film was majorly shot in Ramoji Film City and Ibrahimpatnam village near Hyderabad. The film was premiered at the Montreal International Film Festival in August 2009. It was later shown at London International Film Festival in October 2009 and at Dubai International Film Festival in December 2009. The film was released in India on March 26, 2010.
The film’s story is based on three short stories – (1) ‘Narsaiyyan Ki Bawdi’ by Jeelani Bano, (2) ‘Phoolwa Ka Pul’ by Sanjeev and (3) ‘Still Waters’ by Jayant Kripalani. The film is a political and social satire, a sort of black comedy in which some of the distressing issues in a village is presented in humorous ways.
It may be noted that in ‘Welcome To Sajjanpur’ (2008) also, Shyam Benegal has presented the story of a village as a political and social satire. Incidentally, during the making of these two films, Shyam Benegal was a member of Rajya Sabha (2006-12). Probably, he may have got the inspiration to make these two films from his exposures to the proceedings of the Rajya Sabha sessions.
The film is presented as his own storytelling by a driver, Armaan Ali (Boman Irani) to his boss (Rahul Singh) as to what led him to prolong his leave from one month to three months for visiting his native place in a village in, what is now Telangana. His boss is furious when Armaan resume duty after 3 months. He decides to sack Armaan for his indiscipline. However, before getting sacked, Armaan requests his boss to listen to his side of the story. However, his boss has no time to listen as he has to immediately leave on a tour to Pune. Armaan persuades his boss to allow to drive him to Pune during which he would narrate the reasons for his extended leave. If he is not convinced, he would leave the job after reaching Pune. The entire film is in flashback mode, based on Armaan’s narratives to his boss during the road journey on Mumbai-Pune Expressway. Armaan Ali’s true stories, though distressing, are not only hilarious but also bizarre to some extent.
The gist of the story narration in the film is as under:
After taking one month’s leave, widower, Armaan Ali (Boman Irani), the driver in a company in Mumbai, has gone to his native place to fix the marriage of his daughter, Muskaan Ali (Minisha Lamba). Armaan finds that the village is facing a scarcity of water for a long time. The Government has advertised that those below the poverty line (BPL) having the agricultural land holding of 2.5 acres and less, can get a Bawdi (well) constructed with 100% Government grants. Armaan decides to build a well on his piece of land. This is the beginning of Armaan’s tryst with bureaucratic processes involved in the construction of the well.
Armaan faces obstacles at every stages of processing of his application for the construction of a well – from getting BPL Certificate, Index of Land to prove the ownership of the land, inspection of the site by the Jr. Engineer, submission of photographs of the progress of the well construction etc. All these process turns out to be a bribery scam run by the bureaucrats. As a result, Armaan is left with no money to construct the well as almost all money he gets in three installments of grant is exhausted in paying bribes.
Watching her father in a distressing mood after he fails to get his well constructed, Muskaan decides to step in and takes the help from Arif (Samir Dattani). The two have soft corner for each other. They get to know through Right to Information Act that there are some more villagers who were all cheated in the bribery scam run by the bureaucrats for the construction of wells. Armed with the photos showing the progress of the construction of the well (which were printed by the Government approved photographer by using the photoshop editing tools), the letter of disbursal of grants, the letter of verification by the Government engineer and the receipt of the money received by the contractor, Muskaan lodges a FIR in the police station that someone has ‘stolen’ all the newly constructed wells. Police Inspector (Rajit Kapur) is intrigued as to how the wells can be ‘stolen’. His inspection reveals that none of the wells are in existence in the village.
Armaan knows that State’s assembly election is due, and this is the right time to bring this issue to the notice of the Government. He arranges the morcha of the affected villagers to the Irrigation Minister (Rajendra Gupta) who assures Armaan that he would get the matter sorted out. But emotionally, Armaan is so much affected by the entire process that he decides not to drink water from now onwards until he gets water from his own well. The news of morcha and the Amaan’s fast of not drinking water get prominence in the newspapers and TV news channels with the interviews of Armaan and Muskaan.
The State Government also faces the ‘no confidence motion’ by the opposition members on this issue which would come for discussion after a week. The irrigation Minister is anxious that the matter of ‘stolen’ wells is resolved before the ‘no confidence motion’ comes for discussion. He orders his bureaucrats to organize machinery and laborers to get all the ‘stolen’ wells constructed well before the ‘no confidence motion’ is taken up for discussion in the assembly. At the end, Armaan gets his dream of having a well in his land fulfilled along with other affected villagers. He breaks his fast by drinking water from his newly constructed well.
Along with his pre-occupation with the construction of the well, Armaan has also tried his best to fix Muskaan’s marriage. But he is not successful as the prospective grooms’ families do not agree to the marriage proposal because Muskaan does not like to wear hijab and burqa and wishes to continue her education after her marriage. Knowing very well that both Muskan and Arif like each other, finally, Armaan goes to Arif’s father (Lalit Tiwari) with the marriage proposal of Muskaan with Arif who gladly agrees for the marriage without any precondition. The marriage is solemnized.
There are some more sub-plots in the story of the film which I have avoided as the article will become too long. There is more fun in watching the film than reading the film’s story.
In this film, Boman Irani has given yet another brilliant performance in continuation of his earlier performances in the films like ‘Khosla Ka Ghosla’ (2006) and ‘3 Idiots’ (2009). I am surprised by the excellent performance of Minisha Lamba. She has completely transformed herself from a modern girl in her other films to a village girl with her immaculate mannerism and dialogue delivery. All other actors in the film, even in minor roles have performed well.
The film was successful at the box office. It won the National Award for the Best Film with a Social Message.
‘Well Done Abba’ (2010) had 5 songs written by Ashok Mishra (3), Swanand Kirkire (1) and Ila Arun (1). One song each was the theme song played in the background during the main credit titles at the beginning and the detailed credit titles at the end of the film. All the songs were set to music by Shantanu Moitra.
I am presenting the first song from the film, “Sun Zara Sun Zara Aaya Hai Pi Ka Sandesa” to appear on the Blog. This duet song is rendered by Shreya Ghoshal and Rupankar with chorus. The song is written by Swanand Kirkire. I did not find this song in the film if I go by the DVD of the film I watched on one of the OTT platforms. It appears that the song was deleted from the film as only the prelude music of the song is heard in the film when Arif Ali (Sameer Dattani) and his love interest, Muskaan Ali (Minisha Lambha) exchanges messages on their mobiles.
My hunch is that the song was planned to be picturised on them while exchanging the messages on their mobiles. Probably, song did not make it to the final print of the film. Incidentally, Rupankar, in his interview which was published on Calcutta Times of The Times of India (date unknown) had revealed that while recording the song, music director, Shantanu Moitra had told him that the song would need the approval from Shyam Benegal to appear in the film’s soundtrack.
With this song, Rupankar (Bagchi) made his debut in Hindi films as a playback singer. Rupankar is a well-known singer-lyricist-actor-composer in Bangla films and non-film songs. He is also a guitarist.
Audio
Song-Sun zara sun zara aaya hai pi ka sandesa (Well Done Abba)(2010) Singer-Shreya Ghoshal, Rupankar, Lyrics-Swanand Kirkire, MD-Shantanu Moitra
Chorus
Female chorus
Lyrics
sun zara sun zara
aaya hai pi ka sandesa
sun zara sun zara
aaya hai pi ka sandesa
hawa mein udd udd ke aaya hai
aaya hai pi ka sandesa aa
fiza mein ghul ghul ke poochhe hai
jiya tera haal hai kaisa aa aa aa
sun zara sun zara
sandesa ishq ka andesa
sun zara sun zara
sandesa ishq ka andesa
hawa mein udd udd ke aaya hai
aaya hai pi ka sandesa..aa
fiza mein ghul ghul ke poochhe hai
jiya tera haal hai kaisa aa aa
sun zara sun zara
aaya hai pi ka sandesa
sun zara sun zara
aaya hai pi ka sandesa
sandesa..aaaaa
sandesa
ishq kaa…aa sandesa
ambar resham zari mein
taaron ko bun ke laaya
sandesa tera sandesa
haaye sandesa
mausam wo saare saare
lafzon mein chunke laaya
sandesa are sandesa
haaye sandesa
arre dil to o hatheli pe hai
rog laga hai hamein jaane kaisa
ik haseen khwaab saa
chamka kare hai tera sandesa
ummeeden jagaaye hai tera sandesa
arre haay ram
hamen ishq ka hai andesa
sandesa..aaaaaa
sandesa
ishq kaa..aa sandesa
sun zara sun zara
aaya hai pi ka sandesa
sun zara sun zara
aaya hai pi ka sandesa
hmm
baadal patang dil ki dori se baandhe
laaya sandesa
tera sandesa
haan sandesa aa
jaise malang dil mein dhooni ramaaye
tera sandesa
haan sandesa
ho sandesa
dil to hatheli pe hai
rog laga hai hamen jaane kaisa
ek haseen khwaab sa
chamka kare haaye tera sandesa
umeeden jagaaye tera sandesa aa
arre haay ram
hamen ishq ka hai andesa
sandesa..aaaaaa
sandesa
ishq kaa….aa sandesa
sun zara sun zara
sandesa ishq ka andesa
sun zara sun zara
sandesa ishq ka andesa
ho o o
hawa mein udd udd ke aaya hai
aaya hai pi ka sandesa aa
fiza mein ghul ghul ke poochhe hai
jiya tera haal hai kaisa
hmm hmm hmm hmm
sun zara sun zara
aaya hai pi ka sandesa
sun zara sun zara
aaya hai pi ka sandesa
sandesa..aaaaaaa
sandesa
sun zara sun zara
aaya hai pi ka sandesa
ishq kaa….aa sandesa
sun zara sun zara
aaya hai pi ka sandesa
sandesa..aaaaaa
sandesa
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
हवा में उड़ उड़ के आया है
आया है पी का सँदेसा॰॰आ
फिज़ा में घुल घुल जे पूछे है
जिआ तेरा हाल है कैसा॰॰आ॰॰आ॰॰आ
सुन ज़रा सुन ज़रा
सँदेसा इश्क़ का अंदेसा
सुन ज़रा सुन ज़रा
सँदेसा इश्क़ का अंदेसा
हवा में उड़ उड़ के आया है
आया है पी का सँदेसा॰॰आ
फिज़ा में घुल घुल जे पूछे है
जिआ तेरा हाल है कैसा॰॰आ॰॰आ॰॰आ
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
सँदेसा॰॰आ॰॰आ
सँदेसा
इश्क़ का॰॰आ॰॰आ सँदेसा
अंबर रेशम ज़री में
तारों को बुन के लाया है
सँदेसा तेरा सँदेसा
हाय सँदेसा
मौसम वो सारे सारे
लफ़्ज़ों में चुन के लाया है
सँदेसा अरे सँदेसा
हाय सँदेसा
अरे दिल तो हथेली पे है
रोग लगा है हमें जाने कैसा
इक हसीन ख्वाब सा
चमका करे है तेरा सँदेसा
उम्मीदें जगाए है तेरा सँदेसा
अरे हाय राम
हमें इश्क़ का है अंदेसा
सँदेसा॰॰आ॰॰आ
सँदेसा
इश्क़ का॰॰आ॰॰आ सँदेसा
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
हम्म
बादल दिल की डोरी से बांधे
लाया सँदेसा
तेरा सँदेसा
हाँ सँदेसा॰॰आ
जैसे मलंग दिल में धूनी रमाए
तेरा सँदेसा
हाँ सँदेसा
हो सँदेसा॰॰आ
अरे दिल तो हथेली पे है
रोग लगा है हमें जाने कैसा
इक हसीन ख्वाब सा
चमका करे है तेरा सँदेसा
उम्मीदें जगाए है तेरा सँदेसा
अरे हाय राम
हमें इश्क़ का है अंदेसा
सँदेसा॰॰आ॰॰आ
सँदेसा
इश्क़ का॰॰आ॰॰आ सँदेसा
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
ओ ओ ओ
हवा में उड़ उड़ के आया है
आया है पी का सँदेसा
फिज़ा में घुल घुल जे पूछे है
जिआ तेरा हाल है कैसा
हम्म हम्म हम्म हम्म हम्म
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
सँदेसा॰॰आ॰॰आ
सँदेसा
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
इश्क़ का॰॰आ॰॰आ सँदेसा
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
सँदेसा॰॰आ॰॰आ
सँदेसा
Kyun aaj kal aksar kahin
Posted on: March 10, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5348 | Post No. : | 17536 | Movie Count : |
4718 |
Recently, I watched the film, ‘7½ Phere’ (2005) on one of the video sharing platforms mainly for two reasons – the catchy title of the film and an interesting combination of Juhi Chawla and Irrfan Khan in the lead roles. The short description of the film by the uploader states that a TV channel decides to go for the reality show of a live wedding in Indian family. The task is given to a first time director who selects a joint family in Mumbai for the same. The director gets into some problems with the senior members of the family who deny the live shooting of the family wedding. The director, with maiden project in jeopardy, gets into a deal with a member of a bride’s family to secretly shoot the wedding functions resulting in a chain of hilarious events.
After watching the film, a thought came to my mind as to how this interesting concept would have been handled by directors like Hrishikesh Mukherjee and Basu Chatterjee. The reason is that both these directors handled in their films, the subject of human relationships in a joint family set-up by maintaining a right balance between emotions and comical situations. This, I felt, was missing in the film. Let me further explore the film in detail.
‘7½ Phere’ (2005) had Juhi Chawla and Irrfan Khan in the lead roles, supported by Chahat Khanna, Ajay Gehi (special appearance), Anang Desai, Neena Kulkarni, Shri Vallabh Vyas, Manini De, Manish Chaudhari, Manoj Pahwa, Madhavi Chopra, Ninad Kamat, Salima Raza, Jyotsana Karyekar etc. The film was directed by the debutant, Isshaan Trivedi. The gist of the story is as under:
A TV Channel is planning a new reality show of 13 episodes of the traditional wedding ceremony in an Indian household. Asmi Ganatra (Juhi Chawla) has been entrusted with making the reality show as a debutant director. However, it being not a marriage season, with great difficulty, she is able to find a large joint family of Joshi in which a pre-wedding arrangements of Priya (Chahat Khanna), one of the grand daughters of Joshi patriarch is in progress. However, the elders in the family decline to allow the live shooting of the wedding rituals for TV reality show to maintain the privacy of the family, despite the offer of the TV Channel to bear the entire cost of marriage. With her career at stake, Asmi, the ambitious director who dreams of directing films under big banners after her success in TV Channel reality shows, is ready to do anything to get the reality show project on course.
Manoj Joshi (Irrfan Khan) is the youngest son of the Joshi patriarch who is a college dropout and unemployed. Because of this, he is still unmarried and the underdog of the family. Ever since Asmi has visited Joshi household, Manoj has developed a crush on her which Asmi has observed with her restrained reactions mainly because he is one of the members of the Joshi family. She decides to take Manoj into confidence to plant hidden cameras all over the places in the house with handsome monetary reward. He agrees to do the job provided he is also included in their team in monitoring the visuals in a mobile vehicle parked outside the compound of Joshi’s house just to ensure the privacy of the family. Asmi reluctantly agrees to his demand.
The hidden cameras bring out some of family’s secrets including that of Manoj’s elder brothers. The eldest brother is fond of reading porn materials. The next one has extra-marital relationship for which there are fights with his wife. The third one tries to molest the maid for which he gets a slap not only from the maid but also from his wife. Then there is subtle indication of a lesbian relationship between two teenage girls of the family. While the TV Channel crew are happy about these secrets because these would earn the reality show a higher TRPs, Manoj is not happy with these developments.
Both Asmi and Manoj get worried for different reasons when they come to know through hidden cameras that the bride, Priya has secretly met her boy friend in her room and is planning to elope with him a day before her wedding ceremony. This is not the good news for TV Channel whose reality show is about a traditional wedding. If bride really elopes, the shooting for the reality show would not be completed. Asmi requests Manoj to somehow convince Priya not to run away on her wedding day or prevent her from meeting her boyfriend. On the other hand, Manoj is bent upon helping his niece to run away a day before her wedding day and get married to her boyfriend. Ultimately, the wedding takes place as schedule with the groom selected by her parent and thus the shooting the wedding reality show gets completed. Asmi is happy with her shoot. She had come to shoot ‘saat phere’ but in the bargain she got more than ‘saat phere’ that is 7½ phere for her maiden reality show.
After previewing all the video shots on the monitors in the editing room, Asmi is in two minds about the video clips of family secrets. After some thoughts, she decides to destroy the tapes of the shooting of the family secrets to the surprise of the other crew members who tries to prevent her from destroying the tapes. But she successfully destroys tapes and tell the crew members that they have got what they wanted – the live wedding rituals. She also tell them that her sane mind advised her not to expose the family secrets to the public for the sake of TRPs which can destroy the family life of the newlywed couple as also the relations between two families. Obviously, Asmi is fired from the TV Channel.
The film ends with Manoj offering to take Asmi to a Coffee shop. She tells him that he has been flirting with her all the time during the shooting. She now reveals to him smilingly that she is already married.
After watching the film, I felt that an interesting contemporary topic which could have been crisply presented in the film has been wasted by a weak screenplay and direction. The film’s screenplay should have proceeded like a drive on an ‘expressway’ at a higher speed. However, ‘speed breakers’ by way of some unnecessary sub-plots have made the film to drag at the cost of cohesiveness of the plot. For examples, there was no need to show a police raid on TV crew’s monitoring vehicle in a comical way on the pretext that some terrorists are hiding in the vehicle. Also, there was no need to give more exposure joint family members than necessary in the film. That did not add to the value to the film as most of them were average performers in the film. Their so-called loud comic dialogues did not made me laugh. This, to some extent, resulted in the underutilisation of the lead roles of Juhi Chawla and Irrfan Khan.
The only strong point about the film is the good chemistry between Juhi Chawla and Irrfan Khan in their very first film together, which has resulted in their excellent performances. Both of them have challenging roles in the film. Juhi Chawla has to exploit Irrfan Khan’s infatuation with her by controlling her anger on him to get her work done. Irrfan Khan on the other hand has to show outwardly that her occasional insult to him does not bother him. In this way, both are trying to achieve what is on their minds.
‘7½ Phere’ (2005) has effectively 3 songs written by Subrat Sinha (2) and Manrel Gaekwad (1). All these songs are set to music by Shantanu Moitra. In addition, there are 5 more songs listed in the film’s albums, of which 4 are from other films, ‘Don’ (1978), ‘Jaanbaaz’ (1986), ‘Dil Se’ (1998), and one from a non-film album. I did not find any of these songs in the film’s DVD. Probably they got deleted from the DVD.
I am presenting the first song from the film, ‘kyun aajkal aksar kahin udd jaata hai ye mann mera’ to appear on the Blog. The song is written by Subrat Sinha and is rendered by Antara Chowdhury (daughter of Salil Chowdhury) to the tune composed by Shantanu Moitra.
The background of the song is that Chahat Khanna is in her pre-wedding trance of happiness with anxiety. She is happy that she has planned to runway with her boyfriend on her wedding day to get married with him as per her choice. Her anxiety stems from what will be in store for her in her new house. Her movements of the pre-wedding rituals are captured by secret cameras from various angles. At that time, Juhi Chawla, while watching on her monitors, gets an idea to mix these shots with a pre-wedding song. That’s when the song gets played in the background.
The video clip does not include the second antara of the song while the audio clip include the full song. I liked this song for its lyrics and melody. The interludes orchestration brings out what the psychologists would call the ‘happiness anxiety’ inherent in the song.
Audio Clip:
Video Clip:
Song-Kyun aajkal aksar kahin (7½ Phere)(2005) Singer-Antara Chaudhary, Lyrics-Subrat Sinha, MD-Shantanu Moitra
Lyrics (Based on Audio Clip)
kyun aajkal aksar kahin
udd jaata hai ye mann mera
kyun aajkal aksar kahin
udd jaata hai ye mann mera
mujhe chhod kar wo kiske ghar
udd jaata hai ye mann mera
din kaise guzre jab ye pata ho
din kaise guzre jab ye pata ho
aane hi waali hai sapnon ki manzil
manzil pe koi apna milega..aa
manzil pe koi apna milega
tanha yoon phir to rahega nahin dil
pahle se hi paane ko wo
manzil chala ye mann mera
kyun aajkal aksar kahin
ud jaata hai ye mann mera
hmmm
mujhe chhod kar wo kiske ghar
udd jaata hai ye mann mera
ho o o o
chhootega aangan apne sabhi ye
chhootega aangan apne sabhi ye
kehte hain ham ho jayenge paraaye
itni khushi si kyun sab ko hai phir
itni khushi si kyun sab ko hai phir
mann mein sada ye hamen samjhaaye
uljhan meri dekhen magar
kuchh na kare ye mann mera
kyun aajkal aksar kahin
udd jaata hai ye mann mera
hmmm
mujhe chhod kar wo kiske ghar
udd jaata hai ye mann mera
kyun aajkal aksar kahin
udd jaata hai ye mann mera
mujhe chhod kar wo kiske ghar
uda jaata hai ye mann mera
la la la la
la la la la
la la la la
la la la la
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
la la a la
la la la la
la la la la
la la la la
Chhalke palkon ke peechhe
Posted on: February 19, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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‘Ankur’ (1974), the first Hindi feature film made by Shyam Benegal gave push to the movement of new wave films (also called as the parallel cinema) in Hindi film industry. Perhaps, it was the first Hindi parallel film, that too in a rural setting, which became a commercial success. His next two films, ‘Nishant’ (1975) and ‘Manthan’ (1976) was also based in rural setting, and they were also commercially successful. Shyam Bengal had made some more such films like ‘Kondura; (1980), ‘Aarohan’ (1982), ‘Susman’ (1987) etc which were critically acclaimed. But these latter films did not receive the same reception from the film audience as his first three films.
With ‘Welcome to Sajjanpur’ (2008), Shyam Bengal once again came back with a film based in a rural setting. He took a middle path between parallel films and the mainstream Bollywood films. There was no star-actors in the film. The story of the film was more like the events happening in a small village of Sajjanpur which were being witnessed by a letter writer for the illiterate villagers. Some of the events were subtle and satirical commentaries on various socio-economic-political issues like land acquisitions, urban migrations, influence of goons in a village level election, widow remarriage, superstitions and rights of the transgenders. The film had some hard-hitting dialogues which were sweeten with light comedy. The film was majorly shot in Ramoji Film City, Hyderabad.
‘Welcome to Sajjanpur’ (2008) was produced by Ronnie Screwvala of UTV Motion Pictures. Shreyas Talpade and Amrita Rao were in lead roles supported by Ravi Kishan, Rajeshwari Sachdev, Divya Dutta, Ila Arun, Yashpal Sharma, Ravi Jhankal, Lalit Mohan Tiwari, Vallabh Vyas, Vineeta Malik, Mangala Kenkere etc. Rajit Kapur and Kunal Kapoor made guest appearances.
The protagonist of the film is Mahadev (Shreyas Talpade), the art graduate in Sajjanpur who wishes to be a novelist. But presently, he has to be happy with writing letters for the illiterate village folk. The literate persons also come to him for his ability to write letters with persuasive and colourful language. His clients ranges from his childhood crush Kamla (Amrita Rao) for whom he writes letters to her husband who is working in Mumbai, a mother (Ila Arun) worried about her rebellious daughter, Vindhya’s (Divya Dutta) manglik horoscope, a compounder Ramkumar (Ravi Kishan) who is deeply in love with the young widow Shobharani (Rajeshwari Sachdev), the villainous ex-Sarpanch Ramlal (Yashpal Sharma) and a transgender (Ravi Jhankal) to whom he also writes a song for her electioneering campaign. The two hours of the film give us a glimpse of their lives in a village called Sajjanpur.
While writing letters for Kamla, Mahadev learns that her husband who works in Mumbai had not return home for the last 4 years. He had not taken his wife to Mumbai as promised. Mahadev thinks that he has a chance to revive his secret ambitions to be Kamla’s partner if her husband does not return and deserts her. He uses his letter writing skills to attempt creating a rift between Kamla and her husband. On behalf of Ramlal, Mahadev writes a letter to the Collector that the transgender, Munnibai’s candidature for village sarpanch be rejected. On the other hand, he also writes a letter on behalf of Munnibai to Collector for protection against the goons of Ramlal.
The most poignant moment in the film is when Mahadev learns the truth that Kamla’s husband has been trying to earn extra income through his regular blood donation and he is now on the verge selling one kidney for money so that he can buy a house and bring Kamla to Mumbai. This changes the perspective of Mahadev towards Kamla. His crush on her turns into sympathy and a well-being of her husband. He decides to indiscreetly provide financial help to Kamla’s husband by pledging his farmland so that he can buy a house without selling his kidney and take Kamla to Mumbai. At the end, Mahadev puts Kamla in a Mumbai bound train to be united with her husband. But this is not the end of the film.
In the next scene, Mahadev is sitting in a publisher’s office with his manglik wife (Diya Dutta) where he gets his cheque for his published novel from the publisher. The publisher asks whether all the characters in his novel are real to which Mahadev replies that most of them are real and a few are his imagination. It turned out that the entire film was the narration from his novel and Mahadev is the protagonist in the film.
This film once again proves that Shyam Benegal is master storyteller. There is no dull moments in the film. I will highly recommend to watch this film for those who have not yet seen this film.
‘Welcome to Sajjanpur’ (2008) has six songs written by Ashok Mishra(4) who is also the dialogue writer of the film and Swanand Kirkire (2). All songs are set to music by Shantanu Moitra. I am presenting the first song from the film to appear on the Blog. It is a romantic song, ‘chalke palkon ke pichhe’ written by Swanand Kirkire. The background to the song is that Ravi Kishan wants Shreyas Talpade to write a love letter to Rajeshwari Sachdev on his behalf in a language that would impress her. Shreyas Talpade says that he requires time to think and he will write the letter in the night. After he goes home, Mahadev starts writing the letter thinking about his crush, Amrita Rao. The song is picturised on Shreyas Talpade, Amrita Rao, Ravi Kishan and Rajeshwari Sachdev as an imagination of Shreyas Talpade and is rendered by Mohit Chauhan and Madhushree.
It is a lovely song with magical lyrics interspersed by beautiful Veena recital in the first interlude and the Flute recital in the second interlude.
Video Clip:
Audio Clip:
Song-Chhalke palkon ke peechhe (Welcome to Sajjanpur)(2008) Singers-Mohit Chauhan, Madhushree, Lyrics-Swanand Kirkire, MD-Shantanu Moitra
Lyrics (Based on Audio Clip)
chhalke palkon ke peechhe
chhalke tanha aansoo koi
teri yaad jab sataaye
wo chhalke chhalka jaaye youn hi
iss khat ki jo hai sihaayi
sun mere aansoo se hai bani
mera dard bhi tu hi hai
jaana hai dawa tu meri
ik meetha marz dene
aana tum youn hi
ik dawa kaa karz dene
aana tum youn hi
sooni sooni raaton mein
khoye khoye khwaabon mein
aa..aa aana
aana youn hi
ik meetha marz dene
aana tum youn hi
ik dawa ka karz dene..en
aana tum youn hi
tum jo nahin to zindagi ke andhiyaare raushan nahin
tum jo nahin to zindagi ki tasveeron mein rang nahin
chanda nahin…ee
sooraj nahin
jo tu nahin..ee
kuchh bhi nahin
thhodi chandni lutaane
aana tum youn hi
thhodi dhoop chhidak jaane
aana tum youn hi
tum jo nahin to meri sookhi hai ghazal
koi sur nahin
tum jo nahin to meri sooni hai dagar
manzil nahin
tum jo nahin to mere rookhe nainon mein
kaajal nahin
tum jo nahi to mere paanv baje
paayal nahin
saawan nahin..een
bhaadon nahi..ee
jo tum nahin..ee
kuchh bhi nahin
ik meetha marz dene
aana tum youn hi
ik dawa ka karz dene
aana tum youn hi
sooni sooni raaton mein
khoye khoye khwaabon mein
aa..na
aana youn hi
ik meetha marz dene
hmm hmm hmm hmm hmm
ik dawa ka karz dene
hmm hmm hmm hmm hmm
chhalke palkon ke peechhe
chhalke tanha aansoo koi
teri yaad jab sataaye wo
chhalke chhalka jaaye youn hi
chhalke palkon ke peechhe
chhalke tanha ansoo koi
teri yaad jab sataaye wo
chhalke chhalka jaaye youn hi
hmm hmm hmm hmm hmm
hmm lalalala
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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