Posts Tagged ‘Singer-MD’
Ye zindagi kuchh bhi sahi
Posted on: January 4, 2021
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4553 | Post No. : | 17143 | Movie Count : |
4399 |
Today 4th January’2021 is the twenty-seventh Remembrance Anniversary of ‘Pancham Da- The genius’ or Rahul Dev Burman ‘the prince of music’.
He was born on 27th June’1939 and he passed away on 4th January’1994 at the age of fifty-four only.
On his Remembrance Day today as a tribute to him I am presenting a song sung by him from the 1983 movie ‘Romance’. For today’s occasion I was looking for a sad song and that also from a ‘debutant movie’. This song is a nice composition and picturized on Kumar Gaurav who is seen roaming in the fields, riverside, hilly areas and some picturesque locations (I don’t know which are these places).
The song though hummable will be liked by those only (I think so) who have not found ‘any purpose of life’ or ‘is missing someone or something in his life’😊 and that is why being annoyed with life the song goes ‘ye zindagi kuchh bhi sahi, par ye mere kis kaam ki’.
Otherwise, it is a nice song to listen and sung well by R.D. Burman with his special musical touch and style.
‘Romance-1983’ was directed by Ramanand Sagar for his home productions ‘Sagar Art Enterprises, Bombay’. Ramanand Sagar was also the producer of this movie. It had Shammi Kapoor, Kumar Gaurav, Poonam Dhillon, with Saeed Jaffrey, Helena Luke, Sushma Seth, Prema Narayan, and Tom Alter. They were supported by Viju Khote, Jugnu, Manmauji, Samrat Kapoor, Dr. Madan Kataria, Randhawa, Jawahar Bhan, Chandan, Yogee, Jitu Vyas, Moolchand.
This movie introduced Christopher, Lilli Put, Jillian. Raj Babbar, Ranjeeta and Ram Sethi make friendly appearance in this movie.
Story, Screenplay and dialogues for this movie were written by Mirza Brothers. Editing of this movie was done by Subhash Sehgal.
This movie was passed by Censor Board on 12.10.1983.
This movie had five songs written by Anand Bakshi and composed by R.D. Burman. Lata Mangeshkar, Amit Kumar, Mahendra Kapoor and R.D. Burman were the playback singers for this movie.
Today’s song is sung by R.D. Burman and lyrics are by Anand Bakshi. Music is by R.D. Burman himself as mentioned above.
let us now enjoy today’s song …
Audio
Video
Song-Ye zindagi kuchh bhi sahi par ye mere kis kaam ki (Romance)(1983) Singer-R D Burman, Lyrics-Anand Bakshi, MD-R D Burman
Lyrics
ho ho ho ho
ye zindagi ee
kuchh bhi sahi ee
par ye mere ae kis kaam ki
ye zindagi
kuchh bhi sahi ee
par ye mere ae kis kaam ki
jis ke liye jeete hain log
jis ke liye jeete hain log
bas hai kami us naam ki ee
ye zindagi
ho o o
kuchh bhi sahi ee
par ye mere ae kis kaam ki
ho o
jisko nahin hai armaan koi
kaisi jawaani hai ye ae
jisko nahin hai armaan koi ee
kaisi jawaani hai ye ae
o jiska nahin hai unwaan koi
aisi kahaani hai ye
ho naa hai khabar aaghaaz ki ee
naa hai khabar aaghaaz ki
naa hai khabar anjaam ki ee
ye zindagi
kuchh bhi sahi
par ye mere ae kis kaam ki
pyaasaa rahaa main
meri gali mein saawan barastaa rahaa aa
pyaasaa rahaa main
meri gali mein saawan barastaa rahaa aa
mele mein jaise koyi akelaa
aise tarastaa rahaa
poochho naa ye kaise bhalaa aa
poochho naa ye kaise bhalaa
maine subah se shaam ki ee
ye zindagi ee
kuchh bhi sahi ee
par ye mere ae kis kaam ki
o dil behlaane ko
likhte hain dil ke qisse fasaanon mein log
dil behlaane ko
likhte hain dil ke qisse fasaanon mein log
o rakhte hain heere moti sajaa ke
apni dukaanon mein log
baazaar mein qeemat hai kya aa
baazaar mein qeemat hai kya
toote huye ae is jaam ki ee ee
ye zindagi ee
kuchh bhi sahi ee
par ye mere ae kis kaam ki
jis ke liye jeete hain log
jis ke liye jeete hain log
bas hai kami us naam ki ee
laa laa laa laa laa
laa laa laa laa laa la la la
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4478 | Post No. : | 15985 |
Today’s song is from an unique film – Kinara-1949.
I say Unique because it was produced by a person who was also the film’s Hero and the Music Director. He also sang 3 solo songs in the film. The film’s story was written by him. The name of this person was Madhusudan Acharya. He was a trained singer, visited the USA 9 times, visited the UK once and sang on BBC Radio too. Wrote several stage plays and was a force to reckon with on the Gujarati stage !
Bombay is a Maya Nagari. People from all over the country come here to make money and a career. Not everyone succeeds, but that has not dampened the people’s attraction for Bombay till today. In addition, Bombay has a pulsating Cinema Industry. If one succeeds here, he can earn Millions, be famous and popular and get the best in life. This ” if ” is ignored by most people and hordes of them rush to Bombay in search of a successful career – may be in acting, singing, directing composing or whatever.
There are 3 types of results for such people. One- the person gets only one or two chances- does not succeed and quits for ever. Two- gets few chances, succeeds moderately but quits after some time voluntarily. And Three- succeeds and lives here till the end comes to him.
There are examples in every category. In the first category, I remember off hand, at least 2 examples. The first is the only Trio of MDs – Lala, Sattar and Asar, who came together in 1965 to compose songs for 2 films – Sangram and Jahan Sati wahan Bhagwan. They failed and this group broke. Asar left for ever. The second example is the MD pair of Rai-Frank, who gave music to film Gogola-1964. After this film Rai- who was Mukund Rai Trivedi, son of a Mine Owner in M.P. left the film industry to join family business.
In the second group there are more examples. I remember Shashi Kapoor Sr. who acted as a Child Artiste in 21 Hindi films, quit films, continued his studies and became a Maths professor in a University in USA for the rest of his life. The second case is of Arjun Bakshi, who failed as a Hero in film Malhar-51 and 2 other films, left acting, tried writing screenplays etc. and then migrated to Canada, opened a Music shop and lived there for ever. Yet another case is of Ashraf Khan, who after a successful acting and singing career on stage and in films, quit all and became a Sufi Saint !
In the third group, there are several examples which we all know. The point is, Madhusudan Acharya fits into the first category. Lets know more about this person. Information on him was scarcely available.
Hindi films only know him as an actor, singer, composer and producer, but there is much more to him in different fields. Madhusudan was born on 28-11-1911 at Acharyawadi in Ahmedabad city. After completing education upto SSC , he jumped into the agitation called out by Gandhi. There was a Lathi charge on 20-8-1930 and he was arrested and jailed for 2 months.
After release from jail he went back to home, but his mother fired him so much that he left home again. After 8 years, his uncle found him and brought him back to home. Meanwhile, he learnt music from Ustad Abdul Kareem khan and later from his disciple Balkrishna Buwa Kapileshwari from 1931 to 1933, as well as from Roshan Ara Begum.
Due to his good nature and sweet tongue, he was popular. In 1939, he went to Japan, with a team of Ahmedabad Mill owners. In Tokyo, he did a stage show and sang songs. He came to Bombay in n1947 and stayed here for the next 30 years.. He wanted to make a Drama Theatre to be let out at a very nominal rate. He also wanted to make 2-3 films.
He produced the film Kinara-49. He became the Hero. He composed its music giving 12 songs. He sang 3 solo songs himself in this film. He selected Geeta Bali as the heroine, because he was impressed with her acting in the film Suhag Raat-1948. The film took about 15 to 16 months to be ready. It was censored in June and released in Swastik Cinema, Bombay, where it ran for 9 weeks, a reasonable success. 14 prints were made of the film, which were all destroyed in a fire at the Chembur Godown.One print of the film was stolen and it was released in Pakistan. Due to inexperience and wrong decisions, the film gave him a huge loss. However he professed, ” loss is nothing but bother of profit and every setback is the root cause of the Rise.”
C.Ramchandra and Husnalal Bhagatram were his good friends. He praised R C Boral and Khemchand prakash. In actors, he liked P C Barua, Mazhar Khan, Chandramohan and Nawab. Lata Mangeshkar sang only one song for this film, because by 1949, she became a very busy artiste. However he recorded one more song by Lata for his next film- which never materialised.
Acharya wrote many dramas in Gujarati. ” Mangal Murti ” a drama based on the film Kinara became so successful that it did 3500 stage shows. His plays were staged in Bombay and Saurashtra. He had a good income from his estate in Ahmedabad. he wanted to go to the USA and settle there. He went to the USA first time in 1967 and later 8 more times, but could not settle there. In 1976 he went to London. He was invited on BBC where he sang a classical song.
Madhusudan was a very self respected person and truthful too. From 1977, he lived in Surat. He was interviewed by Harish Raghuwanshi ji on 18-4-1984. This interview was published in Listener’s Bulletin No. 59 of November 1984. This article is the rough translation of that interview. I thank Harish ji heartily for this rare information.
Film Kinara-49 was directed by Ambalal Dave, for whom the film was the only one directed by him independently. He had jointly directed another film in the same year-Roop Sundari-49 along with Narayan Patel. For him that was the only film in his life. Looks like this film,Kinara-49, played as a Trial field for the hero, singer, MD, Producer and the Director too ! Incidentally, there are 2 duets in the film, one by Harish and Shanti Sharma and another by Harish and Ram Pyari.
This singer Harish Bhatt was the younger brother of singer Yashwant Bhatt. He was an ardent fan of Saigal. He sang many songs in Gujarati but the film Kinara was the only Hindi film where he sang. Incidentally, this Harish and Yashwant Bhatt are close relatives of our Khyati Ben Bhatt- an active Atulite. Another unique feature of this film was that the famous Shenai player Bismilla Khan acted in this film and played Shehnai too. His name features in the cast credits. For this, he was called specially from Banares twice, adding to the cost of the film. As per my information, this is the only film in which Bismilla Khan acted in his lifetime.
By now, we have seen that there were so many First (and last) timers in this film. Story writer, Director, Producer, Music Director, 2 singers, Hero and an actor/musician. We have no information if there was any first timer amongst the Technicians. That is how this film was an Unique Film !
3 songs from this film are already discussed. This is the fourth song today. The song, singer, tune and music are not bad-if not excellent.
Song-Hum unpar bharosa kiye jaa rahe hain (Kinaara)(1949) Singer- Madhusudan Acharya, Lyricist- Sahir Bhopali, MD- Madhusudan Acharya
Lyrics
Hum unpar bharosa kiye jaa rahe hain
Hum unpar bharosa kiye jaa rahe hain
muhabbat ke maare jiye jaa rahe hain
muhabbat ke maare jiye jaa rahe hain
wohi hum ko dhokha diye jaa rahe hain
wohi hum ko dhokha diye jaa rahe hain
Hum unpar bharosa kiye jaa rahe hain
dil o jaan se sab ko daulat hai pyaari
dil o jaan se sab ko daulat hai pyaari
mubaarak zamaane ko ho duniyadaari
mubaarak zamaane ko ho duniyadaari
jo karna hai humko kiye jaa rahe hain
jo karna hai humko kiye jaa rahe hain
Hum unpar bharosa kiye jaa rahe hain
zara dekhna haal o maalik hamaara
zara dekhna haal o maalik hamaara
hai manjhdhaar naiyya na koi sahaara
hai manjhdhaar naiyya na koi sahaara
magar jeene waale jiye jaa rahe hain
magar jeene waale jiye jaa rahe hain
Hum unpar bharosa kiye jaa rahe hain
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4448 | Post No. : | 15901 |
Today’s song is from film Daku ki Ladki-54. I remember, there was a film in 1933 with the same title, featuring Sulochana, Dinshaw Bilimorea, Ghulam Mohd. Hadi etc. In that film, Ghulam Mohd. had done the role of the Daku, Sulochana was Daku’s Ladki and Dinshaw was the Police Officer.Ghulam Mohd. was known as ” The Prince of Imperial Film Company”, in those days.
Today’s film was made by Harish Productions. Naturally, the director and the Producer was Tara Harish only. Music was by Hemant Kumar. The cast of the film was Geeta Bali, Sheikh Mukhtar, Arjun, Shivraj, Rajan Kapoor, Mukri, Sankatha Prasad, Cuckoo etc etc.
The word “Daku” regularly appeared in the film titles right from the time Talkie films started. There were a total 32 films starting with the word Daku. When the film Daku ki Ladki came in 1933, as if to counter it, a film called Daku ka Ladka came in 1935. Thank God Daku’s family did not expand further ! Interestingly, there were 16 films based on female Dakus and only 7 films on Male Dakus. I wonder, what is the Hindi word for female Daku. A Dakin ? or a Dakuin ? or is it enough just to say He Daku and She Daku ? While female Dakus were honoured by calling them Daku Rani in 5 films and Daku Maharani in 1 film, the poor He Dakus had prosaic titles like Daku Bhupat or Daku Mansoor etc.etc.
When I took up discussing the 50’s film songs, I found that a lot of melodious and good songs to be yet to be discussed. Today’s song is one such song. To listen to Lata and Hemant Kumar is nothing short of a Bliss. Out of 2 such duets from this film one had remained to be discussed. In one of her interviews, Lata had said that she had always enjoyed singing duets with Hemant Kumar. She also said ” I used to feel as if some Sadhu was singing when I heard him singing a song”.
In the Costume drama Daku ki Ladki-54, Ravi Shankar Sharma was Hemant’s assistant in composing music.In few Hemant Kumar films, Ravi has sung songs, including this film. Later on when Ravi himself became a famous and successful composer, he made Hemant Kumar sing in his films. HK was a very respected person in the industry. When he came to Bombay his Hindi was not so good. Like all Bangla people, he had inherent difficulty in pronunciation of certain Hindi words. This was because, in Bangla language, there are no such sounds as plain ” A ” (अ ). So, Arun becomes Orun and Lata becomes Lota. With great practice and hard work, he improved his Hindi. Initially, even Geeta Roy had this problem.
In the cast of the film, you will see a name Shivraj. Not much is known about this good actor. Sometimes I feel some actors have such features that they are fixed for certain roles only and they are misfits in another role. For example, can you ever imagine Rashid Khan or Kanhaiyalal in a role of a sophisticated Millionnnaire ? Or Aruna Irani or Padma Khanna in a Mythological Devi’s role ? They may be good actors, but their physical features and style of acting restricts them to certain roles only. This is true even in case of big stars. Thus, Ashok Kumar became a laughing stock as Abhimanyu or warrier Humayun in full war gear.
The name SHIVRAJ in the cast always created curiosity in my mind. I had seen this actor in several films. I was unable to get any information on him anywhere. His role as the meek husband of Kaushalya (Manorama) in the film Seeta aur Geeta-72 is unforgettable. When I started work on this post, I tried again. This time I found an article – actually an Obituary – on him in The Hindu, dated 4-6-2017. Of course it described in it only about his different roles. From some other source, I got his date of Birth and Death and a little other information.
Shivraj was born on 11-6-1920 in Madhya Pradesh. His full name was Shivraj Pandey. After doing his graduation, he came to Bombay in search of a good job, but joined the film industry. To start with he worked in Minerva as an assistant in administration, He did some film roles too without getting credited. He left Minerva and got a role in the film Sarai ke bahar-47. This was a film made by National studios. His next films were Ziddi, Majboor, Batohi, and Asha all in 1948. Then there was no looking back. Shivraj acted in 212 films. He directed 1 film, Jaani Dushman-57. He retired from work in 2000, but his last released film was Yaar meri zindgi-2008. Shivraj died on 4-6-2017.
There is also a name Arjun in the cast. Now this is a ‘ Same Name Confusion ‘ artiste. Arjun was the Hero in film Malhar-51, opposite actress Shammi (Nargis Rabadi). His name is confused with Music director C.Arjun and many people wrongly presume that C.Arjun acted in the film Malhar. This Arjun is different. His name was Arjun Bakshi Gill. His first film was Naujawan-51, then came Malhar-51.Later he acted in Daku ki Ladki-54 etc. He wrote screenplays and went on doing small roles in films. He migrated to Canada and opened a Music shop. A RMIM member met him there, and recognised Arjun as Malhar Hero. Arjun died in 2001. His daughter Jyoti Bakshi was also an actress, who died in pitiable condition in 2003.
Finally, let us take a look at dancer Cuckoo.
It was 1944. The talkies were already around for 15 years. Devika Rani and Shobana Samarth had already established their glowing presence but it was still a time when nice girls didn’t even become leading ladies, let alone do roles where they had to wriggle their hips — however tastefully — and bare flesh, which at the time meant shoulders and maybe a bit of leg. At such a time, a pretty, fresh-faced Anglo-Indian girl with eyes that danced as enchantingly as her feet appeared in two films — “Pehli Nazar”- 1945 (in which Mukesh made his debut with “Dil Jalta hai toh jalne de”) and “Mujrim -1944.” The girl’s name in the film’s credits was listed simply as “Cuckoo.” Cuckoo was perhaps the first of the most well known dancing queens of Indian Cinema. She was born on 4-2-1928. Her predecessors were many, including a dancer called Azurie, who it is said Cuckoo modeled herself on. But in terms of the sheer body of work and its impact, Cuckoo would have to be the first among Hindi cinema’s dancing queens. It was with her that “cabaret” became an almost indispensable part of films made between the 1950s and 1970s.
Her debut in 1944 was an instant hit and in the space of just the next five years, she had appeared in an incredible 49 films, including Mehboob Khan’s “Anokhi Ada” (1948), H. S. Rawail’s “Patanga” (1949) and Devendra Goel’s “Aankhen” (1950). The only major filmmaker of the time who did not feature Cuckoo in his films was V. Shantaram. In a lot of her films, her role was just a song but its impact was so electrifying that distributors considered it almost as indispensable as the heroine. Like the Helen-Asha combination later on, in many of these songs, Cuckoo’s screen `voice’ was Shamshad Begum. Together, they were responsible for some unforgettable hits.
Mehboob Khan’s films proved to be the turning points in Cuckoo’s career. Her dance numbers in hisAnokhi Ada established her as the leading dancer of the time; and Andaz, a romantic melodrama featuring Raj Kapoor, Dilip Kumar, and Nargis, gave the dancer an opportunity to showcase her acting skills.During her peak period,she was getting Rs.6000/- per dance appearance.
Cuckoo remained the top dancer of Hindi films till she was displaced by Helen and such dancer-actresses as Vyjayanthimala.Cuckoo gave dances in about 76 films. Ironically, it was Cuckoo who had initiated a 13-year-old Helen into films as a chorus dancer.Cuckoo continued to dance until the beginning of the 1960s, the last few years as part of the chorus dancing.It has been recently confirmed that Cuckoo’s real name was Cuckoo Moray.Cuckoo died a slow lingering death, due to Cancer on 30-9-1981 penniless and unattended. No one from the Film industry attended her cremation. (Thanks for some information from Cineplot and from the book”Tujhe mere geet bulate hain” by Sanjeev Tanwar).
Today’s song is a delightful duet of Lata and Hemant Kumar. Let us now enjoy it….
Song-Nazron se chhup gaya hai taqdeer ka saweraa (Daaku Ki Ladki)(1954) Singer-Lata, Hemant Kumar , Lyrics-Kaif Irfani, MD-Hemant Kumar
Lyrics
nazron se ae
chhup gaya hai ae ae
taqdeer kaa aa savera
nazron se chhup gaya hai
taqdeer kaa savera
girta hai jo bhi aansu
leta hai naam teraa
ham rah gaye tadap kar
munh zindagi ne phera
girta hai jo bhi aansu
leta hai naam teraa
nazron se chhup gaya hai
taqdeer kaa savera
duniya mein ham ye kaisi taqdeer le ke aaye
tukde dil-o-jigar ke
ashkon mein muskuraaye
hansti hai mujhpe kismat
rota hai pyaar meraa
girta hai jo bhi aansu
leta hai naam teraa
nazron se chhup gaya hai
taqdeer kaa savera
aaja ki dil liye hai maayoosiyaan nazar mein
ek shamma jal rahi hai
teri yaad ki jigar mein
baaki hai har taraf ab chhaaya hua andhera
girta hai jo bhi aansu
leta hai naam teraa
nazron se chhup gaya hai
taqdeer kaa savera
girta hai jo bhi aansu
leta hai naam teraa
Binti karat hoon main tori maa
Posted on: September 2, 2020
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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4429 | Post No. : | 15855 |
“Betaab”(1952) was produced and directed by Harbans for Susheel Pictures, Bombay. The movie had Ashok Kumar, Naseem, Motilal, Kamal Kumar, Murad, Mirza Musharraf, Tiwari, Kamal, Nazeer Kashmiri, Agha Mirza, Afghan Sandow, S Kamal, Parvati devi, Meera Aarti etc.
“Betaab”(1952) had thirteen songs in it. Two songs have been covered so far.
Here is the third song from the movie. This song is sung by S D Batish. Bharat Vyas is the lyricist. Music is composed by S D Batish.
Going by the mukhda “binti karat hoon main tori maa” and going by the fact that it is penned by Bharat Vyas, some people may belieb=ve that it is a bhajan. Not al all. This song is a comedy song where a person is requesting his mother to get him married as soon as possible. He has no demands, no bars, no qualifications in mind for the prospective bride. The most openminded bridegroom ever !
The hilarious lyrics contains words that are considered politically incorrect now a adys but they raised no eyebrows those days. In any case it is a comedy song and it should be treated as such.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this fun song.
Song-Binti karat hoon main tori maa (Betaab)(1952) Singer-S D Batish, Lyrics-Bharat Vyas, MD-S D Batish
Lyrics
binti suno o o o o
mori
maa
maa
binti karat hoon main tori maa
binti karat hoon
binti karat hoon
binti karat hoon main tori maa
tu shaadi kara de
shaadi kara de
shaadi kara de mori ma
agle phaagan tak jo mujhko
nahin milegi biwi
to saanch kahoon bhagwaan kasam
mujhe ho jaayegi t b
chaahe kaani ho
ya andhi ho
wo looli ho
ya langdi ho
chaahe goongi ho ya bahri ho
chaahe goongi ho ya bahri ho
wo kaali ho ya gori ma
tu shaadi kara de
shaadi kara de
shaadi kara de
mori shaadi shaadi shaadi
mori shaadi shadi shadi
mori shaadi shadi shadi
o mori shaadi shaadi shaadi
mori shaadi shaadi shaadi
mori shaadi shaadi shaadi
shaadi
jaat paat ki fikar na karna
jo kuchh bhi ho naam
des bides kahin ki bhi ho
humen byaah te kaam
punjaaban ho
bangaalan ho
gujaraatan ho
maarwaadan ho
madraasan ho
maaraathan ho
madraasan ho
maaraathan ho
wo kahin ki bhi ho chhori ma
tu shaadi kara de shaadi kara de
shaadi kara de
mori shaadi shaadi shaadi
mori shaadi shadi shadi
mori shaadi shadi shadi
o mori shaadi shaadi shaadi
mori shaadi shaadi shaadi
mori shaadi shaadi shaadi
shaadi
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4425 | Post No. : | 15843 |
Today’s song is from the film Hill Station-1957.
The peak of the Golden Era of HFM was in the decade of the 50’s. In this decade, probably all operating MDs gave their best songs and the ordinary, common music loving film goer did not know how much good music he could digest. For some, it was almost an indigestion with excessive indulgence in good, Divine music and this condition had no medicine. The music lovers had to endure and enjoy the excess provision of his choicest music.
1957 – what an year it was! The best year in the Golden Era! The best year in the 50s! The best year for melody and music! Such wonderful films came in this year!!! The lineup of 1957 films looks like the selection of the creamy layer in everlasting music – ‘Mother India’, ‘Pyasa’, ‘Tumsa Nahin Dekha’, ‘Bhabhi’, ‘Asha’, ‘Miss Mary’, ‘Naya Daur’, ‘Do Aankhen Barah Haath’, ‘Paying Guest’, ‘Nau Do Gyarah’, ‘Dekh Kabira Roya’. ‘Nausherwaan e Adil, ‘Gateway Of India’, ‘Hum Panchhi Ek Daal Ke, ‘Kathputali’, ‘Sharada’ . . . Films like Baarish, Ab Dilli door nahin, Abhiman, Bada Bhai, Begunah, Beti, Chhote Babu, Coffee House, Dushman, Johnny Walker, Miss Bombay, Miss India, Mr. X, Narsi Bhagat, Paak Daaman, Pawanputra Hanuman, Ustad, Zamana, Garma Garam had equally melodious songs like other films mentioned, albeit may not be so famous. Films produced in Madras were quite popular. AVM’s ‘Bhabhi’, ‘Miss Mary’ and ‘Hum Panchhi Ek Daal Ke’, Prasad Production’s first Hindi film ‘Sharda’, and MV Raman’s film ‘Asha’ played havoc with their captive audiences. Films from south somehow have always concocted a success formula, mixing comedy, tragedy, social message, excellent production values and above all superb music, which made their films very popular everywhere.
Satyen Bose’s ‘Bandi’ brought together all the three Ganguly brothers in one film for the first time. Later he would repeat this feat in ‘Chalti Ka Naam Gaadi’ in 1958. ‘Musaafir’, Hrishikesh Mukherjee’s first Hindi film as a director, was an experimental film depicting the phases of life – birth, life, death and rejuvenation, symbolically through a succession of tenants in a house on rent. Director Amiya Chakravarty’s competition with Gyan Mukherjee came to an end with his unexpected demise while the making of ‘Kathputali’ was in progress. The film was completed by Nitin Bose. (Later, Gyan Mukherjee also passed away while making ‘Sitaron Se Aagey’ (1958) which was later completed by Satyen Bose. Both films had the same story and same heroine).
With the musical blockbuster ‘Tumsa Nahin Dekha’ from Filmistan, Nasir Hussain introduced his own success formula of entertaining films and minted crores by repeating it several times, in a new garb. This film changed Shammi Kapoor’s luck, and made him an A grade actor. However, it did not much benefit the heroine Ameeta. She remained where she was – a second grade actress. Filmistan also released ‘Paying Guest’, with chocolate hero Dev Anand, with superb music and songs composed by SD Burman. Dev also featured in ‘Nau Do Gyarah’, another musical entertainer from Navketan, his home production company.
A surprise hit that year was the socio-religious film ‘Janam Janam Ke Phere’. The song “Zara Saamne To AaO Chhaliye” became the unexpected top song of the year and an iconic one at that! ‘Apradhi Kaun’ was genuinely an excellent detective story. Amiya Chakravarty’s ‘Dekh Kabira Roya’ was a hit due to its superb music, though its cast was quite ordinary. ‘Do Aankhen Barah Haath’ got the national award. Amiya Chakravarty and Gope passed away this year. Nimmi got married. Vividh Bharati started its broadcast on 3rd October 1957.
Compared to all these musical giants. today’s film Hill Station-57 was not at all comparable. MD Hemant Kumar gave music to 9 films in 1957 alone- must be his maximum for any year. Music Aficionados still debate vehemently whether Hemant Kumar was a better singer or a better MD. As MD, he gave music to 55 films, composing 423 songs. As a singer he sang 320 songs in 173 films. In 1957, while he gave music to 9 films, he actually sang songs in 12 films.
I have not seen this film – that time or even at a later time, because I was not a fan of Bina Rai or Pradeep Kumar. Produced by A A Nadiadwala, for the banner- Pushpa Pictures, this Social film was directed by Shakti Samant. In the cast were also, K N Singh, Maruti, Prtotima Devi, Krishnakant, Shyama,Sheela Vaz and many others, including a Dog named Tiger. I always wondered, how can anybody name a Dog as Tiger, when Tigers are never known to be named as Dog. And then, what’s the role of a Dog in a Social film ? Of course in some films, trained dogs do some story turning acts, as in film ” Hum aapke hain Kaun-94″
In Hindi films, there are some senior actors ( I mean, those who have been in films for more than 25-30 years), who remained quiet, without attracting much comments or getting even few lines in the film reviews. They came, stayed and went as quietly as they remained in films. Actors like Sankatha Prasad, Niranjan Sharma,Habib, Anwar, Shaikh, Shivraj etc etc. One such name was Krishna Kant.
The name of krishna kant or K K is known to many people. Krishnakant ( 15-9-1922 to 24-10-2016) was a noted character actor of long standing. His career spanned from 1943 to 1989, a whopping 46 years. After retirement he had settled in Surat, Gujarat. His life story has been made into a Gujarati book ” Guzra hua zamana” written by the famous author Shri Biren Kothari ji. He has gifted me a copy of this book. Reading this book takes you into those times.KK had a knack of telling the history in an interesting way, with a lot many photographs. Till the last day (94 years) his memory was excellent. During my visit to Surat in early 2016, I could not meet him, due to paucity of time. This will pinch me forever. Our Sudhir ji and Bakshish Singh ji met him, when they went to Surat to meet Harsh Raghuwanshi ji.
Krishnakant acted in 109 Hindi, 16 Gujarati, 2 Bangla and 2 English movies. He has also directed 2 Hindi and 13 Gujarati films. In addition, he was active on TV in his later years. He acted in 8 Hindi and 6 Gujarati serials and directed 3 Hindi serials. He also acted in 1 Hindi and 7 Gujarati stage dramas. Here is a short Bio data of him-
Krishnakant (15-9-1922 to 24-10-2016)
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Gujarati and Hindi actor and director born in Howrah, Bengal, as Krishnakant Maganlal Bukhanwala. Son of a textile engineer; educated in Surat and in Bombay. Obtained a diploma in radio and electrical engineering (1940); then joined the Rooptara Studio in Bombay, working in the sound department. Assisted Nitin Bose for five years, then worked with Arvind Sen on Muqaddar (also acting in it) and with Subodh Mukherjee (Paying Guest, 1957). First major acting role in Phani Majumdar’s Andolan; other notable roles are a paralytic in Amiya Chakravarty’s Patita and the villain in Shakti Samanta’s Detective. Left films in the late 50s to concentrate on Gujarati theatre work (e.g. Pravin Joshi’s Manas Name Karigar) mainly with Harkrishen Mehta’s group. Returned to cinema in the early 70s; turned to direction with Dakurani Ganga, adapting Mehta’s novel Pravaha Paltavyo. Directed a series of Gujarati films based on plays or films from other languages: e.g. Visamo is based on Harkrishen Mehta’s play, in which he acted the role of an old teacher, recalling Paranjpe’s Oon Paoos (1954) and Panthulu’s School Master (1958). Also adapted Anant Mane’s Manini (1961) as Maa Dikri. With these films he introduced a novel style of urban entertainment to Gujarati cinema, although relying on conventional reformist melodrama plots about the joint family, the generation gap and the exploitation of women. Also noted actor on Hindi and Gujarati television.FILMOGRAPHY (* also d): 1943: Paraya Dhan; 1950: Chor, Muqaddar; Mashaal; 1951: Andolan; 1952: Daag; Tamasha; Zalzala; 1953: Patita; 1954: Baadbaan; Dhobi Doctor; Naukri; 1955: Faraar; Subse Bada Rupaiya; Ghar Ghar Mein Diwali; Seema; 1956: Sailaab; Jagte Raho; Patrani; Sudarshan Chakra; Dhola Maru; 1957: Agra Road; Bandi; Begunah; Hum Panchhi Ek Dal Ke; Yahudi Ki Ladki; Bhabhi; 1958: Ghar Sansar; Detective; Howrah Bridge; Mehndi; Parvarish; Post Box 999; Delhi Ka Thug; 1959: Insaan Jaag Utha; Satta Bazaar; Madhu; Ghar Ghar Ki Baat; Jaalsaaz; 1960: Jaali Note; 1961: Tanhaai; 1963: Jivno Jugari; Vanraj Chavdo; 1969: Do Raaste; Kanku; 1971: Duniya Kya Jaane; Hathi Mere Saathi; Pyar Ki Kahani; Sharmilee; Paraya Dhan; 1972: Mere Jeevan Saathi; Do Chor; Annadata; Gunsundari No Ghar Sansar; 1973: Gaai Aur Gori; Suraj Aur Chanda; Mr Romeo; Manchali; 1974: Parinay; Ajnabi; Trimurti; Vardan; Aarop; 1975: Anari; Kala Sona; Sant Surdas; 1976: Deewangee; Koi Jeeta Koi Haara; Sajjo Rani; Dakurani Ganga*; 1977: Jagriti; Kulavadhu*; 1978: Khoon Ki Pukar; Visamo*; Maa Dikri*; Ghar Sansar*; 1979: Sonba Ane Rupba*; 1980: Maniyaro*; Meru Mulande*; Jog Sanjog*; 1981: Hotel; 1982: Prem Lagna*; Dharmo*; Jawabdaar*; 1983: Main Awara Hoon; Poojana Phool; 1986: Teesra Kinara*; Chhota Admi*; 1988: Kharidar.
(adapted from Encyclopaedia of Indian Cinema).
Today’s song is a very good, typical Lover’s song by Hemant Kumar. The song had its own share of popularity for some time in those days. Now enjoy the song, with Nostalgia…..
Song-Wo khushnaseeb hain jinko yahaan qaraar mila (Hill Station)(1957) Singer-Hemant Kumar, lyrics-S H Bihari, MD-Hemant Kumar
Lyrics
wo khushnaseeb hain jinko yahaan qaraar mila
hamen to dil jo mila wo bhi beqaraar mila
wo khushnaseeb hain jinko yahaan qaraar mila
hamen to dil jo mila wo bhi beqaraar mila
wo khushnaseeb hain
mili hain pyaar mein dar dar ki thokaren hamko
mili hain pyaar mein dar dar ki thokaren hamko
lagaaye rakhte hain seene se har ghadi gham ko
jo khatm ho na kabhi aisa intazaar mila
hamen to dil jo mila wo bhi beqaraar mila
wo khushnaseeb hain
sitam hai gham ke samandar mein har khushi doobi
sitam hai gham ke samandar mein har khushi doobi
hamaare ashq mein khud apni zindagi doobi
sahaara de koi aisa na ek baar mila
hamen to dil jo mila wo bhi beqaraar mila
wo khushnaseeb hain jinko yahaan qaraar mila
hamen to dil jo mila wo bhi beqaraar mila
wo khushnaseeb hain
Kya khoya kya paaya jag mein
Posted on: August 16, 2020
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 : |
4412 | Post No. : | 15809 |
Today, August 16, 2020 is the 2nd Remembrance Day of Atal Bihari Vajpayee (25/12/1924 – 16/08/2018), the former prime minister, one of the greatest statesmen, a nationalist, a good orator and a poet.
The political career of Atal Bihari Vajpayee has been an open book and it does not require an elaborate discussion. Suffice to say in brief that at the age of 18, Atal Bihari Vajpayee became politically active by participating in Quit India Movement of 1942 and was imprisoned for one month. In 1957, He became the member of Lok Sabha for the first time at the age of 33. From 1967 to 1984, he continued as a member of Lok Sabha without any interruption. Again from 1991 to 2009, he became the member of Lok Sabha. With nearly 5 decades of experience – both from the opposition and ruling parrties’ sides, one can gauge the vast political knowledge he had gathered to be rightly called as ‘Bhishma Pitamah’ of Indian politics who was admired by both the ruling and opposition parties.
Atal Bihari Vajpayee was known for his hard-hitting speech as a member of the opposition. But his speeches always remained within the boundary of political rivalry on ideological platforms and did not spill into personal enimity. It is because of this quality that Atal Bihari Vajpayee commanded the respect of all the prime ministers he faced in the Lok Sabha and of members of the opposition when he was the prime minister. In his very first terms in Lok Sabha during 1957-62 as a member of the opposition parties, Pandit Nehru, the then prime minister, was very much impressed by his debating skills. Once, he introduced Atal Bihari Vajpayee to a visiting foreign dignitary as a young and dynamic member of the opposition and he predicted him to be India’s future prime minister. His prediction came true after 40 years.
Let us recall a couple of examples in support of what has been stated above. During the Vote of Confidence motion in 1996 in Lok Sabha, Atal Bihari Vajpayee as a prime minister had quoted an instance that happened in the Rajya Sabha in November 1962 during the discussion on Chinese aggression in October 1962 :
It is not that I did not have disagreements with Nehru ji. These disagreements came out strongly during debates. In one of such debates I called Nehru’s personality and character as a mixture of Churchill and Chamberlain. (Neville Chamberlain, the Prime Minister of the UK from 1937-40 was highly criticised for his appeasement policy with Adolf Hitler. Winston Churchill was the prime minister who led the English to victory against Nazi Germany in the Second World War). Despite the comparison to two of the most controversial and critiqued world leaders, Nehru did not get angry. Later that evening, I ran into Nehru ji at a banquet in honour of a visiting foreign dignitary. He called and congratulated me for giving a rousing speech in the Rajya Sabha and he left smiling.
In 1994, when United Nations Human Right Commission at Geneva was to discuss a Pakistani resolution to label India as human right violator in Jammu & Kashmir, the then Prime Minister, P V Narsimha Rao chose the leader of the opposition, Atal Bihari Vajpayee as the leader of the Indian delegation to defend India. The Pakistani resolution was defeated. The fact that Narsimha Rao selected Atal Bihari Vajpayee as the leader of the delegation rather than other senior leaders from his party like Salman Khurshid who were part of the delegation, speaks volume about the calibre of and confidence reposed on Atal Bihari Vajpayee by then prime minister.
It is not known when Atal Bihari Vajpayee turned a poet. Whether it was the poet in him that pushed him to the politics or vice versa. He had said once that ‘he was poet by instinct and the politician by accident’. He had a literary bend of mind if we go by his association with magazines such as ‘Rashtradharma’, ‘Panchjanya’ and the newspapers like ‘Swadesh’ etc, during his younger days. Probably, he may have started writing poems during the the Quit India Movement of 1942. On August 15, 1947 when India got indepedence and people were celebrating the freedom from British Rule, Atal Bihari Vajpayee wrote the poem in a sombre mood:
पंद्रह अगस्त का दिन कहता
आज़ादी अभी अधूरी है।
सपने सच होने बाकी है,
रावी की शपथ न पूरी है॥
जिनकी लाशों पर पग धर कर
आज़ादी भारत में आई,
वे अब तक हैं खानाबदोश
ग़म की काली बदली छाई॥
The people of India at large came to know Atal Bihari Vajpayee also as a poet after his release from the Bengaluru Central Jail in 1977 following emergency. In his one year of life in the jail, Atal Bihari Vajpayee had written many poems in the pseudo name ‘Kaidi Kavirai’, some of which used to be smuggled out of the jail, translated in Kannada and pasted on the walls of colleges in Hubbali and Dharwad. ‘Kaidi Kavirai Ki Kundalian’, the collections of poems written by him while in the jail has been published. These poems belong to satirical and inspirational genres. An example of one of his satirical poems which he wrote while when he was ill in the jail:
डॉक्टरान दे रहे दवाई, पुलिस दे रही पहरा।
बिना ब्लेड के हुआ खुरदुरा, चिकना-चुपड़ा चेहरा।
चिकना-चुपड़ा चेहरा, साबुन, तेल नदारत।
मिले नहीं अखबार, पढ़ेंगे नई इबारत।
कह कैदी कविराय, कहां से लाएं कपड़े।
अस्पताल की चादर छुपा रही सब लफड़े।
But post-emergency years, Atal Bihari Vajpayee’s poems have become more visible than before. In some of his political rallies, he had started reciting his poems probably realising that poems of 6-8 lines have more impact on his audience to draw his point of view than a longer speech.
Atal Bihari Vajpayee’s most popular and an inspiring poem, kadam milaakar chalna hoga has been included in class-8 textbook along with the poems of Hazari Prasad Dwivedi, Ramdhari Singh Dinkar, Surykant Tripathi Nirala, Ismat Chugtai, Harishankar Parsai etc for 2019-20 onwards.
When Atal Bihari Vajpayee was admitted in a hospital in New York in 1988 for his kidney check-up, doctors had suggested kidney operations. That whole night, he could not sleep. During that night, the poem, maut se than gahi was born.
Another poem of Atal Bihari Vajpayee which I like is hari hari doob par. The last six lines sums up the philosophy of life which say that the sun will rise again and there will be sunshine. But I will not get to see the dew drop on the green carpet of grass of my garden in all the seasons:
सूर्य तो फिर भी उगेगा,
धूप तो फिर भी खिलेगी,
लेकिन मेरी बगीची की
हरी-हरी दूब पर,
ओस की बूंद
हर मौसम में नहीं मिलेगी।
To quote Bhagwat Goyal who has translated Vajpayee’s poems in to English, Atal Bihari Vajpayee believed that “politics and literature cannot belong to separate compartments. Rather they enrich and refine each other. When a litterateur gets involved in politics, his politics gets more refined. Similarly, if a politician has a literary background, he cannot ignore human feelings and emotions.” I have watched some of the important proceedings of the Lok Sabha in which I saw his speeches both as a Prime Minister and as a member of the opposition. To me, his speech sounded like a mix of statesmanship and literature like the one below.
The game of power would continue. Governments would come and go. Political parties would be formed and dissolved. But the country should survive and democracy should remain there forever. The debate (on Vote of Confidence Motion) would come to an end but the chapter which would start from the next day needed to be pondered over. The bitterness should not increase.
On the occasion of Atal Bihari Vajpayee’s 2nd Remembrance Day, I present one of his poems, ‘apne hi mann se kuchh bolen’ (2002) which has been turned into a non-film song composed and sung by Jagjeet Singh. The video of the song featuring Shahrukh Khan and Atal Bihari Vajpayee was produced by Saregama which was directed by Yash Chopra. The song is preceded by a preface read by Amitabh Bachchan, which was written by Javed Akhtar. This song is a part of an album, ‘Samvedna’ (Sensitivity) containing six poems written by Atal Bihari Vajpayee which have been turned into songs composed and sung by Jagjeet Singh.
The poem is philosophical one. It says that let the heart speak. Let it measure what has been gained and what has been lost. In one of the antaras, the poet says that earth is millions of years old and life is eternal. Elders may give a blessing of 100 years of life (sau sharadon ki vaani) but body has its limit. So, one should be ready to open the doors on the last knock.
Video Clip :
Audio Clip:
Song-Kya khoya kya paaya jag mein (Jagjeet Singh NFS)(2002) Singer-Jagjeet Singh, Lyrics-Atal Bihari Vajpayee, MD-Jagjeet Singh
Lyrics
kya khoya kya paaya jag mein
milte aur bichhadte mag mein
kya khoya kya paaya jag mein
milte aur bichhadte mag mein
mujhe kisi se nahin shikaayat
yadhyapi chhala gaya pag pag mein
ek drishti beeti par daalen
yaadon ki potali tatolen
ek drishti beeti par daalen
yaadon ki potali tatolen
apne hi mann se kuchh bolen
apne hi mann se kuchh bolen
prithhvi laakhon varsh puraani
jeevan ek anant kahaani
prithhvi laakhon varsh puraani
jeevan ek anant kahaani
par tan ki apni seemaayen
yadyapi sau sharadon ki vaani
itna kaafi hai antim dastak
par khud darwaaza kholen
itna kaafi hai antim dastak
par khud darwaaza kholen
apne hi mann se kuchh bolen
apne hi mann se kuchh bolen
janm maran kaa avirat phera
jeewan banjaaron kaa deraa
janm maran kaa avirat phera
jeewan banjaaron kaa deraa
aaj yahaan kal kahaan kooch hai
kaun jaanta kidhar savera
andhiyaara aakaash aseemit
praanon ke pankhon ko taulen
andhiyaara aakaash aseemit
praanon ke pankhon ko taulen
apne hi mann se kuchh bolen
apne hi mann se kuchh bolen
apne hi mann se kuchh bolen
apne hi mann se …. kuchh bolen
Har galli mein Dhoni hai
Posted on: July 7, 2020
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 : |
4372 | Post No. : | 15710 |
The date today is 7 july 2020. From the HFM point of view, birth anniversaries of Anil Biswas (born 1914) and Saraswati Kumar Deepak (born 1918) falls today. We have already honoured the two artists in two articles earlier today.
Some other important non HFM related things also happened on this day. It was on this day in 1928 that sliced bread was forst sold by Chillicothe Baking Company of Chillicothe, Missouri, USA. Their product, “Kleen Maid Sliced Bread was advertised as “the greatest forward step in the baking industry since bread was wrapped. This gave rise to the popular idiom “greatest thing since sliced bread”. 🙂
It was on this day in 1985 that Boris Becker became the youngest male player in history to win a major tennis singles title. He was 17 years, 7 months and 15 days old when he lifted the Wimbledon singles title. This record was later broken by Michael Chang (does anyone remember him today ?) in 1989 French Open. I had watched this match on TV in the hostel with likeminded sports lovers where Boris Becker defeated South Africa’s Kevin Curren (not to be confused with Zimbabwe cricketer Kevin Curran).
Back home, this date is important for Indian cricket lovers. It was on this day in 1981 that Mahendra Singh Dhoni was born !
I need not remind our fellow Indian cricket lover what Dhoni has done for Indian cricket. In my opinion, India had a few cricketers (five in number) who to my mind enabled Indian cricket to shift to higher gears. These higher gears did not exist before the advent of these cricketers. The first of them was MAK Pataudi, who gave Indian cricketers the first dose of self belief in their abilities. Then the next was Sunil Gavaskar, who with his rock solid batting against the best pace attacks of the world gave Indians the belief that they too could hold their own and occasionally win too. Then came Kapildev. Before him, it was believed that Indians could not bowl fast. He could not only bowl fast, he could be said to have changed the fortunes of Indian cricket and also world cricket, with his exploits in 1983 World Cup. This title win was a fluke, but this fluke win could not have been achieved without the additional gear that Kapildev had brought to Indian cricket. This win brought an enormous change in balance of cricketing powers. Indian, from being an also ran, began to become title contenders in future world cups. In addition, BCCI, the Indian cricket board, began to have an increasing say in running world cricket.
The next influential cricketer was Saurabh Ganguly. Under his captaincy, India cricket team grew a spine and killer instinct which was lacking in Indian cricket prior to him.
And that brings us to our fifth and final Indian cricket influencer extraordinaire, viz M S Dhoni.
MSD Made his debut into the Indian team during Indian team’s Bangladesh tour of 2004. And it was quite a forgettable start. He was run out for zero in his first batting innings. In the second ODI, India were 131/5 in 33. 2 overs. needing a further 99 runs at an asking rate of 5.8 runs. Dhoni joined Kaif in the centre. Those who had watched his exploits at India A level had high hopes on him. Dhoni was only able to score 12 off 11 deliveries and he was the sixth wicket to fall at 155 at 37.2 overs. Wickets kept falling at regular intervals and India had the ignominy of losing to Bangladesh by 15 runs.
Badly stung, India approached the third and final ODI in a murderous mood. Everyone scored runs and India piled on 348. Dhoni got to bat for two deliveries where he scored seven in two deliveries, including a six, the first six of his ODI career.
Though Dhoni did not do much of note in his debut series, he was retained in home series against Pakistan. Coming to bat in the slog overs with India well placed, he once again failed to capitalise and made a disappointing 3 for 7 deliveries.
After four disappointing matches, Dhoni’s fate was hanging by a thin thread. The second ODI at Vishakhapatnam was a make or break match for Dhoni. Luckily for Dhoni and for world cricket, Ganguly, the captain, decided to give Dhoni another chance. Not just that, Dhoni was sent at one down ! And the rest, as they say, is history. Dhoni announced his arrival at world cricket stage with 148 runs. This knock cemented his place in ODI and opened the doors to test selection as well.
By 2007, Dhoni was still a unior player in the team. shock exit of Indian team from 2007 World cup saw many heads roll in Indian cricket. A new form of cricket ,namely T20 cricket was thrust on the rest of thecricketing world by England. England had started ODI world cup back in 1975. They had failed to win any of these world cups. Introducing another world cup of a different format where England had the most experience was clearly an attempt by ECB to finally lift a world cup.
BCCI was unwilling and reluctant to participate in this T20 world cup. But ICC arm twisted BCCI into participating in it. BCCI, in protest, excluded all the seniors from the team and chose a team of younger players, who were expected to be no hopers in the tournament. And Dhoni , who had never captained even in school cricket, was made the captain of the team.
When the world cup ended, India emerged the surprise winner of the tournament. The reluctent BCCI, which wanted to have nothing to do with T20 suddenly saw so much potential in this format that they created IPL. It is something that revolutionised world cricket and brought far more money into cricket than what was the case before. So Indian surprise title win in T20 changed the game of cricket like how it had happened back in 1983.
This T20 win meant that Dhoni was identified as a leader of the team in all formats. And what results he produced ! India, under his captaincy won two more ICC titles , namely ODI world cup in 2011 at home and 2013 Champions Trophy in England. Dhoni became the only captain in history to have won all the three ICC tournaments. No other captain of no other country had come anywhere close.
Under Dhoni’s captaincy, Indian also rose up to become the number one test team. His cricket records are known to all. I will not repeat them here.
The influence that Dhoni had on Indain cricket is comparable to the influence of Kapildev. Both of them came from smaller unfashionable places. Prior to them, international cricket in India was considered the privilege of big city players. When India played their first ODI world cup in 1975, all but one players in the team were from metropolitan cities (Bombay, Delhi, Madras, Bangalore, Hyderabad, Baroda, one from Rajasthan). When Dhoni captained Indian in 2007 T20 tournament, there were players from unfashionable places like Ranchi (Jharkhand), Jullundhar (Punjab), Aligarh (UP), Rohtak (Haryana), Rae Bareli (UP), Kothamangalam (Kerala) etc. And these players did not just make up numbers, they were in the playing XI and added their weight to the team performance.
Dhoni gave plenty of self confidence to players comng from small places with no cricketing history. The fact that such excellent world class players, with such strong temperament can come from small places was a revelation to all. Their inclusion brought fresh ideas and fresh energy into the team composition. These palyers were not infected by the virus of complacency, lack of killer instinct and choking- that most players coming from big established places seemed afflicted from.
Dhoni’s appeal is India wide and for that matter global. In India, Chennai has adopted him as their favourite son in IPL, where he has served as the skipper right from the first IPL.
A biopic was made on Dhoni which was released in 2016. I found this movie quite rivetting and interesting. I have covered all the songs that appear in the movie with detailed writeups. It turns out that the movie also has a song that was ot picturised. And this song is the title song of the movie. This song was released only online in Youtube and was not part of the movie.
This song is a goosebump inducing song if you are an Indian cricket fan like me. This movie was released not just in Hindi, but in some other languages viz Marathi, Tamil, Telugu etc as well. I have listened to this song in all the languages and I love all the versions.
On the occasion of Dhoni’s 39th birthday today, here is this wonderful themw song cum title song from “M S Dhoni-the untold story”(2016). The Hindi version of the son is sung by Rochak Kohli who is also the music director of this song. One can also watch the Marathi, Tamil , and Telugu versions.
The video version is just two minutes long and makes you long for more. You can then listen to the audio version which is over 4 minutes long.
With this song, all the songs of “M S Dhoni-the untold story”(2016) are covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.
Audio (Hindi)
Video
Song-Har Gali mein Dhoni hai (M S Dhoni-the untold story)(2016) Singer-Rochak Kohli, MD-Rochak Kohli
Chorus
Lyrics
o o o o o
o o o o o
o o o o o
chalen chalen to kya chale hum
uden agar to baat hai
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
chalen chalen to kya chale hum
o o o o
uden agar to baat hai
jiye jiye to kya jiye hum
o o o o o
laden agar to baat hai
jaage hai chauraahe
kadmo ki ye thapkiyon se jaage hain
maidaanon khul jaao
aa rahe hain hum jo
khalbali to honi hai
har gali mein Dhoni hai
o o o o o
o o o o o
har gali mein Dhoni hai
o o o o
o o o o
har gali mein Dhoni hai ae ae ae ae ae
har gali mein Dhoni hai
ho o
ujaalon ki gar talaash hai
sooraj ka sahar paas hai ae
ujaalon ki gar talaash hai ae ae
sooraj ka sahar paas hai
aa chal ke hum juta len apne hisse ke ujaale
doobe ek sooraj to dusra uga len
kaafi hai apni khaatir yeh mutthi bhar iraade
chalne ke balboote pe hum duniya hila den aen aen aen
awaazo mil jaao
aa rahe hain hum jo
khalbali to honi hai ae
har gali me Dhoni hai
o o o o o
o o o o o
har gali mein dhoni hai
o o o o o
o o o o o
har gali mein dhoni hai ae ae ae ae
har gali me dhoni hai
Hind mere jind
Posted on: April 24, 2020
This article is written by Peevesie’s Mom, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4298 | Post No. : | 15557 |
Hullo Atuldom
Today we are wishing the Apple of every cricket-loving-Indian’s eye A VERY HAPPY BIRTHDAY. This pyaara sa bachcha of India turns 47.
He is the inspiration to many in the current Indian cricket squad but he himself was inspired by the likes of Sunny Gavaskar, Kapil Dev etc. He is one lucky guy to have been able to share the dressing room with his idols. He made his debut in the cricketing world as a lad of 16 years and 205 days in Test cricket and was a month older when he got his place in the Indian One-day team. I am not going to state that he is the highest run scorer of all time in international cricket nor am I going to mention that he is the only player to have scored 100 international centuries. I am not a statistician but I used to admire his style of playing. I had a silly feeling that I should be away from the TV whenever he was reaching a milestone like 50 or 100. I remember seeing an India Australia one-day match at the Wankhede Stadium in Mumbai and we were rooting for his milestone and he got out 4 or 5 runs short of it; my son and brother-in-law who were with me decided to walk out. That is the kind of sentiments he generated in cricket-lovers.
We have one song from a movie called “Sachin: A Billion Dreams” which was posted on this date two years ago. That was a movie dedicated to the Little Master (as Sunny Gavaskar addressed our birthday boy) also called the Master Blaster by his fans. That movie was a biopic which had the Little Master as he is in flesh and blood. It showed his journey from a lad to the time India lifted the cricket World Cup in 2011. In his journey of nearly 25 years he was ranked the second best test batsman of all time by Wisden Cricketers’ Almanack- first rank being Sir Don Bradman (but of course). He was also the second best ODI batsman of all time, coming second to Vivian Richards. These are not my thoughts about the Little Master but what the followers of cricket feel.
Other than numerous man-of-the-match awards he has been bestowed with the Padma Shri and Padma Vibhushan. He is the only sportsperson to receive the Bharat Ratna, India’s highest civilian award. Even if he has retired from the game which he lived for he is never too far from the public eye. We see him regularly on TV in ads and in these trying times, of the current situation the world is facing, we can see him, along with his teammates, urge his fans to “Stay Safe and Be Safe”.
Today’s song is sung and composed by A R Rehman and written by Irshad Kamil.
Let us wish our Sachin 10dulkar (10 was his jersey number too) A VERY HAPPY BIRTHDAY
Audio (Full)
Video (partial)
Song-Hind mere jind (Sachin a billion dreams)(2017) Singer-A R Rahman, Lyrics-Irshad Kaamil, MD-A R Rahman
Lyrics
ooo ooo ooo o o o
ooo ooo ooo o o o
o o o beli
o beliya
o mere yaara
duniya ke taaraa
lo jaaga hai ae neendon se ae
lo jaaga hai ummeedon se
jeetegi raushni ee ee ee ee
hind mere jind
hind mere jind
o hind mere jind
hind mere jind
hind mere jind
hind mere jind
o hind mere jind ki pakki jeet
hind mere jind
hind mere jind
o hind mere jind,
hind mere jind
hind mere jind,
hind mere jind
o hind mere jind ki pakki jeet
ooo oooo oooo
oooo ooo oooo
oooo
oooo ooo o o o
o o o o o o o
hmmm hmmmmmm hmmm
hmmmm hmmmm hmmmm
hmmm hmmmmmm hmmm
hmmmm hmmmm hmmmm
hmmm hmmmmmm hmmm
hmmmm hmmmm hmmmm
hind mere jind, hind mere jind
o hind mere jind, hind mere jind
hind mere jind, hind mere jind
o hind mere jind ki pakki jeet
jeet jeet jeet jeet
ab sabhi maan lo baat yeh pyaar se
maante ho bhala kyun sada haar se
jo shikhar ke liye hai bana hind hai
woh meri jaan thha
woh meri jind hai
aa rahi hai sada
dil ke aataal(?) se
ab sabhi maan lo baat yeh
pyaar se
hind mere jind, hind mere jind
o hind mere jind, hind mere jind
hind mere jind
hind mere jind
o hind mere jind ki pakki jeet
hind mere jind, hind mere jind
o hind mere jind
hind mere jind
hind mere jind
hind mere jind
o hind mere jind ki pakki jeet
jeet jeet jeet jeet
ooooo oooooo ooooo
ooooo oooooo ooooo
ooooo oooooo ooooo
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