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

Posts Tagged ‘Sulochana


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

Blog Day : 3622 Post No. : 14436

Missing Films of 1960s – 76
– – – – – – – – – – – – – – –

Hindi cinema encompasses quite a few genres and categories. It is a sad statement that the industry has almost always been controlled and driven more by the financial expectations. The earliest model of large studios as centers of film production activities, was somewhat immune to the craziness of financial pressures. The studio system had its own cons, but it provided a larger stability and sustainability to the production effort and to the team belonging to the studio.

It was all too soon that people with all kinds of mental inclinations realized both the power of this medium, and the possibility of landing a jackpot with a hit film. This awareness brought in all kinds of unscrupulous elements, as well as businessmen with an urge to invest unaccounted money in a gamble to make more money. If I recall correctly, the 1949 film ‘Kalpana’ touched upon this aspect, displaying a cruel brazen-ness with which the financiers and the touts dealt with the artists. The grossly dismal record the industry has in terms of its own record keeping and archiving, is an outcome of this ‘jackpot’ mentality – the actual owners of film actually cared a zilch for the film itself. With every venture, the financier would launch a new production banner. One can well imagine the ill effects of this lack of continuity and ownership for the artistic product itself.

But I digress – this discussion on film financing models, another time. I started with the genres and categories, with the purpose to highlight how some genres and categories have fallen by the wayside, over the decades. One of the casualties of the projected “lack of public interest” and the “lack of return on investment” has been the genre of religious pictures. Till the end of 1970s, or maybe even 1980s, there used to be quite a number of offerings of religious films produced every year. In one of his articles, our dear Arun ji has presented an analysis of this aspect – the number of religious films produced on average per year, and the progressive decline of this number over the decades. These days, one rarely hears about a religious offering coming from the mainline cinema. TV, yes, we do hear more about serials on religious themes. Or maybe the investment by the end user, in terms of time and money, is getting channelized much more towards TV productions and the live kathas (discourses) – there literally has been an explosion in the number of kathas being organized and being attended by the people.

The reason for this preamble, of course, is that today’s debut film from 1960s is a religious film of certain importance, from 1967. The film is ‘Badrinath Yatra’. Produced under the banner of Mewar Films, Bombay and is directed by Dhirubhai Desai. The star cast of this film is listed as Nirupa Roy, Abhi Bhattacharya, Sulochana, Indira, Jeevan, Sundar, Niranjan Sharma, Indira Bansal, Fazlu, Nandini Desai, and Kukku Desai amongst others.

There is a huge importance attached to pilgrimage, in our religion. Our land has been blessed from the very beginning of time itself, with famous and important temples which are the abodes of the Gods in our pantheon of worship. The origins and foundation histories of many of these temples and places is lost in the antiquity of time. For many of these temples and places of pilgrimage, there are references in our historical records – and by historical I mean our books of scriptures, which contain details of many such places of pilgrimage being established by protagonists of these histories like Sri Ram, Sri Krishna, the Pandvas, and our Rishis etc. Our histories abound with such tales in detail.

In the 8th century AD, there appeared a champion who measured the breadth and length of this sub-continent – Adi Shankaracharya. He travelled across the land with the mission to reestablish the importance of the Vedantic Dharma, and to re-ignite the lamp of worship in the temples. He established four matha (मठ) in the four regions, which became the four primary centers of learning and research into the Vedic knowledge. These four centers were placed in proximity to the four main destinations of pilgrimage of primary importance for the followers of the Dharma. These pilgrimage places are Badrinath in the north, Puri in the east, Rameshwaram in the south and Dwarka in the west. Each of these four pilgrimage places are historically important with a detailed history about their establishment and their antiquity being described in our scriptures.

Over the ages, these four have been collectively referred to as ‘Chaar Dhaam’ – literally ‘Four Destinations’. It is ordained in our teachings that a person must pay their homage and worship at each one of these pilgrimages, at least once in their life time. A significant importance is attached to completing this journey. Further, the same teachings also exhort the children to comfortably facilitate such a journey for their parents, and enable them to pay homage and complete their worship at these four centers of pilgrimage.

Since the early decades of Hindi cinema, a number of films have been produced as travelogues or “यात्रा” (yatra), covering one or more holy centers of pilgrimage. This film also covers the journey to the ‘chaar dhaam’ or the four holy destinations. This particular song appears more than once in the film, and I am including three different video clips from three different points in the storyline sequence. In the clips, we can see Abhi Bhattacharya, as the obedient son, who is taking his parents (roles played by Sulochana and Niranjan Sharma) for their journey to the ‘chaar dhaam’. The storyline belongs to a certain unspecified era in history, as we can see that Abhi Bhattacharya is even carrying his parents in a yoke shoulder carrier – a long pole with large baskets hanging at two ends, large enough for a human person to sit in. In north India, this shoulder carrier is called “वेहंगी” (wehngi). Folks familiar with the stories from the scriptures will recall the story of Shravan Kumar, the young boy who carried his old and blind parents in a wehngi for pilgrimage.

The song is written by Madan, and is composed by Pt Shivram. The singing voice is that of Mahendra Kapoor. Listening to this song evokes strong emotions in my heart. Not that I have not heard this song before, but now, as I listened to it again repeatedly for lyrics etc., the words and the tune is simply at home with me in my heart. Listen to this beautiful evocation that covers so many philosophies of life. And think.

 

 

Part 1

Part 2

Part 3

Song – Chal Chal Re Pathik Chal Re  (Badrinath Yatra) (1967) Singer – Mahendra Kapoor, Lyrics – Madan, MD – Pt Shivram

Lyrics

Part 1

chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge

aaj nahin to kal jag se hai jaana
duniya musaafirkhaana re bhai
duniya musaafirkhaana hai
dhan ke liye dharam kyon beche
ik din to mar jaana hai
tyaag kapat chhal prabhu ke dhaam chal
wahin tere daag mitenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge

bachpan khoya khel mein tu ne
khoyi jawaani bhog mein
bhool ke tu bhagwan ko praani
phas gaya jagat ke moh mein
aaya budhaapa ab to ram bhaj
tere dukh wahi harenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge

amrit taj ke vish kyon peeta
ram naam ras pee le
kaam krodh mad moh lobh taj
hari charnon mein jee le
hari charnon mein janam maran ke
bandhan tere katenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge

Part 2

prabhu darshan ko badhe ja rahe
baalak vriddh jawaan
oonch neech sadhu sanyasi
nirdhan kya dhanwaan
ganga yamuna ki dhaara mein
jin ki mahim hai avichal
pralay ke toofaanon mein bhi jo
hain sadiyon se achal atal
yug yug se bharat bhoomi
gaaye jin ka gun gaan
woh hain naath anaathon ke
shri badrinath bahgwan
shri badrinath bahgwan
ab jeevan ki har mushkil ko
wahi aasaan karenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge

Part 3

chhaale pade chaahe paaon mein tere
suraj tapey aasmaan mein
haar na himmat badhta hi chal re
tapte registaan mein
tapte registaan mein
prabal hai bhakti ki shakti
tujhe koi kya rok sakenge
tujhe bhagwan milenge
chal chal re pathik chal re
tujhe bhagwan milenge
tu chaaron dhaam chal re
wahin tere paap mitenge
chal chal re pathik chal re
tujhe bhagwan milenge

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
भाग १

चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे

आज नहीं तो कल जग से है जाना
दुनिया मुसाफिरखाना रे भाई
दुनिया मुसाफिरखाना है
धन के लिए धरम क्यों बेचे
इक दिन तो मर जाना है
त्याग कपट छल प्रभु के धाम चल
वहीं तेरे दाग मिटेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे

बचपन खोया खेल में तू ने
खोई जवानी भोग में
भूल के तू भगवान को प्राणी
फंस गया जगत के मोह में
आया बुढ़ापा अब तो राम भज
तेरे दुख वही हरेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे

अमृत तज के विष क्यों पीता
राम नाम रस पी ले
काम क्रोध मद मोह लोभ तज
हरी चरणों में जी ले
हरी चरणों में जनम मरण के
बंधन तेरे काटेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे

भाग २

प्रभु दर्शन को बढ़े जा रहे
बालक वृद्ध जवान
ऊंच नीच साधू सन्यासी
निर्धन क्या धनवान
गंगा यमुना की धारा में
जिन की महिमा है अविचल
प्रलय के तूफानों में भी जो
हैं सदियों से अचल अटल
युग युग से भारत भूमि
गाये जिन का गुण गाँ
वो हैं नाथ अनाथों के
श्री बद्रीनाथ भगवान
श्री बद्रीनाथ भगवान
अब जीवन की हर मुश्किल को
वही आसान करेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे

भाग ३

छाले पड़ें चाहे पाँव में तेरे
सूरज तपे आसमान में
हार ना हिम्मत बढ़ता ही चल रे
तपते रेगिस्तान में
तपते रेगिस्तान में
प्रबल है भक्ति की शक्ति
तुझे कोई क्या रोक सकेंगे
तुझे भगवान मिलेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे
तू चारों धाम चल रे
वहीं तेरे पाप मिटेंगे
चल चल रे पथिक चल रे
तुझे भगवान मिलेंगे

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

Blog Day : 3540 Post No. : 14212

Hullo Atuldom

Yesterday (27 march 2018) was World Theatre Day. I learnt about this in the morning yesterday, as I was listening to the Vividh Bharati. Apparently, this was initiated in the year 1961, by The International Theatre Institute. It is celebrated annually on 27thMarch.

We have a number of actors in Bollywood, both past and present, who started their acting career on stage. Many of them never miss an opportunity to go back to act in a play or theatre reading etc. “We cannot forget the immediate response that we get from the audiences” is the most heard sentiment from these actors who keep going back to do theatre. And then, we have had actors who have performed ‘in front of the camera’ as they would perform ‘in front of a live audience’ – remember Sohrab Modi and Prithviraj Kapoor (in some of his initial movies). But the later generation of actors adopted different styles for theatre and movies. Also improved sound systems in theatres must have helped in later years; when one didn’t have to speak in ‘loud booming voices’ so as to be heard in the last rows.

Today with this post I am thinking of Farooque Shaikh who also did a lot of theatre and who would have been 70 on 25th March, just two days back (he passed away in 2013). I also remember Om Puri who was a product of National School of Drama along with Naseeruddin Shah. And yes, how can one forget our dear Shashi Kapoor and his work in bringing theatre to the layman through his Prithvi Theatre also helping many theatre groups in the process by giving a platform to exhibit their art.

Yesterday’s Indian Express (online edition) has an article on how the Twitterati are celebrating the day- http://indianexpress.com/article/trending/trending-globally/what-is-world-theatre-day-twitter-reactions-5112818/. The article begins with Shakespeare’s famous quote from “As You Like It” –

“All the world’s a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts.”

Strangely or coincidentally the song that I zeroed in for also says exactly the same thing. I had thought of it the moment I heard about the ‘World Theatre Day’. Then I sat through looking up articles on the internet and I referred Wikipedia for additional information and in the process landed on what Indian Express site had.

The song is written by a lyricist – Anand Bakshi – whose work I admire because he is one of the poets who puts the common man’s thoughts in poetry format (there are few more lyricists who do that but more on that later). The music is composed by Laxmi-Pyaare and playback is by Asha Bhonsle for Moushumi Chatterjee, whose presence is making Sulochana and Raj Mehra uncomfortable, while Vijay Arora and Nazeema are visibly squirming (would like to know why 😉). Then there is Jayshree T. dancing and Hari Shivdasani enjoying himself. There is also Snehlata (in white saree) who seems to be the happiest among the girls at the party. There are some more familiar faces in the party, which I am unable to name immediately. I request other readers to please help add more names to this video clip.

The film is directed by Sohanlal Kanwar and is one of the movies that has Subhash Ghai in its cast.

[Short Version – Party Song]

[Long Version – Stage Song]

Song – Zindagi Ek Naatak Hai (Naatak) (1975) Singer – Asha Bhosle, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

(Short Version – Party Song)
mmmm mmmm

aaaaa aaa aaa
aa aaaaaaaaaa

aaa aaa aa
aaa aaa aa
aaa aaa aaaaaaaaa

zindagi ek naatak hai
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
parda uthte hi
parda girte hi
sabko salaam karte hain
hum naatak mein kaam karte hain

zindagi ek naatak hai
hum naatak mein kaam karte hain
parda uthte hi
parda girte hi
sabko salaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain

khel mein kabhi
bajti hain taaliyaan
aur dete hain
log kabhi gaaliyaan
khel mein kabhi
bajti hain taaliyaan
aur dete hain
log kabhi gaaliyaan..aa..aaaan
bhale bante hain
burey bante hain
apna naam badnaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
parda uthte hi
parda girte hi
sabko salaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain

sach kya hai
ye humse na poochhiye
kyon ki hum log
hain bahrupiye
sach kya hai
ye humse na poochhiye
kyon ki hum log
hain bahrupiye..ey..eyy
koi jaane na
pehchaane na
aisa hum intezaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
parda uthte hi
parda girte hi
sabko salaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain

(Long Version – Stage Song) (Lyrics Provided by Prakashchandra)

zindagi ek naatak hai
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
parda uthte hi
parda girte hi
sabko salaam karte hain
hum naatak mein kaam karte hain

zindagi ek naatak hai
hum naatak mein kaam karte hain
parda uthte hi
parda girte hi
sabko salaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain

khel mein kabhi
bajti hain taaliyaan
aur dete hain
log kabhi gaaliyaan
khel mein kabhi
bajti hain taaliyaan
aur dete hain
log kabhi gaaliyaan..aa..aaaan
bhale bante hain
burey bante hain
apna naam badnaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
parda uthte hi
parda girte hi
sabko salaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain

ek rangmanch
ye sansaar hai
chhota bada
har ek kalakaar hai
ek rangmanch
ye sansaar hai
chhota bada
har ek kalakaar hai..ae..ae..ae
zindgaani ka
is kahaani ka
tamasha subh o shaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
parda uthte hi
parda girte hi
sabko salaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain

chehre pe ek
chehra laga liya
laila majnu
khud ko bana liya
chehre pe ek
chehra laga liya
laila majnu
khud ko bana liya..aa..aa..aa
jhootha sachcha kya
bura achhaa kya
jaisa naam waisa kaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
parda uthte hi
parda girte hi
sabko salaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain

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

(छोटा रूपांतर – पार्टी में)
म्ममम म्ममम
आssss आss आss
आss आssssssss

आs आs आ
आs आs आ
आss आss आssssssss

ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
पर्दा उठते ही
पर्दा गिरते ही
सबको सलाम करते हैं
हम नाटक में काम करते हैं

ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
पर्दा उठते ही
पर्दा गिरते ही
सबको सलाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं

खेल में कभी
बजती हैं तालियाँ
और देते हैं
लोग कभी गालियां
खेल में कभी
बजती हैं तालियाँ
और देते हैं
लोग कभी गालियां॰॰आं॰॰आं
भले बनते हैं
बुरे बनते हैं
अपना नाम बदनाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
पर्दा उठते ही
पर्दा गिरते ही
सबको सलाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं

सच क्या है
ये हमसे ना पूछिए
क्योंकि हम लोग
हैं बहरूपिये
सच क्या है
ये हमसे ना पूछिए
क्योंकि हम लोग
हैं बहरूपिये॰॰ए॰॰ए॰॰ए
कोई जाने ना
पहचाने ना
ऐसा हम इंतज़ाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
पर्दा उठते ही
पर्दा गिरते ही
सबको सलाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं

(लंबा  रूपांतर – स्टेज पर)

ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
पर्दा उठते ही
पर्दा गिरते ही
सबको सलाम करते हैं
हम नाटक में काम करते हैं

ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
पर्दा उठते ही
पर्दा गिरते ही
सबको सलाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं

खेल में कभी
बजती हैं तालियाँ
और देते हैं
लोग कभी गालियां
खेल में कभी
बजती हैं तालियाँ
और देते हैं
लोग कभी गालियां॰॰आं॰॰आं
भले बनते हैं
बुरे बनते हैं
अपना नाम बदनाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
पर्दा उठते ही
पर्दा गिरते ही
सबको सलाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं

एक रंगमंच
ये संसार है
छोटा बड़ा
हर एक कलाकार है
एक रंगमंच
ये संसार है
छोटा बड़ा
हर एक कलाकार है॰॰ऐ॰॰ऐ॰॰ऐ
ज़िंदगानी का
इस कहानी का
तमाशा सुबह ओ शाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
पर्दा उठते ही
पर्दा गिरते ही
सबको सलाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं

चेहरे पे एक
चेहरा लगा लिया
लैला मजनूँ
खुद को बना लिया
चेहरे पे एक
चेहरा लगा लिया
लैला मजनूँ
खुद को बना लिया॰॰आ॰॰आ॰॰आ
झूठा सच्चा क्या
बुरा अच्छा क्या
जैसा नाम वैसा काम करते हैं

हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
पर्दा उठते ही
पर्दा गिरते ही
सबको सलाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं


This article is written by Avinash Scrapwala, 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.

Today, 25th of October 2017, is the thirty seventh ‘remembrance anniversary’ of the great ‘poet-lyricist’ Sahir Ludhianvi. He passed away this day in 1980 leaving behind the great legacy of his poems and leaving behind his immortal poetry which people are still enjoying, discussing, and even doing research on it and writing about his life and his poetry. And like me there will be many who will agree that Sahir and his poetry will be discussed as long as Hindi Cinema and HFM exists and his poetry will be discussed so long as humanity and human relations, emotions exists.
Read more on this topic…


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.

“Dooj Ka Chaand”(1964) was directed by Nitin Bose for Filmasia, Bombay. The movie had Ashok Kumar, Bharat Bhushan, B saroja Devi, Chandrashekhar, Ratna, Ulhas, Murad, Ifthikar, raj Kumar, Parshuram, Prabhat Kumar, Radheshyam, Mirza Musharraf, Chaman Puri, Polson, Tiwari, Shah, Abhimanyu, Mahavir, Sharma, Ravikant, Tanveer, Nimbalkar, N Kashmiri, Padhi, Puttu, Agha, Sulochana, Azra, Preetibala, Jeewankala, Madhumati, Rani, Leena, Tuntun etc in it.
Read more on this topic…


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.

“Majboor” (1974) was the first movie with this title that I became aware of. Later I came to know that movies wit the same title were released in 1948 and 1964 as well.
Read more on this topic…


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

Missing Films of 1960s – 6
– – – – – – – – – – – – – –

Hmmm, that is interesting.  As I review the list of missing films for 1962 prepared by Khyati Ben, then starting from ‘Baaje Ghunghroo’ (which was the last film we introduced in the previous segment of this series), I had to drop down to the seventh film below it (in alphabetical order) to reach a film for which songs are available.  After ‘Baaje Ghunghroo’, the films listed are ‘Balidaan’, ‘Bapu Ne Kahaa Tha’, ‘Bijli Chamke Jamuna Paar’, ‘Deccan Queen’, ‘Durga Pooja’ and ‘Fakiron Ki Basti’ – six films for which songs are not traceable.
Read more on this topic…


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

Usha Timothy ji turns 66 today. Greetings and many many happy returns of this celebration to her.
Read more on this topic…


“Teen Chor” (1973) was produced by Gordhandas and Ravi Malik and directed by Dada Mirasi. The movie had Jeevan, Manmohan Krishna, Jagdish Raaj, Ranjeet, Sudesh Kumar, Zaheeda, Chaman Puri, Vinod Mehra, I. S. Johar, Om Prakash etc in it.
Read more on this topic…


“Mera Ghar Mere Bachche” (1960) was a Minerva Movietone movie. It was directed by Sohrab Modi. The movie had Sohrab Modi, Subbiraj,Sulochana, Naaz, Balraj, Daisy Irani, Kavita, Nana Palsikar, Sudesh Kumar etc in it.
Read more on this topic…


When I saw the lyrics “chal chal re naujawaan” in a song from “Ek Phool Do Maali” (1969), I was surprised. People may wonder why I should be surprised if I had watched the movie. Indeed I had watched the movie, but my selective memory ensures that I only recall the details of movie watched in my younger days and details of movies that I watched much later are not retained in my memory (not enough space in the memory, perhaps 🙂 ).
Read more on this topic…


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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 14400 song posts by now.

This blog is active and online for over 3600 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14476

Number of movies covered in the blog

Movies with all their songs covered =1141
Total Number of movies covered =3949

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Blog Start date: 19 july 2008

Active for more than 3500 days.

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