Posts Tagged ‘Shubha Mudgal’
Piyaa toraa kaisa abhimaan
Posted on: September 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 : |
5546 | Post No. : | 18008 |
‘Raincoat’ (2004) was produced by Shri Venkatesh Films and was directed by Rituparno Ghosh. Ajay Devgan and Aishwarya Rai Bachchan were in the lead roles supported by Anu Kapoor, Mauli Ganguly, Pradip Adhikari, Kailash Koppikar, Surekha Sikri, Sameer Dharmadhikari, Kameshwar Mishra etc. The film was adapted from the story, ‘Gift of Magi’ (1906) by O Henry which has been acknowledged in the film’s credit titles. The shooting of this film was completed in 16 days in Kolkata.
The film is a poignant love story of two childhood friends, Ajay and Aishwarya Rai who get separated by the destiny. Now both married with different spouses facing financial difficulties. They meet in Kolkata and their story starts. The gist of the story of the film has already been covered in the article by K Satish Shenoy. When I had watched the film for the first time, I had no idea as to how the film would end. But it turned out to be an unexpected one. Ajay Devgan pretends to be a successful TV Serial producer to Aishwarya Rai, while she in turn, pretends to be the wife of a wealthy husband with servants, drivers, etc. In reality, both have unhappy marriage and are in financial difficulties. Their reason for pretension is not because they want to show off to each other. Both have feelings for each other this pretension is out of concern to avoid the stress for each other. Hence, it is challenging for both the lead actors and the director to maintain a delicate balance between the light humour and the poignancy. This is one of the best films I have watched in the recent period. Both Aishwarya Rai and Ajay Devgan have given excellent performances which are contrary to their images in the mainstream Hindi films.
The film had 8 songs including two songs with additional versions. All the songs were written by Rituparno Ghosh. One song has already appeared on the Blog. I am presenting the second song from the film ‘piya tora kaisa abhimaan’ to appear on the Blog. The song has two versions – one rendered by Shubha Mudgal and the second version is rendered by Hariharan. Both the songs written by Rituparno Ghosh have the shades of Brajabuli dialect. Shubha Mudgal version appears in two parts against the background of the Ajay – Aishwarya’s flashbacks as well as their meetings in Kolkata. Hariharan’s version appears on the screen partially.
In Shubha Mudgal version, Gulzar recites his poem in between two stanzas. Film’s music director, Debjyoti Mishra, in his interview which appeared in The Times of India, August 20, 2020, has revealed that Rituparno Ghosh gave Gulzar a Bangla poem written by Shakti Chattopadhyay and requested him to write a poem in Hindi incorporating the same feelings and emotions as is in the Bangla poem. Instead of translating the Bangla poem, Gulzar wrote a fresh Hindi poem, keeping the feelings and emotions in the Bangla poem. He recited the poem interspersed with the song with his specialty in using metaphors and imagery in this poem.
In this song, Rituparno Ghosh has equated the love between Aishwarya Rai and Ajay Devgan with that of Radha-Krishna whose love for each other is eternal because their love did not result in their union. So, when Krishna married Rukmini, Radha’s love for Krishna remained the same. There are beautiful verses in the both the versions of the songs written by Rituparno Ghosh which I am discussing below:
saghan saawan laayi kadam bahaar
Mathura se doli laaye chaaron kahaar
nahin aaye kesariya balma hamaar
angana bada sunsaan
The heavy rains of saawan has made kadamba trees blossom.
Four kahaars (palanquin carriers) have brought palanquin from Mathura.
Alas, my kesariya balam (Krishna) did not come.
The ceremonial place is deserted.
Note: ‘Kahaar’ is a caste in North India who are water carriers, boatman, even fishermen. They are generally used for carrying palanquin.
apne nayan se neer bahaaye
apni Jamuna khud aap hi banaawe
lakh baar usmein hi nahaaye
poora na huyi asnaan
sookhe kesh rukhe besh manwa bejaan
I cried and shed tears from my own eyes.
I cried so much as if I bathed in the water of Jamuna River.
I bathed umpteen times, but I have not felt like completing my bath.
My hair and face have dried up. My heart has become lifeless.
bol sakhi kaahe kari saajo singaar
na pahinab aabhushana kaanchan haar
khali chandan laga ang maa hamaar
chandan garal samaan
Ae sakhi, why should I dress up to look nice?
I will not wear jewellery nor the gold pedant.
I will apply sandalwood paste all over my body.
Because sandalwood is like poison.
garal=poison
Note: Applying sandalwood paste is like becoming a saintly woman, who has renounced all worldly things. There is a saying ‘chandan garal samaan’ which means sandalwood is like a poison. According to a mythological belief, sandalwood trees are the abode of venomous snakes who encircle the sandalwood trees for shades but cannot poison the sandalwood trees. In this context, Rahim had said in one of his Dohas, ‘chandan vish vyaapat naahi, lipat rahat bhujang’.
And this article will not be complete if I do not discuss the unusual metaphors Gulzar Saab have used in his poems to bring out the pains of separation and longing.
aur seelan iss tarah bahati hai jaise
khushk rukhsaaron pe gile aansoo bahaten hain
The water from dampness (on the wall) is flowing like wet tears flowing on the dried cheeks. [Only Gulzar Saab can imagine ‘gile aansoo’ (wet tears). Probably, Gulzaar Saab is differentiating with those tears which do not come out in the open and flow].
ye baarish gungunati thhee isi chat ke munderon par
ye ghar ki khidkiyon ke kaanch par ungli se likh jaati thhee sandese
bilakhti rahti hai baithi huyi ab band roshandaanon ke peechhe
Rain used to give a humming sound on the terrace.
They would write messages over the glass frames of the windows.
Now, they sit behind the closed roshandaans, weeping.
Roshandaan: There seems to be no equivalent meaning in English for Roshandaan. The closest meaning would be a Ventilator with a glass frame which the old houses would generally have on the roof, high on the main walls of the house or above the windows for sunlight and breeze. During rains, roshandaan is kept closed.
dupharen aisi lagti hai bina moharon ke khaali khaane rakhen hain
na koi khelne waala hai baazi aur na koi chal chalta hai
The afternoons feel like an empty chess board with no chess pieces.
No one plays the game and no one makes a move.
Female version
Video Clip:
Male Version:
Video Clip (Partial):
Audio Clip:
Song-Piya toraa kaisa abhimaan (Raincoat)(2004) Singer-Shubha Mudgal/ Hariharan, Lyrics-Rituparno Ghosh, MD-Debjyoti Mishra
Lyrics
I. Female Version (Shubha Mudgal)
Lyrics (Based on Video Clip):Shubha Mudgal, Gulzar (poetry recitation)
piya tora kaisa abhimaan
piya tora…aa aa
kaisa
abhimaan
kisi mausam ka jhonka thhaa
(aa aa aa aa aa aaa)
jo iss deewaar par latki huyi tasweer tirchhi kar gaya hai
(aa aa aa aa aa aa aaa)
gaye saawan mein ye deewaaren youn seeli nahi thhee
(aa aa aa aa aa aa aaa)
na jaane iss dafa kyun inmein seelan aa gayi hai
(aa aa aa aa aa aa aaa)
daraaren pad gayin hain
(aa aa aa aa aa aa aaa)
aur seelan iss tarah bahati hai jaise
(aa aa aa aa aa aa aaa)
khushk rukhsaaron pe geele aansoo behte hain
(aa aa aa aa aa aa aaa)
saghan saawan laayi
kadam bahaar
Mathura se doli laaye
chaaron kahaar
nahin aaye…………ae
nahin aaye….ae ae
kesariya balmaa aa hamaar
angna bada sunsaan
ye baarish gungunaati thhee
isi chhat ke munderon par
ye baarish gungunaati thhee
isi chhat ke munderon par
ye ghar ki khidkiyon ke kaanch par
ungli se likh jaati thi sandese
bilakhti rahti hai baithhi huyi
ab band roshandaanon ke peechhe
apne nayan se neer bahaaye
apni Jamuna khud aap hi banaawe
apne nayan se neer bahaaye
apni Jamuna khud aap hi banaawe
aa aaaa aaaa aaaa
dupaharen aisi lagti hain
bina moharon ke khaali khaane rakhe hai
na koi khelane waala hai baazi
aur na koi chaal chalta hai
laakh baar usmein hi nahaaye……….
poora na huyi asnaa…….n
phir poora na huyi asnaa…..n
sookhe kes
rukhe bhes
manwa..aa bejaan
na din hota hai ab na raat hoti hai
sabhi kuchh ruk gaya hai
kisi mausam ka jhoka thhaa
jo iss deewaar par latki huyi tasweer tirchhi kar gaya
piya tora kaisa abhimaan
tora..aa aa aa
piya tora….
tora
tora…..aa
kaisa abhimaan
piya……aa
piya…….aa
piya……..aa
——————————–
II. Male Version (Hariharan)
——————————–
Lyrics:(based on Audio Clip)
piya tora kaisa abhimaan
piya tora…..aa aa aa
kaisa abhimaan
saghan saawan layi
kadam bahaar
Mathura se doli laaye
chaaron kahaar
saghan saawan laayi
kadam bahaar
Mathura se doli laaye
chaaron kahaar
nahin aaye……..ae ae ae
nahin aaye….ae
kesariya baalam hamaar
angna bada sunsaa…n
piya tora……..aaaaa
piya tora kaisa abhimaan
apne nayan se neer bahaaye
apni Jamuna khud aap hi banaawe
apne nayan se neer bahaaye
apni Jamuna khud aap hi banaawe
laakh baar usmein hi nahaaye ae
poora na hoyi asnaa…..n
poora na hoyi asnaa…..n
sookhe kes
rookhe bhes
manwa aa bejaan
piya tora aa…aa
piya tora
piya tora kaisa abhimaan
piya tora..aa kaisa abhimaan
bol sakhi kaahe kari saajo singaar
na pahin ab aabhusana kaanchan haar
bol sakhi kaahe kari saajo singaar
na pahin ab aabhusana kaanchan haar
khaali chandan laga ang maa hamaar
chandan garal samaan
piya tora…aa aa
piya tora kaisa abhimaan
piya tora…..aa aa kaisa abhimaan
abhimaan
kaisa abhimaan
Chun chun ke phool le lo
Posted on: August 15, 2022
- In: Devnagri script lyrics by Sudhir | Guest posts | Inspirational song | Lyrics contributed by readers | NFS | patriotic NFS | Patriotic song | Post by Sadanand Kamath | Protest song | Shubha Mudgal NFS | Shubha Mudgal Solo Song | Shubha Mudgal Songs | Songs of 2000s (2001 to 2010) | Songs of 2008 | Yearwise breakup of songs
- 12 Comments
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 : |
5141 | Post No. : | 17101 |
Greetings to all the readers of the Blog on the occasion of आजादी का अमृत महोत्सव on the 75th Year of Independence of India today, August 15, 2022. Independence Day is the reminder to all of us about the sacrifices a large number of Indians made during the freedom struggle to achieve independence on August 15, 1947. Thanks to the history books, the present generation is aware of the sacrifices for the independence struggle, made by Mahatma Gandhi, Jawaharlal Nehru, Netaji Subhas Chandra Bose, Sardar Vallabhbhai Patel, Lala Lajpat Rai, Lokmanya Bal Gangadhar Tilak, Bipin Chandra Pal, Shaheed Bhagat Singh, Chandra Shekhar Azad and many more. But lets us not forget to remember hundreds of other freedom fighters whose sacrifices, by and large, remained in anonymity. One such name which I came to know recently was that of Vidyadhari Bai, a tawaif (courtesan) who, apart from composing and singing patriotic songs in her musical performances, she also provided financial and logistic support to freedom fighters.
A few months back, I had purchased Amritlal Nagar’s Hindi book ‘Ye Kothewalian’ (1958) which gives an account of the life of some courtesans of the early 20th Century. In this book, there is a chapter on Vidyadhari Bai of Jesuri in Chandauli block of the then Banaras district. There is also an addenda chapter which gives an account of Mahatma Gandhi’s meeting with some courtesans of Banaras sometime in 1921 during which he advised Vidyadhari Bai to sing nationalist songs while giving her musical performances in big cities and in princely states. Accordingly, she wrote and rendered some patriotic songs in all her concerts. The courtesans of Banaras formed a Tawaif Sabha to support the independence struggle. Husna Bai, one of the prominent courtesans of Banaras chaired the meeting of the Sabha during which she acknowledged that it was at the initiative of Vidyadhari Bai that Tawaif Sabha was formed.
Saba Dewan’s recent book ‘Tawaifnama’ (2019), more or less, confirms that Vidyadhari Bai organised a series of smaller meetings at her home to enthuse other courtesans to the cause of the non-cooperation movement. She was joined in these efforts by another courtesan, Sultana who too had been closely tracking the unfolding political scenario. Both of them prevailed upon Husna Bai to call a meeting of the entire community to work out the details of the agenda. Tawaifs, who actively participated in the mutiny of 1857, would once again have to come forward and contribute their bit to the nationalist cause. This was not just their duty as daughters of India but also the need of the hour if they did not wish to be consigned to the dustbin of history. They also felt that times were changing and tawaifs too would have to keep pace with fast-changing social and political scenarios in India.
Vidyadhari Bai was a contemporary of Gauhar Jaan. She was born in Jesuri village in present Chandauli district. Her grandfather, Purushottam Rai was a musician. There is confusion as to which year she was born – 1874 or 1881? She got musical training from Pandit Ram Sumeru Mishra, a Sarangi player and later from Ustad Naseer Khan of Darbhanga. She started singing in her early teens with Jayadev’s poems. With this, she became so famous that she started getting invitations from royal courts all over India for her concerts. She became the court singer in the court of Raja of Banaras. She excelled in khayaal, taraana, thumri, dadra, tappa, ghazal and bhajans. It is said that her singing voice was so mesmerizing that even the passer-by would be tempted to attend her concerts. She was so popular that in her concerts, to witness her performances, a large number of people were perforce standing in the back due to shortage of space for sitting. Besides Hindi and Urdu, she was a proficient singer in Marathi, Gujarati, Bangla and Punjabi languages.
Vidyadhari Bai was a fashion icon for the ladies of the royal and landlords’ families. However, after Mahatma Gandhi’s call to shun foreign goods, she stopped wearing jewelries and imported cloth. In all her concerts, she would render at least one patriotic song. Probably, she was the first courtesan to perform mujra by singing patriotic songs.
In her native village, Jesuri, Vidyadhari Bai had constructed a one-story bungalow with some out-houses which became the perfect hideout for freedom fighters to avoid arrest from the British police. During this period, she used to provide financial assistance to them besides regularly donating some part of her income for the cause of India’s freedom movements.
In the early 1940s, probably when the old age had caught up with Vidyadhari Bai and with the decline of the tawaif system, she returned to Jesuri and stayed in her house with her brother’s family. Since she used to donate a large part of her earnings for the cause of freedom movements and also help financially the freedom fighters’ families, she did not have much savings during the latter part of her life. During this period, she started teaching musical lessons to students free of charge.
Vidyadhari Bai had a premonition that her end was near. So, she shifted to Mukti Bhavan in Banaras on May 9, 1971. On the very next day, May 10, 1971, she breathed her last in her 90s, unsung and in anonymity. As per her own submission, she did not get any recognition or honor from the Government.
As mentioned earlier, Amritlal Nagar’s ‘Ye Kothewalian’ (1958) included a letter from Vidyadhari Bai about her meeting with Mahatma Gandhi in Banaras. She wrote in the letter that on his suggestion, some courtesans had decided to start their musical performances with renditions of nationalist songs. Lyrics of one such song written and sung by her, “Chun Chun Ke Phool Le Lo” was included in the letter. She said in the letter that she rendered this song in all her performances despite the presence of policemen from the police stations of the areas of her performances for keeping a close watch on the visitors. The song lives on today – it was included in Hindustani classical singer Shubha Mudgal’s album, ‘Swadheenta Samar Geet’ (2008), a collection of songs from the freedom movement.
On the occasion of the 75th Independence Day, I am presenting the same song rendered by Shubha Mudgal. The music was composed by her husband, Aneesh Pradhan. While composing the song, he has used mainly harmonium and tabla probably to give a feel of the period during which Vidyadhari Bai had rendered this song. In 2011, the couple collaborated with theater director Sunil Shanbhag on a musical drama ‘Stories in a Song’, one episode of which recreated Mahatma Gandhi’s meeting with the courtesans of Tawaif Sabha.
This song takes us back to more than a century to recreate a part of the history of India’s freedom movements.
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Acknowledgements: In addition to the books I mentioned in my article, I am also thankful to ‘Sureele Dinon Ki Daastan’ and Dr. Manish Kumar Mishra for their videos on Vidyadhari Bai which gave some useful additional information on her.
Audio Clip:
Song-Chun chun ke phool le lo (Shubha Mudgal NFS)(2008) Singer-Shubha Mudgal, Lyrics-Vidyadhari Bai, MD-Aneesh Pradhan
Lyrics
aaa aaa aaa aaa aaaa aa
aaa aaa aaa aaa aaaa aa
aaa aaa aaa aaa aaaa aa
aa aa aa aa aaaa
chun chun ke phool le lo o o….o
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye ae
ye Hind kaa bageecha
gulzaar rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye ae
ye Hind kaa bageecha
gulzaar rah na jaaye
aa aa aa aaaaa aa aaaa
ye wo chaman nahi hai….ai ae ae
ye wo chaman nahin hai
lene se ho ujaad
ye wo chaman nahin hai
lene se ho ujaad
ulfat kaa jismen kuchh bhi
ehsaan rah na jaaye
ulfat kaa jismen kuchh bhi
ehsaan rah na jaaye
bhar do jawaan bandon
jailon mein chaahe bhar do
bhar do jawaan bandon
jailon mein chaahe bhar do
maata pe koi hota qurbaan rah na jaaye…..ae
aa aa aa aaaaaaa aaa
aa aa aa aaaaaaa aa
maata pe koi hota qurbaan rah na jaaye
chhal-o-fareb se tum Bharat kaa maal looto
chhal-o-fareb se tum Bharat kaa maal looto
iske liye yaa koi saamaan rah na jaaye
iske liye yaa koi saamaan rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo….o
Bharat na rah sakega hargij ghulaamkhaana….aaaaaaa aa
Bharat na rah sakega hargij ghulaamkhaana
aazaad hoga hoga
aaya hai wo zamaana
aazaad hoga hoga
aaya hai wo zamaana..aa
khoon khaulne laga hai….ai ae
khoon khaulne laga hai ab Hindustaniyon kaa
khoon khaulne laga hai ab Hindustaniyon kaa
kar denge zaalimon ke band bas jurm dhaana
kar denge zaalimon ke band bas jurm dhaana..aa
qaumi tirange jhande pe jaan nisaar unki
qaumi tirange jhande pe jaan nisaar unki
Hindu Masih Muslim gaate hain ye taraana
Hindu Masih Muslim gaate hain ye taraana
aa aa aaaaa
parwaah ab kise hai…ai ae
parwaah ab kise hai
iss jail-o-daman ki
parwaah ab kise hai
iss jail-o-daman ki
ik khel ho raha hai
phaansi pe jhool jaana
ek khel ho raha hai
phaansi pe jhool jaana
Bharat watan hamaara
Bharat ke ham hain bachche
Bharat watan hamaara
Bharat ke ham hain bachche
maata ke waaste hai manzoor sar kataana
maata ke waaste hai manzoor sar kataana
ye Hind kaa bageecha
gulzaar rah na jaaye ae
ye Hind kaa bageecha
gulzaar rah na jaaye
chun chun ke phool le lo….ooo
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye ae
ye Hind kaa bageecha
gulzaar rah na jaaye
chun chun ke phool le lo………o
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
आ आ आ आ आ आ
आ आ आ आ आ आ
आ आ आ आ आ आ
आ आ आ आ आ
चुन चुन के फूल ले लो॰॰ओ
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
आ आ आ आsss आ आsss
ये वो चमन नहीं है॰॰ऐ
ये वो चमन नहीं है
लेने से हो उजाड़
ये वो चमन नहीं है
लेने से हो उजाड़
उल्फ़त का जिस में कुछ भी
एहसान रह ना जाये
उल्फ़त का जिस में कुछ भी
एहसान रह ना जाये
भर दो जवान बंदों
जेलों में चाहे भर दो
भर दो जवान बंदों
जेलों में चाहे भर दो
माता पे कोई होता क़ुरबान रह ना जाये॰॰ए
आ आ आ आsssss आ
आ आ आ आsssss आ
माता पे कोई होता क़ुरबान रह ना जाये
छल औ फरेब से तुम भारत का माल लूटो
छल औ फरेब से तुम भारत का माल लूटो
इसके लिए या कोई सामान रह ना जाये
इसके लिए या कोई सामान रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो॰॰ओ
भारत ना रह सकेगा हरगिज़ ग़ुलामखाना आ आ
भारत ना रह सकेगा हरगिज़ ग़ुलामखाना
आज़ाद होगा होगा
आया है वो ज़माना
आज़ाद होगा होगा
आया है वो ज़माना॰॰आ
खूँ खौलने लगा है॰॰ऐ
खूँ खौलने लगा है अब हिंदुस्तानीओं का
खूँ खौलने लगा है अब हिंदुस्तानीओं का
कर देंगे ज़ालिमों के बंद बस जुर्म ढाणा
कर देंगे ज़ालिमों के बंद बस जुर्म ढाणा॰॰आ
कौमी तिरंगे झंडे पे जां निसार उनकी
कौमी तिरंगे झंडे पे जां निसार उनकी
हिन्दू मसीह मुस्लिम गाते हैं ये तराना
हिन्दू मसीह मुस्लिम गाते हैं ये तराना
आ आ आssss
परवाह अब किसे है॰॰ऐ
परवाह अब किसे है
इस जेल ओ दमन की
परवाह अब किसे है
इस जेल ओ दमन की
इक खेल हो रहा है
फांसी पे झूल जाना
इक खेल हो रहा है
फांसी पे झूल जाना
भारत वतन हमारा
भारत के हम हैं बच्चे
भारत वतन हमारा
भारत के हम हैं बच्चे
माता के वास्ते है मंजूर सर कटाना
माता के वास्ते है मंजूर सर कटाना
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
चुन चुन के फूल ले लो॰॰ओ
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
चुन चुन के फूल ले लो॰॰ओ
Sakhi ree saawan bhaawat naahin
Posted on: July 23, 2021
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 : |
4753 | Post No. : | 16492 | Movie Count : |
4480 |
Hindi Songs in Bangla Films:36
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It has been almost one year when I wrote my last article under the series ‘Hindi songs from Bangla films’ on July 23, 2020 in the Blog. There are some more Hindi songs from Bangla films which are yet to be covered. But most of them are those films from which at least one song has been covered in the Blog. So, I kept the series on the back-burner.
A few days back, Partha Chanda ji, a regular visitor to our Blog, suggested me to write on a Hindi song from a Bangla film, ‘Goynar Boksho’ (Jewellery Box, 2013). The song was of my type which I immensely liked it. The synpsis of the film made an interesting reading. These two factors pushed me to write the article forthwith.
In the film, Maushumi Chatterjee has a pivotal role of a ghost who watches three generations of women brought up in a different social status as to how they attach importance to her jewellery box. I had liked Maushumi Chatterjee’s performance of a middle-aged aunt in ‘Piku’ (2015). Another interesting role of a new daughter-in-law in the film was played by Konkona Sen Sharma whose performance I have liked in ‘Wake Up Sid’ (2009). Surely, it was going to be an interesting film to watch with English sub-titles which I did so on one of the OTT platforms.
‘Goynar Boksho’ (2013, Bangla) was produced under the banner of Shree Venkatesh Films Pvt Ltd and was directed by Aparna Sen. The main cast included Maushumi Chatterjee, Konkona Sen Sharma, Saswata Chatterjee, Srabanti Chatterjee, Paran Banerjee, Pijush Ganguly, Aparajita Adhya, Manasi Sinha etc. The film’s story was adapted from the novel of the same name and a short story ‘Rashmonir Sonadana’ both written by Sirshendu Mukhopadhyay, a well-known Sahitya Akademy Award winner Bangla laureate.
In an interview with the Times of India sometime in 2012, Aparna Sen had revealed that she had read the story for the first time in 1993 and immediately decided to make a film on it. However, she could not get the right type of the film production house to finance the film. It took nearly 20 years to find the right film production house by which time, she had become a kind of celebrity film directors of art/parallel films.
The story of the film is as under:
Chandranath (Paran Banerjee) the patriarch of Mitra joint family was once landlord in East Bengal. After partition, the entire family migrates to West Bengal side. The Mitra family stays in a big 3-story house. Being from the family of landlord, none of the menfolk has worked for a living. Obviously, Chandranath’s two sons – Chandan (Saswata Chatterjee) and Chanchal (Pijush Ganguly) pass their time fishing in the pond near their house and visiting their respective courtesans in the evenings.
In the house, the 70-year old aunt, Pishima (Maushumi Chatterjee) who got married at 11 and became widow at 12 in Faridkot, has been deprived of all worldly pleasure, conjugal relationship and good food. She finds solace in her jewellery box containing 5 kgs of gold jewelleries as a part of her ‘streedhan’. Chandranath’s younger son, Chandan gets married to Somlata (Konkona Sen Sharma), a poor girl from an adjoining village. The family’s financial condition can be judged from the fact that the expenses for the wedding are paid off by selling an old Burma teak-wood double bed and an expensive carpet. All the members of Mitra family are afraid of Pishima because of her authoritative and cursing voice. Also no one in the family wants to be in the bad book of Pishima as she holds the jewellery box which the family can inherit once she dies.
One day, Somlata on a visit to Pishima’s room, finds her dead. Knowing fully well that once she dies, her gold jewellery would be sold over time for the family’s sustenance, Pishima turns ghost and entrusts the jewellery box to Somlata with a condition that she should safely keep it in a secret place without any family members knowing it including her husband. Now, the box has been handed over to the second generation. After the death of Pishima, the family members search for the jewellery box but in vain. They also call the police in case the box has been stolen but again police fail to find out the box.
None of the family members can see the hukka smoking Pishima’s ghost except Somlata to whom she bullies just to make sure that her jewellery box is not misused by her. However, due to adverse financial condition of the family, Somlata looks the gold jewelleries as a means of raising capital for her husband to set up a saree shop. For this purpose, she pledges one of the gold ornaments and convince Pishima that once the business earns profit, she would get the jewellery back in the box. Over a period of time, the fortunes of Mitra family improve enabling Somlata not only to get back the pledged ornament but also some of the antiques of the house which the family had sold for their sustenance.
Somlata gives birth to a daughter who grows up to become a college going Chaitali (Srabanti Chatterjee). One day, Somlata shows all the ornaments in the jewellery box to Chaitali who evinces no interest in the ornaments as they are all old style. Besides, she has no interest in wearing gold ornaments. Chaitali has an affair with a boy who is involved in supporting the underground movements in East Pakistan. On the advice of Pishima’s ghost, Chaitali donates all the ornaments to support the underground movements for an independent Bangla Desh. The film ends with a poem recitation-cum-song when the ghost of Pishima merges with the fog over the river.
Maushumi Chatterjee in the role of Pishima – both live and as a ghost, has given a lively performance. Generally, the role of a ghost should bring horror situations. But in this film, Maushumi Chatterjee in the role of ghost, brings comic situations in the film like her hukka smoking, her bullying tactics, the sarcastic comments on the family members, her suggestion to Somlata that like her husband, she should also have an extra-marital affair etc. Probably, the Bangla audience would enjoy more fun from her dialogues which have to be in East Bengali dialect due to her role being a native of Faridkot.
Konkona Sen Sharma as Somlata, the new daughter-in-law, has a contrasting role vis-à-vis Maushumi Chatterjee. She is so scared with the presence of Pishima in the house that she starts stammering. It is much later that a positive bonding develops between Pishima and Somlata. Both of them have a major presence in the film. The superlative performances of Konkona Sen Sharma as well as Maushumi Chatterjee in the film got them Filmfare Awards for the best actress and the best supporting actress, respectively in Bangla film category.
The coverage of the third generation in the film seems to be too rushed up. It gives an impression that the Aparna Sen was in a great hurry to finish the film. Probably, the film had become too long for a non-mainstream category and she therefore may have edited out some sequences from this part of the film.
It is interesting to note that Aparna Sen’s ‘Goynar Baksho’ (2013) was released, on April 12, 2013. After a week, Vishal Bhardwaj’s ‘Ek Thhi Daayan’ (2013) was released. In both these ‘ghost’ films, Konkona Sen Sharma acted. The story of ‘Ek Thhi Daayan’ (2013) was written by Mukul Sharma, the father of Konkona Sen Sharma and the ex-husband of Aparna Sen.
‘Goynar Boksho’ (2013) has 8 songs of which one song is in Hindi. It is interesting to watch a short Bengali rap song which is sung when some distant relatives of Chandranath visits Chandan’s saree shop to buy sarees for their daughter’s baby shower. The lyrics of the rap song mostly use various names of the sarees. The rap song was rendered by all the actors involved in the scene. All the songs were set to music by Debijyoti Mishra who was the chief assistant to Salil Chowdhury for 14 years and for Ilaiyaraja for 2 years.
I am presenting the Hindi song ‘sakhi ri saawan bhaawat naahi’ which is a ‘biraha’ song rendered by Shubha Mudgal in a Dadra format. The lyricist of the song is not mentioned. As with most of the songs in the film which is played in the background in driblets interspersed with dialogues, this ‘biraha’ song also follows the same pattern in the film. So, it is better to listen to the song on the audio clip for getting its seamless rendering.
This is a sublime song using the minimum musical instruments to give prominence to the singer’s voice. In the film, the song plays in the background when Somlata, on the instigation from the ghost of Pishima, is about to get involved with an extra-marital affair when her husband is away on a long tour.
Audio Clip:
Song-Sakhi ree saawan bhaawat naahin (Goynor Boksho)(Bangla)(2013) Singer-Shubha Mudgal, MD-Debijyoti Mishra
Chorus
Shubha Mudgal + chorus
Lyrics
sakhi ri…eeeee
saawan bhaawat naahi..eeeee ee
sakhi ri…eeeee ee eee
haan saawan bhaawat naahi..eeee
bijuri chamkat dar laagat hai
soona..aaaaa aa aa
soona
soona ghar laagat hai
kaun oar gaye peerahwa
kauno bataawat naahi.eee
bataawat naa..hi
saawan bhaawat naahi..ee
saawan bhaawat naahi
saawan bhaawat naahi..ee
saawan bhaawat naahi..ee
aaaaaaaaaaaa aaa
boondiya barsat aangan aangan
mann su….khaa
aa aa aaa
mann soo….kha bin tere saajan
saawan jaihyen baar phir aihyen….en en
gaile joban phir aawat naahin
sakhi ri..ee
saawan jaihen baar phir aihen….en
aa aa aaa
saawan jaihen baar phir aihen….en
gaile joban phir aawat naahi..ee ee
sakhi ri ..eeee
saawan bhaawat naahin
sakhi ri…eeee ee ee
saawan bhaawat naahi…eeeee
saawan bhaawat naahin
- In: "unfulfilled" love | 10th Anniversary Celebration Song | Devnagri script lyrics by Sudhir | Eternal love | expression of love | Feelings of heart | Guest posts | Love song | Lyrics contributed by readers | Melancholic song | movie opening song | Post by K Satish Shenoy | Rail song | Shubha Mudgal Solo Song | Shubha Mudgal Songs | Songs of 2000s (2001 to 2010) | Songs of 2004 | Vagaries Of Love | Yearwise breakup of songs
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This article is written by K Satish Shenoy, 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 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 : | 3648 | Post No. : | 14486 |
ASAD 10th Anniversary Celebrations – 4
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Atulites are on a joyous milestone moment, this July 2018, with ASAD completing an admirable journey through 10 years. Thanks to Atul Ji for initiating the journey and being the rock solid foundation and also thanks to contributing writers and innumerable die hard followers.
In every such moment, one looks back with nostalgia, counting occasions that brought joy of revisiting nearly forgotten songs, or joy of finding wonderful gems never heard before, or joy of knowing more about the talented personalities in the field of Hindi cinema and its music. I am no exception. l will be failing if I don’t participate in the celebrations.
I wondered what song I can present to mark the occasion. After sifting through still uncovered songs (a daunting task), I stumbled on this song narrating a nostalgic journey of Sri Krishna to Gokul where he spent his joyous growing years. The journey is a mix of joy and some sadness. What better way to celebrate than presenting a ‘divine’ song from an excellent artiste singing for an award winning movie starring an award winning actress.
The song presented is sung by Shrimati Shubha Mudgal, who makes her first appearance on our blog today. A brief introduction to her
Shubha Mudgal started performing as a Hindustani classical singer in the 1980’s. Hailing from Allahabad, she moved to Delhi for academic studies but continued her interest and training in Indian Classical music. In the 1990s, she started experimenting with other forms of music, including pop and fusion varieties. Khayal and Thumri are her favourites.
She has won many awards which include National Film award for music direction for non feature film ‘Amrit Beej’, Gold Plaque Award for Special Achievement in Music, at the 34th Chicago International Film Festival, and Padmashri title in 2000.
The song of this post is from the movie ‘Raincoat’ (2004). I would consider ‘Raincoat’ fit be included in the list of best of Indian Cinema. The film won the National film award for best Hindi feature film and was nominated for the Crystal Globe for Best Feature Film at the Karlovy Vary International film festival. The leading lady Aishwarya Rai also won the Zee Cine Award for Critics’ Choice as Best Actress and was nominated for the Filmfare Best Actress Award. ‘Raincoat’ can easily be Aishwarya Rai’s best performance, that too in a unglamorous role
The story line of the film is as follows,
The film tells the story of two lovers (played by Ajay Devgan and Aishwarya Rai), once engaged but separated by destiny before tying the knot. Ajay later faces financial difficulties. Ajay travels to Kolkata to meet his friends seeking help, and also calls on Aishwarya, during a rainy evening. Aishwarta is also leading a pathetic life. In this meeting, both of them initially pretend to lead a happy and prosperous life. However, as the encounter progresses and by the time the film comes to a close, each one secretly finds out the truth of the unenviable and miserable lives both of them were leading, post separation.
Ajay before departing leaves whatever he borrowed from friends to meet his own financial difficulties, under Aishwarya’s bed with a letter.
Later, when he reaches home, in the pocket of his raincoat, he finds a pair of gold bangles and a piece of jewellery that belonged to Aishwarya, along with a letter. She had actually read a letter, written to a friend, that was inside his rain coat revealing his woes.
The film is an adaptation of the famous short story by O’Henry, titled ’The Gift of the Magi’. It is directed by Late Rituparno Ghosh. The lyrics of this song are also credited to him, though I feel it could be from an already existing source. The music is credited to Debajyoti Mishra.
I interpret, this is an allegorical poem, comparing Ajay’s journey to meet his former beloved, with the story of Krishna, now the King of Mathura, returning to Gokul, to meet Radha. But there is a contrast – Ajay’s journey is all melancholic.
This mellifluous ‘divine’ song is raised a notch above when the chorus joins. Recalling the plot, every time I hear this song my eyes go moist.
(Video)
(Audio) Longer
Song – Mathura Nagarapati Kaahe Tum Gokul Jao (Raincoat) (2004) Singer – Shubha Mudgal, Lyrics – Rituparno Ghosh, MD – Debjyoti Mishra
Chorus
Lyrics (based on audio version)
subah subah
suba..a..ah subah
subah subah ka khayal aaj
subah subah ka khayal aaj
vapas gokul chal mathura raj
mathura nagarapati kaahe tum gokul ja..aa..ao
manohar vesh chhod nandraj
sar se utaar ke sundar taj
raj dand chhod bhoomi par waaj
phir kaahe bansuri bajaao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao
kaun sa anokha geet gaahe pik kool
raj paat jaise aaj bhaye dhool
kaun sa anokha geet gaahe pik kool
birahan laagi phir hriday akool
raaj kaaj mann na lagaao
raaj kaaj mann na lagaao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao
jaao. . .
pur naari saari vyaakul nayan
kusum sajja laage kantak shayan
pur naari asari vyaakul nayan
raat bhar madhav jaagat bechain
kaahe aadhi rat sarathi bulaao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao
dheere dheere pahunchat jamuna ke teer
sunsaan panghat mridul sameer
dheere dheere pahunchat jamuna ke teer
khan khan madhav birah madeer
usey kaahe bhool na paao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao
tumhri piriya ab poori gharwaali
dudh navan ghivu din bhar khaali
tumhri radha ab poori gharwali
dudh navan ghivu din bhar khaali
birah ke aansoo kab ke
ho..oo kab ke ponchh daali
phir kaahe dard jagao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao
mathura nagarapati kaahe tum gokul jaao
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Devnagri script lyrics (Provided by Sudhir)
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सुबह सुबह
सुब॰॰ह सुबह
सुबह सुबह का ख्याल आज
सुबह सुबह का ख्याल आज
वापस गोकुल चल मथुरा राज
मथुरा नगरपति काहे तुम गोकुल जा॰॰आ॰॰ओ
मनोहर वेश छोड़ नंदरज
सर से उतार के सुंदर ताज
राज दंड छोड़ भूमि पर वाज
फिर काहे बांसुरी बजाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
कौन सा अनोखा गीत गाये पिक कूल
राज पाट जैसे आज भए धूल
कौन सा अनोखा गीत गाये पिक कूल
बिरहन लागि फिर हृदय अकूल
राज काज मन ना लगाओ
राज काज मन ना लगाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
जाओ॰॰॰
पुर नारी सारी व्याकुल नयन
कुसुम सज्जा लागे कंटक शयन
पुर नारी सारी व्याकुल नयन
रात भर माधव जागत बेचैन
काहे आधी रात सारथी बुलाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
धीरे धीरे पहुंचत जमुना के तीर
सुनसान पनघट मृदुल समीर
धीरे धीरे पहुंचत जमुना के तीर
खन खन माधव बिरह मदीर
उसे काहे भूल ना पाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
तुमरी पिरिया अब पूरी घरवाली
दूध नवन घीवू दिन भर खाली
तुमरी राधा अब पूरी घरवाली
दूध नवन घीवू दिन भर खाली
बिरह के आँसू कब के
हो॰॰ओ कब के पोंछ डाली
फिर काहे दर्द जगाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
मथुरा नगरपति काहे तुम गोकुल जाओ
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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