Posts Tagged ‘Tabu’
Jhin min jhini
Posted on: March 16, 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 : |
5354 | Post No. : | 17558 | Movie Count : |
4719 |
Vishal Bhardwaj’s Trilogy of Shakespeare plays – 1: ‘Maqbool’ (2004).
Williams Shakespeare’s plays have been very popular with the Indian theatres since the theatre movement started sometime in the later 18th century. It was in the late 19th century that some of the famous Shakespeare’s plays were adapted in the Indian theatres in Hindi, Urdu and other prominent regional languages like Bengali, Marathi, Gujarati, Tamil etc. The plays were molded into Indian socio-economic and political background. With the advent of silent films in India in 1913 and later the sound films from 1931, the film producers also adapted some of the popular Shakespeare’s plays for their films.
The earliest Hindi sound film based on Shakespeare play was ‘Hathili Dulhan’ (1932) which was adapted from a comedy play ‘The Taming of the Shrew’. Some other Hindi sound films adapted from Shakespeare plays (mentioned in the brackets) included ‘Kaafir-e-Ishq’, 1936 (Anthony and Cleopatra), ‘Jwala’. 1938 (Macbeth), ‘Pak Daman’, 1940 (Measure for Measure), ‘Aan’, 1952 (Taming of the Shrew), ‘Hamlet’. 1954 (Hamlet), ‘Do Dooni Chaar’, 1968 (The Comedy of Errors), ‘Angoor’, 1982 (The Comedy of Errors), ‘Qayamat Se Qayamat Tak, 1988 (Romeo & Juliet) and many more. About 40 Hindi films released between 1932 and 2014, based on Shakespeare plays have been listed here. This list is not exhaustive.
Shakespeare’s plays were also adapted into some Hindi films made in the 2000s. Of these, Vishal Bhardwaj’s Shakespeare trilogy, ‘Maqbool’ 2004 (Macbeth), ‘Omkara’ 2006 (Othello) and ‘Haider’ 2014 (Hamlet) are regarded as the best adaptation. These three films have received high critical acclaim. There are many published research papers on his trilogy on national and international forums, besides a PhD thesis on his trilogy by Dr Fatimah Javed. The uniqueness in Vishal Bhardwaj’s adaptations is that he has brought out the relevance of Shakespeare’s plays in the contemporary Indian socio-political background.
I intend to write one article each for these three films listed above. In this article, I will take up ‘Maqbool’ (2004), the first film in Vishal Bhardwaj’s trilogy of Shakespeare’s tragedy plays. The film was produced jointly by Vishal Bhardwaj and Bobby Bedi and was directed by Vishal Bhardwaj. The film has a strong cast which includes Irrfan Khan, Tabu, Pankaj Kapur, Naseeruddin Shah, Om Puri, Piyush Mishra, Deepak Dobriyal, Ankur Vikal, Ajay Gehi, Vivek Mushran, Rakesh Pandit, Shammi Narang, Masumeh Makhija, Mohini Mathur, Shweta Menon etc. Vishal Bhardwaj shifts the centre of struggle for power from the court of King Duncan of Scotland in ‘Macbeth’ to Mumbai’s Mafia Don, Jahangir (Abba) Khan’s house.
Probably, it may be for first time in the history of Hindi films that the screenplay of a film was published with English translation in a book form – ‘Maqbool: The Original Screenplay (with English Translation) by Vishal Bhardwaj and Abbas Tyrewala (2014)’. In this book, the rationale for some changes in the main characters of ‘Macbeth’ in ‘Maqbool’ (2004) have been spelt out. I thought, it was better to present these changes in a tabular form for easy understanding:
| In ‘Macbeth’ | In ‘Maqbool’ | Remarks |
|---|---|---|
| King Duncan of Scotland | Mafia Don Abbaji (Pankaj Kapur) of Mumbai underworld. | – |
| Macbeth, the General, who is the distant cousin of King Duncan | Maqbool (Irrfan Khan), the foster son and the right-hand man of Abbaji. | – |
| Lady Macbeth (wife of Macbeth) | Nimmi (Tabu) the mistress of Abbaji who is in illicit relationship with Maqbool. | There is a marked departure from the original characters just to give one more reason for Nimmi to instigate Maqbool to kill Abbaji, so that she becomes the legitimate wife of Maqbool. For him also, this becomes an additional motive to kill Abbaji, apart from becoming a mafia don. |
| Three Witches | Purohit (Naseeruddin Shah) and ‘Pandit (Om Puri) are cops who predict the rise of Maqbool as a Don as per the horoscope drawn by Pandit. | It was felt that after about 500 years from the staging of ‘Macbeth’, the witches with their prophecies and supernatural powers may not be believable for the current generation. In mafia world, cops fit well in place of witches. Additionally, one of the cops was shown as an astrologer who also makes predictions. |
| Braquo, the close friend of Macbeth | Kaka (Piyush Mishra), a close friend of Maqbool. | – |
| Fleance, Banquo’s son who is projected by witches to be the future king of Scotland | Guddu (Ajay Gehi), the son of Kaka. | From the end scene of the film, it can be inferred from the action of Guddu and his wife Sameera who takes the custody of Nimmi’s son that he may become the future Mafia Don of Mumbai. |
The gist of the story of the film is as under:
After the killing of the Lalji, right-hand man of mafia don Abbaji (Pankaj Kapur), by a rival gang, Maqbool (Irrfan Khan), the foster son of Abbaji becomes the de facto his right-hand man. He is also made in-charge of the Abbaji’s connection with Bollywood films. Abbaji has absolute faith in Maqbool and this is demonstrated in the film on a number of occasions. Nimmi (Tabu), the mistress of Abbaji who is half his age is not happy with her status. She and Maqbool are passionate about each other and are in illicit relationship.
Purohit (Naseeruddin Shah) and Pandit (Om Puri) are the corrupt cops who are on the payroll of Abbaji. Pandit is also an astrologer who had predicted the death of Abbaji’s right-hand man. Now, he predicts that Maqbool would be the future mafia don of Mumbai. His oft repeated dialogue in the film is that there should be balance of power in the universe. Fire should be afraid of water.
Nimmi sees a possibility of both of being sidelined after the marriage of Sameera (Mausami Makhija), daughter of Abbaji with Guddu (Ajay Gehi), the son of Kaka (Piyush Mishra), the close associate of both Abbaji and Maqbool. She instigates Maqbool by saying that he would remain like a loyal dog in the don’s hierarchy, if he does not kill Abbaji and grab the power to be a mafia don. Maqbool is caught between his loyalty to Abbaji and his love for Nimmi. Finally, his love for Nimmi wins over the loyalty to Abbaji. Maqbool kills Abbaji in his bedroom in sleep.
Maqbool thinks that with Abbaji out of his way, the next man has to be his close friend, Kakaji who suspects Maqbool in killing Abbaji. To whom the power will pass – Guddu, the son-in-law or Maqbool, the foster son. So, Kakaji becomes his number one enemy in his succession. Maqbool gets him killed while his son, Guddu narrowly escapes death. With almost whole gang turning against him now, Maqbool has to handle his enemies, within and outside his gang single handedly. He has no help from Nimmi as she, beside her pregnancy, has lost her balance of mind.
After the killing of Abbaji, Maqbool suffers from guilt conscious which has affected him in taking a balanced view of his problem. He starts thinking that all are his enemies, and they need to be eliminated. His guilt consciousness makes him devote more time to saving the baby in Nimmi’s womb than his safety. He takes Nimmi to hospital for delivery. With the arrival of cops surrounding the hospital, Maqbool runs away. He comes back to hospital the next day to meet Nimmi and the newly born son when he sees Guddu in the hospital. Maqbool takes out his gun to shoot him. But before that he finds the newly born son has been handed over to Guddu and his wife Sameera by the hospital authority. He comes to know from a hospital staff that Nimmi has died, and Guddu and his wife has taken the custody of the newly born son. His grim face turns into a happy one as he sees that there is someone to look after the newly born son. Maqbool throws his gun and walks out of the hospital in a happy state of mind only to be shot dead by Boti (Ankur Vikal), a member of a rival gang who has recently joined Abbaji’s gang.
I watched this movie for the first time before writing this article and regretted not having watched this film on the big screen. It is a fantastic film, more of human relation story than the underworld. I do not think that any one among the actors can replace Pankaj Kapur in the role of Mumbai’s mafia don, Abbaji. Irrfan Khan in the role of Maqbool has portrayed his character in such a way that at the end of the film, despite his wrongdoings, the audience would feel sorry for him. Naseeruddin Shah and Om Puri in the comparatively smaller role of corrupt cops are very good in their satirical punches. All other actors, some with minor roles, performed very well. This film also proves that cinema is the director’s medium.
As per Box Office report, despite the high critical acclaim, the film was not commercially successful. Probably the use of techniques like imagery, expressions, and body language in the film was beyond the understanding of the general cine audience. There is nothing for the front benchers and the film lovers from the mofussil region of India, like titillating dances they would expect in a mafia den. Even six murders are shown in the film in a subtle way without much of fight scenes. I think, Vishal Bhardwaj knew beforehand that the film was meant for the niche audience. He did not charge any fee as a screenplay writer, director and the music director for the film (as per the preface of the book referred to above).
There are 5 songs in the film, all written by Gulzar and set to music by Vishal Bhardwaj. I have found only 3 songs which appeared in the film. However, ‘excluded’ songs are available on audio albums. I am presenting the first song from the film ‘jhin min jhin min jhini’ to appear on the Blog. The song is sung by Sadhana Sargam, Anuradha Sriram, Ustad Sultan Khan, Rakesh Pandit and chorus.
The background of the song is that Ajay Gehi (Guddu), son of Kaka (Piyush Mishra) who is a close associate of Abbaji (Pankaj Kapur) is to get married to Sameera (Mausami Makhija), daughter of Abbaji. The song is played on the eve of the engagement ceremony. The song is prominently picturised on Tabu and Mausami Makhija as a part of sangeet ceremony for females.
In the soundtrack of the film, the prelude of the song is a couplet (doha) of Amir Khusro recited by a dancer (Shwetha Menon) which is not included in the song on the audio album. The song is interspersed by Sufi Qawwali which is again picturised on Shwetha Menon as a part of her mujra dance for the males during which Pankaj Kapur, Irrfan Khan, Om Puri, Naseeruddin Shah, Piyush Mishra, Shammi Narang etc can also be seen.
While the song is being played, the camera captures some other details such as conversation between Irrfan Khan and Om Puri, the conversation between Tabu and Irrfan Khan and Tabu’s expression on the dance between Pankaj Kapur and Shwetha Menon whom Tabu thinks as the potential mistress of Abbaji.
Video Clip:
Audio Clip:
Song- Jhin min jhini (Maqbool)(2004) Singers-Sadhana Sargam, Anuradha Sriram, Ustad Sultan Khan, Rakesh Pandit, Lyrics-Gulzar, MD-Vishal Bhardwaj
Female Chorus,
Male Chorus,
Sadhana Sargam and Anuradha Sriram,
Ustad Sultan Khan and Rakesh Pandit
Lyrics:(The opening doha from Video Clip)
aa aa aa aa aaa
Khusro rain suhaag ki
jaagi pi ke sang
tan mero mann piu ko
dono bhaye ek rang
[Tabla Theka]
jhin min jhini
jhin min jhini
jhin min jhin min jhini
jhin min jhini
jhin min jhini
jhin min jhin min jhini
seedhi saadhi baaten
baaten bholi bhaali
billo meri aankhon ki kamini
jhin min jhini
jhin min jhini
jhin min jhin min jhini
jaaun
na jaaun
jaaun na jaaun piya ki gali
range paaon pakdi gayi jo chali..ee
chikne chikne aangan hain
sainyaan ke ghar ke
main chalna bhool gayi re
sainyaan se dar ke
pagli kar dini
jhin min jhini
jhin min jhini
jhin min jhin min jhini
seedhi saadhi baaten
baaten bholi bhaali
billo meri aankhon ki kamini
jaaun
na jaaun jaaun piya ki gali
range paaon pakdi gayi jo chali..ee..eeee
aaj rang hai
aye maa rang hai re…ae…ae
(ae ae ae ae ae ae)
aaj rang hai
aye maa rang hai re…ae…ae
mere mehboobi ke ghar
rang hai re …ee
desi bidesi mein dhoondhe phiri hoon ho to
jab dekhu more sang hai ri
aaj rang hai
aaj rang hai…ai…ai
aaj rang hai
(rang hai)
aye maa rangi hai
mere mehboob ke ghar rang hai ri
jhin min jhini
jhin min jhini
jhin min jhin min jhini
seedhi saadhi baaten
baaten bholi bhaali
billo meri aankhno ki kamini
henna mein chhupa ke
jiya rakh diya..aa
hatheli pe jal tu diya rakh diya
roshan roshan pairon se
khud hi sharmaaun
main iss pag uss pag doloon
jaaun na jaaun
pagli kar dini
jhin min jhini
jhin min jhini
jhin min jhin min jhini
seedhi saadhi baaten
baaten bholi bhaali
billo meri aankhon ki kamini
jaaun
na jaaun piya ki gali
range paaon pakadi gayi jo chali
chikne chikne aangan hai
saiyaan ke ghar ke
main chalna bhool gayi re
saiyaan se dar ke
pagli kar dini
o o o o o o…..ooo
aa aa aa aa aaa
aa aa aa aa aaa
more..ae ae piri paayo
(piri paayo)
more..ae ae piri paayo
nizamuddin auliya
qutubuddin auliya
karimuddin auliya
allahuddin auliya
naseeruddin auliya
aa aa aa aa aaa
Allah ka pyaara wo to
jag ujiyaara wo to
jag ujiyaara
aaj rang hai
aye maa rang hai ri..ee
mere mahboob ke ghar rang hai ri
ye rishta kya kehlaata hai
Posted on: February 23, 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 : |
5333 | Post No. : | 17490 | Movie Count : |
4707 |
Maqbool Fida Hussain, popularly known as M F Hussain (17/09/1915 – 09/06/2011) has been one of the internationally celebrated artists known for his narrative, satirical, somber and paintings. He has also done paintings in series forms – Ramayan, Mahabharat, Mahatma Gandhi, Urban and Rural India etc. Some of his paintings have sold in the auction at record amounts. Some of his paintings had become controversial and drawn protests from a section of the people.
Towards the last part of his life, M F Hussain became fascinated by Madhuri Dixit. It is said that he watched ‘Hum Aapke Hain Kaun’ (1994) 67 times just for Madhuri Dixit. Probably, she became the muse for his subsequent paintings. He did a series of paintings on Madhuri Dixit. His fascination of Madhuri Dixit led his entry into Bollywood by making ‘Gajgamini’ (2000) with Madhuri Dixit. He depicted her from a simple woman to Kalidas’s Shakuntala, Leonarda da Vinci’s Mona Lisa and a photo journalist’s model. The film failed miserably at the box office. The film critics termed the film as an abstract work which was difficult to understand. M F Hussain’s response was that he followed his heart when he made the film as a tribute to womanhood.
Despite the financial loss in ‘Gajgamini’ (2000), at the age of 88, M F Hussain made his second attempt in film making. This time, his muse was Tabu in ‘Meenaxi: Tale of 3 Cities’ (2004). The film depicted Tabu as a muse of a novelist who has been suffering from ‘writer’s block’ for the last 5 years. Tabu is also in search of perfect love. The film was released on April 2, 2004, but M F Hussain took the decision to withdraw the film from theatres on April 24, 2004 after some Muslim organization objected to the lyrics of the song ‘noor-un-ala-noor’ penned by M F Hussain as ‘blasphemous.’ The film suffered the same fate as ‘Gajgamini’ except that the film was critically acclaimed, both nationally and internationally.
Urmila Matondkar became, M F Hussain’s 3rd muse when he watched her film, ‘Rangeela’ (1995). He saw the funny side in her. Hence, he was planning to make a comedy film with her. However, his self-imposed exile in Qatar from 2006 onwards prevented him from making any new films.
‘Meenaxi: Tale of 3 Cities’ (2004) was a home production of M F Hussain who was also director with his painter-son, Owais Hussain helping in the direction. The cast included Tabu, Raghuveer Yadav, Kunal Kapoor, Nadira Babbar, Sharat Saxena, Bharat Kapoor, Remo D’Souza, Rachana Shah etc. The film had some of the top film professionals like cinematographer Santosh Sivan, Art Director Sharmishta Roy, internationally known choreographer, Astad Deboo and music director A R Rahman.
I could not find the film’s DVD on video sharing websites as well as on the OTT platforms. So, I am not giving the gist of the film’s story based on my viewing of the film. However, I reproduce below the synopsis of the film’s story taken from Imdb (parenthesis mine):
Nawab (Raghuveer Yadav), a popular Hyderabadi novelist, is suffering from a classic case of writer’s block. Five years have passed, and stories of substance seem to have dried up. Then, almost providentially, Nawab comes across a young woman named Meenaxi (Tabu). She is enigmatic and individualistic – and not quite willing to perform the part of a passive muse. But that doesn’t deter a rejuvenated Nawab from giving her different personae – she can be the mysterious perfume trader of Hyderabad, the exotic desert bloom of Jaisalmer, the orphaned Maria of Prague (hence the tale of 3 cities). Inexorably, she consolidates her command over the novelist. She dismisses his renewed attempts at writing as insubstantial and hackneyed, plunging him into a state of deeper despair. She is scathingly critical about his story and is amused by one of his characters, the lovelorn and awkward Kameshwar (Kunal Kapoor). Finally, as Nawab strives on a new page all over again, Meenaxi comments that perhaps the book is in vain. In any case, it is much too late. The writer must survive and live if he can, without her support, inspiration, and criticism.
M F Hussain’s paintings are modern art and subject to varied interpretations by those who understand paintings, just like, say Mirza Ghalib’s ghazals which can be interpreted differently by those who are Urdu laureates. I can guess that his films’ depiction of the story would also be abstract. So, it is not expected that the normal film audience would understand and enjoy his films. M F Hussain, the financiers and distributors of the films would know in advance that his films are not expected to be box office hits. Perhaps, it is more of a thrill for the financiers and distributors to be associated with M F Hussain as a part of the elite group than making money from his films.
‘Meenaxi’ (2004) has six songs written by Rahat Indori (4), Sukhwinder Singh (1) and M F Hussain (1). All the songs were set to music by A R Rahman. I have watched video clips of all the songs which are available on video sharing websites. All the songs are well composed and picturised.
I am presenting ‘ye rishta kya kehlaata hai’, the first song from the film to appear on the Blog. The song is written by Urdu Poet, Rahat Indori and is rendered by Reena Bhardwaj, a London-based British-Indian singer and songwriter. She was doing her post-graduation from the London School of Economics when she got a call from A R Rahman to record the song under discussion. This was her debut Hindi film song. She has also sung a few Tamil and Telugu film songs for A R Rahman.
All the songs which I have watched are like M F Hussain’s ‘paintings in celluloid’. Each frame of the song’s shooting looks like a painting. One can take a screenshot of any frame and will look like a painting. I was so much impressed with ‘painting look-like frames’ that I made an audio clip of the song under discussion by including some screenshots from the video clip of the song. Audio clip is uploaded with the article.
The song is a beautiful poetry which M F Hussain picturised as if he was painting in multiple frames with beautiful colour combinations.
Video Clip:
Audio Clip:
Song-Ye rishta kya kehlaata hai (Meenaxi:The of 3 cities)(2004) Singer-Reena Bhardwaj, Lyrics-Rahat Indori, MD-A R Rahman
Lyrics
koi sachche khwaab dikhaakar
aankhon mein sama jaata hai
ye rishta….aa
ye rishta kya kehlaata hai ae
ye rishta kya kehlaata hai..ae ae
ye rishta kya kehlaata hai..ae ae
ye rishta kya kehlaata hai..ae ae
jab sooraj thhakne lagta hai..ae
aur dhoop simatne lagti hai..ae
koi anjaanee see cheez meri
saanson se lipatne lagti hai..aae ae ae
koi anjanee see cheez meri
saanson se lipatne lagti hai..ai
main dil ke kareeb aa jaati hoon
dil mere kareeb aa jaata hai ae
ye rishta kya kehlaata hai..ae ae
ye rishta kya kehlata hai..ae ae
iss gumsum jheel ke paani mein aen
koi motiyaan kar deta hai
ek daayra ban’ne lagta hai ae
aur badhke bhanwar ban jaata hai
ye rishta kya kehlaata hai..ae
ye rishta kya kehlata hai..ae
ye rishta kya kehlata hai..ai
ye rishta kya kehlata hai..ae ae
tasweer banaati rehati ho..on
main tooti huyi aawazon par..r
ek chehra dhundati rehati hoon
deewaaron kabhi darwaazon par r r
ek chehra dhundati rehati hoon
deewaar kabhi darwaazon par
main apne paas nahin rehati
aur door se koi bulaata hai
ye rishta kya kehlaata hai..ae
ye rishta kya kehlata hai..ae
ye rishta kya kehlata hai..ae
ye rishta kya kehlata hai..ae
ha aa aa aa aa aa haaa
hmm hmm hmm hmm hmm hmmm
This article is written by nahm, 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 : |
5326 | Post No. : | 17460 |
The other day when this song from the film Takshak(1999) appeared in the blog, it invoked memories of another film song of the same actors, a similar dance song, where Tabu is dancing with a group of girls, in day light this time. The song is from the film “Vijaypath”(1994), already posted in the blogAaiye aapka intezaar thhaa.
This is the only song to appear here. But this movie had other songs which were more popular, and one song became a controversial one. My own favourite song is this song filmed in outdoors, near a magnificent waterfall, parts of the song are filmed at the famed location of Vrindavan Garden in Mysore, which was as common location as Kashmir. It could be more common due to it being in south where more and more films were being made. Shooting for lots of hindi films produced by filmmakers from Mumbai were also largely done in Madras, Hyderabad etc.
The song in question is a romantic song tastefully composed by Anu Malik, and filmed on the same two actors, Tabu and Ajay Devgan. This was early on in both of their film career. Tabu’s first movie with Sanjay Kapoor, made by Boney Kapoor got delayed by several years. As artists both Tabu and Ajay Devgan have come a long way from those early years. Both have won laurels, recognition, and awards. Ajay Devgan was just another star kid, a small star’s kid, launched as action hero cum angry young man. His father being a fight master, he was showcased as a fight and stunt Hero with a soft heart and tendency for romance. He also had to do the song and dance routine with heroines. His movies did well mainly with Kajol, or they turned out to be well. I remember films like “Dil hi to hai” and “pyar to hona hi thha”. After the release of “Kuchh Kuchh hota hai”,Kajol and Ajay Devgan got married. Kajol stopped working for a few years. Making sporadic come backs, in Karan Johar’s films and Ajay Devgan’s home productions.
In this regard, I also remember an article in a film magazine, which gave detailed forecast about the career and personal life of some of the top leading actresses of the time. I remember reading about Tabu and Rani Mukherjee, and the life and career of these two are predicted accurately. Predictions, about careers is understandable, but personal life and life’s struggles, hurdles, how could anyone predict? and they turned out to be very close to what happened to them in general. Rani Mukherjee is a recluse now, just like her husband Aditya Chopra. Both Rani Mukherjee and Tabu were ambitious and serious about their careers, and they got their name and fame, in the film industry. Tabu is active in films and OTT, also. Notable film in recent times is “Drishyam’ and its sequel, which had both Ajay Devgan and Tabu in pivotal characters, giving performances of critical acclaim.
Ajay Devgan’s remarkable films are ‘Zakhm” and ‘Hum Dil de chuke sanam”. I have other songs filmed on him, which I plan to post. But a lingering memory from “Hum Dil De Chuke Sanam”, of a scene, where Ajay Devgan sings “Chingari koyi bhadke to saawan usse bujha de”. I personally like all the songs of ‘Amar Prem” barring this one. And that scene affirmed my not liking the song. People sing and remember many RDB-Kishore-Rajesh Khanna songs, but no one goes to touch this one.
Here is the song, written by Zameer Kazmi, 8 minutes long, for only 3 stanzas, but absorbing one. The singers are Alka Yagnik and Kumar Sanu. The song talks of “mulaquat”, an interesting word in Urdu which means a magnitude of things. For the time being, I will suffice to say that it means, a meeting, an encounter, a surprising coming across, what and what not. Appropriately, there is a restaurant on the main street of a popular weekend destination for Mumbaikars named “Mulaaquat”. I personally do not know of any other place named such.
I have wanted to post this song for a long time now. So here is it, and I have hummed this one to myself many a times, visiting that restaurant.
Audio:
Video:
Song-Raah mein unse mulaaqaat ho gayee (Vijaypath)(1994) Singers-Alka Yagnik, Kumar Sanu, Lyrics-Zameer Kazmi, MD-Anu Malik
both
Lyrics (as per audio)
Ah ha ha aaaa
ah ha ha haaa aaa
raah mein unn se
mulaquat ho gayee ee
raah mein unn se
mulaquat ho gayee ee
jis se darte thhe
wohi baati ho gayee
Ah ha ha aaaa
ah ha ha haaa aaa
raah mein unn se
mulaquat ho gayee ee
raah mein unn se
mulaquat ho gayee ee
jis se darte thhe
wohi baati ho gayee
Ah ha ha ha aaaa
ah ha ha haaa aaa
ishq ke naam se
dar lagtaa thha
dil ke anjaam se
dar lagtaa thha
ishq ke naam se
dar lagtaa thha
dil ke anjaam se
dar lagtaa thha
dil ke anjaam se
dar lagtaa thha
aashiqui wo hi
mere saathh ho gayi ee
aashiqui wo hi
mere saathh ho gayi ee
jis se darte thhe
wohi baati ho gayee
Ah ha ha ha aaaa
ah ha ha haaa aaa
tere bin kuchh nahin
bhaata hai mujhe
har taraf tu nazar
aat hai mujhe
tere bin kuchh nahin
bhaata hai mujhe
har taraf tu nazar
aat hai mujhe
har taraf tu nazar
aat hai mujhe
Zindagi taaron ki
Baaraat ho gayi ee
Zindagi taaron ki
Baaraat ho gayi ee
jis se darte thhe
wohi baati ho gayee
Ah ha ha ha ha aaaa
aa ha ha haaa aaa
aankh roye naam pe tere
saawan ki tarah
tu samaayee dil mein mere
dhadkan ki tarah
aankh roye naam pe tere
saawan ki tarah
tu samaayee dil mein mere
dhadkan ki tarah
dhadkan ki tarah
har taraf pyaar ki
barsaat ho gayi ee
har taraf pyaar ki
barsaat ho gayi ee
jis se darte thhe
wohi baati ho gayee
Ah ha ha ha aaaa
ah ha ha haaa aaa
raah mein unn se
mulaquat ho gayee ee
raah mein unn se
mulaquat ho gayee ee
jis se darte thhe
wohi baati ho gayee
Ah ha ha ha aaaa
ah ha ha haaa aaa
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 : |
5306 | Post No. : | 17390 | Movie Count : |
4684 |
Govind Nihalani joined Hindi film industry as a Cinematographer in 1974. In the initial period, he mainly worked with Shyam Benegal as a Cinematographer, both for his documentary and feature films. In 1980, he turned director and directed some socially relevant films such as ‘Aakrosh’ (1980), Vijeta (1982), ‘Ardha Satya’ (1983), ‘Aghaat’ (1985), ‘Drishti’ (1990), ‘Drohkaal’ (1994), ‘Hazaar Chauraasi Ki Maa’ (1998). Almost all his films, both as a Cinematographer and the Director were critically acclaimed.
With ‘Thakshak’ (1999), Govind Nihalani made his first attempt (and probably the last) in producing and directing a commercial genre of Hindi film, also called ‘the mainstream Bollywood’ film. In his interview held sometime in December 1999 which was published on the ‘Rediff On The Net’, Govind Nihalani revealed that Ajay Devgan was keen to work with him and he had a script ready to fit the role for him. Manmohan Shetty, who had produced some of Govind Nihalani offbeat films, was requesting him to make a film for the wider audience also. The eagerness of Ajay Devgan to work with him, getting Manmohan Shetty to finance the film and an opportunity to experiment with a different genre of film, prompted him to make ‘Thakshak’ (1999). Ajay Devgan and Tabu were the lead pair with Amrish Puri, Rahul Bose, Govind Namdev, Nethra Raghuraman, A K Hangal, Ravi Patwardhan, Uttara Baokar etc. in supporting roles.
As revealed by Govind Nihalani in a separate interview, producing and directing a commercial film was a new experience for him. His earlier films were made with a small budget, and he did not have the pressure of box office success. Hence, he made his earlier films without interference from any quarters. While making ‘Thakshak’, though he did not have any problem with his main actors, there were pressures from the distributors to make some changes in the script of the film with their own suggestions when they were shown the rushes of the film. That the film took 2 years to complete (as against his earlier films which he completed in less than one year) would indicate that he had to compromise on his script which Govind Nihalani had originally written.
I had not watched the film when it was released. In fact, I did not have any idea about the story of the film. The only thing I knew about the film at that time was a dance song picturised on Tabu which I liked and therefore had watched the song on TV music channels a few times. Sometime back, that dance song came back to my mind and I refreshed my memory by watching the video clip of the song. I liked the song so much that I marked in my mind to write an article on this song for the Blog. Subsequently, I also watched the film on You Tube.
‘Thakshak’ (1999) is a romantic crime thriller. The story of the film was in keeping with the socio-political situations in the country, particularly in Mumbai of Builders-Underworlds-politicians nexus. Ishaan (Ajay Devgan), is the son of Nahar Singh (Amrish Puri), the partner in the real estate business of Jodha Bhai (Ravi Patwardhan) who in reality is a gangster. Sunny (Rahul Bose), the grandson of Jodha Bhai and Ishaan are great friends. But their temperament is quite different. Sunny believes that the power flows from the barrel of a gun. Ishaan reminds him that that the one who thrives on the power of gun can also get killed by the same gun. The subtle temperament of Ishaan is further soften when he meets his lady love Suman (Tabu). The influence of Suman on Ishaan turns him to shed the violent life of the underworld to the decent life of a common man. But Ishaan is in dilemma as his oath of allegiance to Sunny to remain with him as his partner in crime and his conscious telling him to follow the life like a common man like his idealistic romantic partner, Suman. A further complications in these relationship – Ishaan and Sunny and Ishaan and Suman develops when Suman is the witness to the crime committed by Sunny in killing the owner of an old house to grab the plot where Ishaan is the partner in the crime. How the emerging situations themselves force Ishaan to come out of his moral obligations toward Sunny and follow the path of humanity is the finale of the film.
Now my 2 cents on the film. The story of a criminal trying to live a decent life like a common man has been tried in Hindi films many time. But in ‘Thakshak’, Govind Nihalani has given somewhat different treatment in that he has projected Ishaan caught in a moral dilemma of protecting his gangster friend, Sunny against whom his lady love, Suman has testified. The emotional upheaval Ishaan goes through has been well presented. All the three main actors – Ajay Devgan, Tabu and Rahul Bose have performed very well. However, the momentum of the story slows down due to 8 songs in the film most of which do not fit into the story of the film. Also, in my view, there was no need for the role of Nethra Raghuraman as a night club dancer on whom 2 songs have been picturised. I guess these are the additions which may have been suggested by the distributors. I feel that the story, screenplay, and dialogues with the exclusions of some songs and some unwarranted scenes would have turned the film into an absorbing thriller. Nonetheless, the film is interesting to watch at least once.
‘Thakshak’ (1999) has 8 songs, written by Mehboob (6) Sukhwinder Singh (1) and Sukhwinder Singh-Tejpal Kaur (1) which were set to music by A R Rahman. None of the songs has been represented on the Blog. I present the first song to appear on the Blog which is my most favourite song from the film. The song is ‘mujhe rang de range de mujhe rang de’ which is a semi-classical dance song. At the same time, the music composition sounds like that of a qawwali song.
The song is written by Sukhwinder Singh jointly with Tejpal Kaur and rendered by Asha Bhosle. There are some Punjabi words in the lyrics.
There is an interesting trivia as to how Sukhwinder Singh got to write this song as well as one more song for the film. He had come to ‘Chennai to meet A R Rahman for the first time. He was composing tunes for ‘Thakshak’ (1999). A R Rahman asked him whether he can write songs. Sukhwinder Singh promptly nodded and wrote the song under discussion. When Rahman asked him to pen one more song, Sukhwinder Singh told him that he has come to get some singing assignments from him. Rahman kept his promise and gave him to sing chal chhainyya chhainyya chhainyya chhainyya from ‘Dil Se’ (1998).[Source: The Asian Age, May 16, 2016].
While listening to this song, I felt that there is some spiritual feel in the opening lines of the songs as it is repeated several times. I remembered that Hazrat Amir Khusrow had written a Sufi Kalam, ‘mohe apne hi rang mein rang de’. This has become inspiration for some lyricists of Hindi films to include this spiritual element. One example is the song, o rangrez, tere rang dariya mein from ‘Bhaag Milka Bhaag’ (2013).
According to Sukaina Nagpal, the song was choreographed by her mother, Saroj Khan. [Source: Rediff interview appeared on July 3, 2020]. It is a 7+ minutes dance song picturised on Tabu who is not a trained dancer. Yet, she has performed the dance gracefully. The confidence of the Choreographer in the dancing ability of Tabu can be judged from the fact that she was covered in mid-shot frame to capture her hand gestures, expressions, and steps most of the time. Some of her shots were of longer durations, which is possible only when it is picturised on a trained dancer. Note Tabu’s expression and hand gestures at 5:36-5:42 in line with the lyrics. Probably, she must have toiled a lot during the rehearsals. All the supportive dancers did very well in synchronization of dancing steps as well as expressions and gestures. For example, watch 3:52 – 4:22 of the video clip. This is, in my view, one of the best dances choreographed by Saroj Khan in Hindi films.
I think after S D Burman, A R Rahman is one among the current music directors who is expert in picking the right playback singer suitable to his style of songs. In this film, he has used Hema Sardesai, Sujata Trivedi, and Alisha Chinoy among female playback singers for other songs. It is said that A R Rahman selects a playback singer only after he has composed the tune and the music for a song. His musical compositions decide the playback singer. For the song under discussion, he has used Asha Bhosle’s voice. And it turned out to be the right choice. Note how Asha Bhosle takes the octave leap from lower to higher pitch effortlessly. Towards the end of the song, her aalaaps are mesmerising. The song ends with Tabu going into a trance true of a Sufi singing.
Lastly, I must make a special mention of the flute interlude in the song from 2:58 to 3:34. I guess, it was played by Flautist, Naveen Kumar who has been continuously associated with A R Rahman since ‘Roja’ (1992) until he moved to Mumbai in 2003. Thereafter, Naveen Kumar played flute for A R Rahman, albeit occasionally.
I can watch the video clip of this song umpteen time because all those who are associated with song have done exceedingly well to make it a classic dance song.
Video Clip:
Audio Clip:
Song-Mujhe rang de rang de mujhe rang de (Takshak)(1999) Singer-Asha Bhonsle, Sukhwinder Singh-Tejpal Kaur, MD-A R Rahman
Male chorus
Female chorus
Lyrics
Mujhe rang de…….ae
rang de
mujhe rang de rang de
mujhe rang de ae
mujhe rang de
rang de
mujhe rang de rang de mujhe rang de
ho o o o ho o
ho o o o ho o
ho o o o ho o
ho o o o ho o
mujhe rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
haan mujhe rang de mujhe rang de
mujhe rang de rang de mujhe rang de
haan rang de haan rang de
haan apni preet vich rang de
ho o o o ho o
ho o o o ho o
mujhe rang de mujhe rang de
mujhe rang de rang de mujhe rang de
haan rang de haan rang de
haan apni preet vich rang de
mujhe rang de mujhe rang de
mujhe rang de rang de mujhe rang de
haan rang de haan rang de
haan apni preet vich rang de
main ban ke savera jaag uthhi
main jaag uthhi…ee ee
main banke savera jaag uthhi
main jaag uthhi
jee jaag uthhi
main banke morni naach uthhi
main naach uthhi
channa naach uthhi
tere naina mere naina
mere nainon mein rang de
haan rang de haan rang de
haan apni preet vich rang de
ho o o o ho o
tere naina mere naina
mere nainon mein rang de
haan rang de haan rang de
mujhe apni preet vich rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de mujhe rang de
rang de rang de mujhe rang de
rang de rang de mujhe rang de
rang de rang de mujhe rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de
rang de rang de mujhe rang de
rang de
rang de rang de mujhe
rang de rang de mujhe
rang de rang de mujhe
rang de
rang de
tere sapnon ke aangan mein chham chham chaloon
main chaloon main chaloon tere sang sang chaloon
aaja aaja ve aaja tu ban ke hawa
tere sadke jaawaan
tere vaare jaawaan
aaja aaja ve aaja tu banke hawa
tere sadke jaawan tere vaare jaawan
mujhe rang de mujhe rang de
mujhe rang de rang de mujhe rang de
haan rang de haan rang de
haan apni preet vich rang de
mujhe rang de mujhe rang de
mujhe rang de rang de mujhe rang de
haan rang de haan rang de
aa apni preet vich rang de
rang de……ae
rang de
[Sargam]
main bhi tanha hoon
tu bhi hai tanha kahin
main adhoori yahaan
tu adhoora kahin
ik aahat si hoti hai mujhko yahaan
tu kahaan hai kahaan hai kahaan hai kahaan
mujhe le chal tu
le chal tu
le chal wahaan…aan aan
jahaan tak aasmaan aasmaan aasmaan…aan aan
ho mohobbat ki duniya nasheman jahaan
mujhe le chal tu le chal tu le chal wahaan
ho mohobbat ki duniya nasheman jahaan
mujhe le chal tu le chal tu le chal wahaan
tu le chal wahaan
tu le chal wahaan
tu le chal wahaan
rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
aa aa aa aaa aaaa
(rang de rang de)
aa aa aa aa aaaa
(rang de rang de mujhe rang de)
ae ae ae ae ae ae ae
(rang de rang de)
ae ae ae
(rang de rang de mujhe rang de)
ae ae ae ae ae ae
(rang de rang de)
rang de……….
(rang de rang de mujhe rang de)
de……….ae
(rang de rang de)
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de
(ho o o o ho o)
rang de rang de mujhe rang de
rang de rang de
(ho o o o ho o)
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
Chhai chhapa chhai chhapaak chhai
Posted on: August 18, 2020
This article is written by nahm, 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 : |
4414 | Post No. : | 15818 |
This is Gulzar !
— KITAABEN —
Kitaaben jhaankti hain band almaari ke sheeshon se
badi hasrat se takti hain
mahinon ab mulaqaaten nahin hotin
jo shaamen unn ki sohbat mein kata karti thhin, ab aksar
guzar jaati hain computer ke pardon par
badi bechain rehti hain kitaaben
unhen ab neend mein chalne ki ‘aadat ho gayi hai
badi hasrat se takti hain
jo qadren wo sunaati thhin
ke jin ke cell kabhi marte nahin thhe
wo qadren ab nazar aati nahin ghar mein
jo rishte wo sunaati thhin
wo saare udhde udhde hain
koyi safha palat-ta hoon to ik siski nikalti hai
kayi lafzon ke ma’ani gir pade hain
bina patton ke sukhe tund lagte hain vo alfaaz
jin par ab koyi ma’ani nahin ugte
bahut se istelaahen hain
jo mitti ki sakoron ki tarah bikhri padi hain
gilaason ne unhen matruk kar daala
zaban par zaiqa aata thha jo safhe palatne ka
ab ungli click karne se bas ek
jhapki guzarti hai
bahut kuchh tah-ba-tah khultaa chalaa jaata hai parde par
kitaabon se jo zaati raabta thha kat gayaa hai
kabhi seene pe rakh ke let jaate thhe
kabhi godi mein lete thhe
kabhi ghutnon ko apne rehal ki soorat bana kar
neem sajde mein padha karte thhe, chhute thhe jabeen se
wo saara ilm to milta rahegaa ‘aayinda bhi
magar wo jo kitaabon mein milaa karte thhe sookhe phool aur
mehke huey ruq’ae
kitaaben maangne, girne utthaane ke bahane rishte bante thhe
unn ka kya hogaa
wo shayad ab nahin honge !
—– GULZAR
I think the above poem is enough as introduction and ta’aruf of Gulzar Sahab.
Faced with such ‘qalaam’, what does it matter when and where he was born. Yes, Gulzar sahab has turned 86 today. May he live to be 186 or more, as long as he creates such ‘naayab nageene’ as nazmen and naghme.
— Urdu zabaan —-
Ye kaisa ishq hai urdu zaban kaa,
mazaa ghultaa hai lafzon ka zuban par
ki jaise paan mein mehenga qimaam ghultaa hai
ye kaisa ishq hai urdu zaban kaa….
nasha aataa hai urdu bolne mein
gilauri ki tarah hain munh lagi sab isltelaahen
lutf deti hai, halaq chhooti hai urdu to,
halaq se jaise mai ka ghunt utarta hai
badi aristocracy hai zaban mein
faqeeri mein nawaabi ka mazaa deti hai urdu
agarche ma’ani kam hote hain urdu mein
alfaaz ki ifraat hoti hai
magar phir bhi buland awaaz padhiye
to bohat hi mu’atabar lagti hain baaten
kahin kuchh dur se kaanon mein padhti hai agar urdu
to lagtaa hai ke din jaadon ke hain khidki khuli hai,
dhoop andar aa rahi hai
ajab hai ye zaban urdu
kabhi kahin safar karte agar koyi musaafir
sher padh de ‘mir’, ‘ghalib’ ka
wo chaahe ajnabi ho,
yahi lagtaa hai wo mere watan ka hai
badi sha’ista lehje mein kisi se urdu sun kar
kya nahin lagtaa ki ek tehzeeb ki awaaz hai urdu.
—– GULZAR ——-
How true the above thoughts are, so inherently accurate for urdu, the spoken language.
Thanks dear ‘Peevesie’s Mom’, for reminding me of Gulzar Sahab birthday and this movie ‘Hu Tu Tu’ and its deeply meaningful songs, written by Gulzar sahab.
Also a well composed and picturised song. Composer is Vishal Bharadwaj and singers are mainly Lata Mangeshkar and Hariharan. There are more voices singing some goan rhythm at the start and koli folk song in the middle.
But the star of the show is Gulzar sahab’s unmatched poetry.
Audio :
Video :
Song-Chhai chhappa chhai chhapaak chhai (Hu tu tu ) (1999) Singers- Hariharan, Lata, Lyrics-Gulzar, MD-Vishal Bhardwaj
Lyrics (As per audio)
Rum chirapiraira
Rumm chirapiraira
Rummp
Rai rai rummp…
Chirapiraira rai rai
Rum chirapiraira
Rumm chirapiraira
Rummp
Rai rai rummp…
Chirapiraira rai rai
Chhai chhappa chhai
chhapaak chhai
Paaniyon pe chheeten udaati hui ladki
Chhai chhappa chhai
chhapaak chhai
Paaniyon pe chheeten udaati hui ladki
Dekhi hai ham ne
Aati hui lehron pe jaati hui ladki
Chhai chhappa chhai
chhapaak chhai
kabhi kabhi baaten teri achhi lagti hain
Chhai chhappa chhai
chhapaak chhai
kabhi kabhi baaten teri achhi lagti hain
phir se kehna aa
aati yui lehron pe
jaati hui ladki he
dhoondhaa karenge tumhen saahilon pe ham mmm
ret pe ye pairon ki mohren na chhodnaa aa aa
nahin ee
dhoondhaa karenge tumhen saahilon pe ham mmm
ret pe ye pairon ki mohren na chhodnaa aa aa
saara din lete lete sochegaa samandar
aate jaate logon se puchhegaa samandar
sahib rukiye zara aa
arrey dekhi kisi ne
aati hui lehron pe jaati hui ladki hey
Chhai chhappa chhai
chhapaak chhai
kabhi kabhi baaten teri achhi lagti hain
Chhai chhappa chhai
chhapaak chhai
la la la la
la la la la
la la la
la la la
oo dol doltai wareyavar
baai maajhi
dol dotai warryavar
………
Dol doltai paanyawar
bai maajhi dol doltai paanyawar
———-
likhte rahen hain tumhen roz hi magar
khwaahishon ke khat kabhi bheje hi nahin
nahin..
ha ha ha aaa
likhte rahen hain tumhen roz he magar
khwaahishon ke khat kabhi bheje hi nahin
ainak lagaa ke kabhi padhna wo chitthiyaan
aankhon ke paani mein rakhnaa wo chitthiyaan
tayrti nazar aayegi janaab
gote khaati
aati hui lehron pe jaati hui ladki
Chhai chhappa chhai
chhapaak chhai
Paaniyon pe chheete udaati hui ladki
Chhai chhappa chhai
chhapaak chhai
Paaniyon pe chheeten udaati hui ladki
Dekhi hai ham ne
Aati hui lehron pe jaati hui ladki hey
Chhai chhappa chhai
chhapaak chhai
kabhi kabhi baaten teri achhi lagti hain
hey Chhai chhappa chhai
Chhai chhappa chhai
chhapaak chhai
Aati hui lehron pe jaati hui ladki hey
- In: Akhil Sachdeva Songs | Background song | bidaai song | Daughter Father song | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Gurmukhi Script Lyrics by Gajendra Khanna | Harshdeep Kaur Songs | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Post by Ava Suri | Songs of 2010s (2011 to 2020) | Songs of 2020 | Yearwise breakup of songs
- 9 Comments
This article is written by Ava Suri, 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 : |
4285 | Post No. : | 15334 | Movie Count : |
4282 |
Let me tell you a bit about the background of this post. My nephew works as an RJ for a radio station and he has a slot called ‘Golmaal Gagan ne bol diya to bol diya‘, which is an audio review of latest movies. The way things are these days I am sure he goes through a lot of pain watching substandard movies. He praised a recently released movie called ‘Jawaani Jaaneman’ (2020). After listening to his review of this film I decided to watch it. Just as I was mulling over when to go to watch the movie, I got a message from our fellow Atulite Avinash. He wanted me to write up a bidaai song that was used in the film. Very kindly, he even sent me the lyrics of the song to help me.
There are many a slip between the cup and the lip, they say. There was a strike on uber cabs in my tricity on the day I was to go to see the movie. The strike went on for many days. One thing led to another and I was unable to watch the movie. Today I logged into Amazon Prime to check out what they were offering. On a whim, I looked to see if this movie had started streaming yet. Viola! It was there. I just spent my quarantine afternoon watching the film.
‘Jawa’ni Jaaneman’ stars Saif Ali Khan as Jazz, a Punjabi settled in London. He is an estate broker and not hugely successful. He believes in YOLO [You-Only-Live-Once] and spends his time partying hard and scoring with girls. He is at that awkward age that is on the cusp of elderliness. He needs root touch ups, dark glasses even at night to hide his wrinkly eyes and spectacles to read. Yet he wants to continue his unfettered lifestyle. A couple of girls rebuff him as an oldie, but many girls continue to fall for him, so he is happy. Into this walks a young girl, Tia, who claims to be his daughter. She turns his life upside down.
Tia is very ably played by Alaya Furniturewala, daughter of Pooja Bedi. She gets her looks from her mother, bindaas attitude from her grandmother Protima Bedi and acting chops from her grandfather, Kabir Bedi. She livens the movie up with her lovely performance as a girl in search of her father. Tabu plays the mother of Tia. Her performance was top notch as usual, though it saddened me deeply to see her showing her age. Farida Jalal plays Jazz’s mother; she is wasted, if you ask me. She barely has a part. Not that she disappointed, I wanted to see more of her. I loved Kumud Mishra as Jazz’s older brother Dimpy. His part is small but he was so good in it.
I thought Saif is not his usual self in this movie. To be frank I have not seen too many recent movies. I have seen Saif in his earlier films and found him quite engaging. He looks the part, for sure. He is believable as a swinger in his forties. But playing the tumba every time the camera pans on Saif, to remind us that he is Punjab da Puttar, becomes a bit off putting. In my opinion, the movie had a slow start which picks up steam once Saif introduces his daughter to his family. It ends up nicely, if a bit predictably.
The song under discussion here is a bidaai song. Traditionally sung when the bride is about to leave her maternal home after marriage, here it is used when Tia has a fight with her father and decides to leave with her mother. Though Saif’s acting was largely lackluster, during this song his expressions were on point. Alaya shone as usual as a heart broken girl leaving her father after a tiff.
The opening of this song has been taken from a popular Punjabi song sung by the inimitable Surinder Kaur – “Madhaniyan, Haaye O Mere Daadeya Rabba, Kinnaan Jammiyaan Kinnaan Ne Lai Jaaniyaan“. It is a cry of despair by the bride at being cast out by her parents, her brothers and sisters-in-law.
Harshdeep Kaur is no stranger to us, having won several awards and being dubbed ‘Sufi ki Sultana’. I love most of the songs sung in her rich voice. Here too, her lovely voice tugs at our heart strings.
I am trying to attempt a translation of the song. I am not sure I am up to it, so please excuse my gauche efforts.
| haaye o mere daadeya rabba kinnaa jammeya kinnaa ne lai jaaneya haayeinj lagdaa mainu haan jinve rusiyaa saara jahaanteri ankh daa taara vagge paani khaara kyun pichchhe aye mudna roye aangan vehda mere baabula mere athroo jaande meri marzi na muskaandi aye jinve pura ghar tere naal gayaa naa aahat naa koi dastak hai inj lagdaa mainu haan teri ankh daa taara kyun pichchhe hai mudna roye aangan vehda kalla hoya kalla hoya
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oh god you are so tough on me, those who gave birth to me are sending me awayi feel the whole world has turned its face from methe star of your eyes is crying bitter tears why should i look back my father my desires have stopped smiling my whole house is empty, i feel as if the whole world the star of your eyes why look back on the home and courtyard cry out i am left all alone
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Song – Mere Baabula Mere Baabula, Tera Lakht e Jigar Ajj Challeya (Jawwani Jaaneman) (2020) Singer – Harshdeep Kaur, Akhil Sachdeva, Lyrics – Shailender Singh Sodhi (Shellee), MD – Gourov-Roshin
Lyrics (Provided by Avinash Scrapwala)
(Based on Video Version)
hmm hmm hmm hmm
ho o o o o
hmm hmm hmm mm mm
hmm hmm
haaye o mere daadeya rabba
kinnaan jammiyaan
kinnaan ne lai jaaniyaaan haaye
haaye o mere daadeya rabba
kinnaan jammiyaan
kinnaan ne lai jaaniyaaan aa aa aa haaye
enj lagdaa mainu haan
jinven ruseyaa saara jahaan
teri aakh daa taara
vagge paani khaara
kyun pichhe ae mudna
dil aisaa ae tuteyaa
roye aangan vehda
nai lagna pheraa aa aa aa aa
mere baabula
mere baabula
tera lakht e jigar aj challeya
mere baabula
mere baabula
tera lakht e jigar aj challeya
mere baabula
nazraan mila
aj bin doli turr challiyaan
mere baabula
mere baabula
tera lakht e jigar aaj challeya
aa aa aa
mere athroo jaande sukkde ve ae ae ae
te pair ne jaande rukde ve ae
mere athroo jaande sukkde ve
te pair ne jaande rukde ve
meri marzi na muskaandi ae
te qismat payi aazmaandi ae
haaye ae ae ae
enj lagdaa mainu haan
jinven ruseyaa saara jahaan
teri aakh daa taara
vagge paani khaara
kyun pichhe ae mudna
dil aisa ae tuteyaa
roye aangan vehda
nai lagna phera aa aa aa aa
mere baabula
mere baabula
tera lakht e jigar aj challeya
mere baabula
mere baabula
tera lakht e jigar aj challeya
mere baabula
nazraan mila
aj bin doli turr challiyaan aa
mere baabula
mere baabula
tera lakht e jigar aj challeya
aa aa aa
jinven pura ghar tere naal gayaa aa aa
har rut har mausam saal gayaa aa
jinven pura ghar tere naal gayaa
har rut har mausam saal gayaa
naa aahat naa koi dastak hai
ghar bin tere bematlab hai
haaye ae ae ae
enj lagdaa mainu haan
jinven rusiyaa saara jahaan
teri aakh daa taara aa
vagge paani khaara aa aa
kyun pichchhe hai mudna
dil aisa hai tuteyaa
roye aangan vehda
nai lagnaa pheraa aa aa aa aa
kalla hoya kalla hoya
mera lakht e jigar aj challeyaa
kalla hoya kalla hoya
mera lakht e jigar aaj challeyaa
kalla hoya kalla hoya
mann da manzar tur challeya
kalla hoya kalla hoya
mera lakht e jigar aaj challeyaa
aa aa aa aa aa
haaye o mere daadeya rabba
kinnaan jammiyaan
kinnaan ne lai jaaniyaan hai ae ae ae ae
———————————————————-
Hindi script lyrics (Provided by Sudhir Kapur)
———————————————————-
(विडियो पर आधारित)
हम्म हम्म हम्म हम्म
हो ओ ओ ओ ओ
हम्म हम्म हम्म मम्म मम्म
हम्म हम्म
हाए ओ मेरे डाडेया रब्बा
किन्नां जम्मीयाँ
किन्नां ने लै जानियाँ हाए
हाए ओ मेरे डाडेया रब्बा
किन्नां जम्मीयाँ
किन्नां ने लै जानियाँ हाए
एञ्ज लग्दा मैंनूँ हाँ
जिंवें रुसेया सारा जहाँ
तेरी आक्ख दा तारा
वग्गे पानी खारा’
क्यों पिच्छे ए मुड़ना
दिल ऐसा ए टुट्टेआ
रोये आँगन वेहड़ा
नइं लगना फेरा आ आ आ
मेरे बाबुला
मेरे बाबुला
तेरा लख़्त ए जिगर आज्ज चल्लेया
मेरे बाबुला
मेरे बाबुला
तेरा लख़्त ए जिगर आज्ज चल्लेया
मेरे बाबुला
नज़राँ मिला
आज बिन डोली टुर्र चल्लीआँ
मेरे बाबुला
मेरे बाबुला
तेरा लख़्त ए जिगर आज्ज चल्लेया
आ आ आ
मेरे अत्थरू जांदे सुकदे वे ए ए ए
ते पैर ने जांदे रुकदे वे ए
मेरे अत्थरू जांदे सुकदे वे
ते पैर ने जांदे रुकदे वे
मेरी मर्ज़ी ना मुस्कान्दी ए
ते क़िस्मत पई अज़्मांदी ए
हाए ए ए
एञ्ज लग्दा मैंनू हाँ
जिंवें रुसेया सारा जहाँ
तेरी अक्ख द तारा
वग्गे पानी खारा
क्यों पिच्छे ए मुड़ना
दिल ऐसा ए टुट्टेआ
रोये आँगन वेहड़ा
नइं लगना फेरा आ आ आ
मेरे बाबुला
मेरे बाबुला
तेरा लख़्त ए जिगर आज्ज चल्लेया
मेरे बाबुला
मेरे बाबुला
तेरा लख़्त ए जिगर आज्ज चल्लेया
मेरे बाबुला
नज़राँ मिला
आज बिन डोली टुर्र चल्लीआँ
मेरे बाबुला
मेरे बाबुला
तेरा लख़्त ए जिगर आज्ज चल्लेया
आ आ आ
जींवें पूरा घार तेरे नाल गया आ आ
हर रुत हर मौसम साल गया आ
जींवें पूरा घार तेरे नाल गया आ आ
हर रुत हर मौसम साल गया आ
ना आहट ना कोई दस्तक है
घार बिन तेरे बेमतलब है
हाए ए ए ए
एञ्ज लग्दा मैंनू हाँ
जिंवें रुसेया सारा जहाँ
तेरी अक्ख द तारा
वग्गे पानी खारा
क्यों पिच्छे ए मुड़ना
दिल ऐसा ए टुट्टेआ
रोये आँगन वेहड़ा
नइं लगना फेरा आ आ आ
कल्ला होया कल्ला होया
मेरा लख़्त ए जिगर आज्ज चल्लेया
कल्ला होया कल्ला होया
मेरा लख़्त ए जिगर आज्ज चल्लेया
कल्ला होया कल्ला होया
मन दा मंज़र टुर्र चल्लेया
कल्ला होया कल्ला होया
मेरा लख़्त ए जिगर आज्ज चल्लेया
आ आ आ आ आ
हाए ओ मेरे डाडेया रब्बा
किन्नां जम्मीयाँ
किन्नां ने लै जानियाँ हाए ए ए ए
———————————————————-
Gurmukhi script lyrics (Provided by Gajendra Khanna)
———————————————————-
ਹ੍ਮ੍ਮ ਹ੍ਮ੍ਮ ਹ੍ਮ੍ਮ ਹ੍ਮ੍ਮ
ਹੋ ਓ ਓ ਓ ਓ
ਹ੍ਮ੍ਮ ਹ੍ਮ੍ਮ ਹ੍ਮ੍ਮ ਮ੍ਮ ਮ੍ਮ
ਹ੍ਮ੍ਮ ਹ੍ਮ੍ਮ
ਹਾਏ ਓ ਮੇਰੇ ਡਾਡਿਯਾ ਰੱਬਾ
ਕਿੰਨਾਂ ਜਮਿਯਾਂ
ਕਿੰਨਾਂ ਨੇ ਲੈ ਜਾਨਿਯਾਂ ਹਾਏ
ਹਾਏ ਓ ਮੇਰੇ ਡਾਡਿਯਾ ਰੱਬਾ
ਕਿੰਨਾਂ ਜਮਿਯਾਂ
ਕਿੰਨਾਂ ਨੇ ਲੈ ਜਾਨਿਯਾਂ ਆ ਆ ਆ ਹਾਏ
ਇੰਜ ਲੱਗਦਾ ਮੈਨੂੰ ਹਾਂ
ਜਿਵੇਂ ਰੁਸਿਯਾ ਸਾਰਾ ਜਹਾਂ
ਤੇਰੀ ਅੱਖ ਦਾ ਤਾਰਾ
ਵੱਗੇ ਪਾਣੀ ਖਾਰਾ
ਕਯੂੰ ਪਿੱਛੇ ਏ ਮੁੜਨਾ
ਦਿਲ ਐਸਾ ਏ ਟੁਟਿਆ
ਰੋਏ ਆਂਗਨ ਵੇੜਾ
ਨਹੀਂ ਲਗਣਾ ਫੇਰਾ ਆ ਆ ਆ ਆ
ਮੇਰੇ ਬਾਬੁਲਾ
ਮੇਰੇ ਬਾਬੁਲਾ
ਤੇਰਾ ਲਖਤੇ ਜਿਗਰ ਅਜ ਚਲਿਆ
ਮੇਰੇ ਬਾਬੁਲਾ
ਮੇਰੇ ਬਾਬੁਲਾ
ਤੇਰਾ ਲਖਤੇ ਜਿਗਰ ਅਜ ਚਲਿਆ
ਮੇਰੇ ਬਾਬੁਲਾ
ਨਜ਼ਰਾਂ ਮਿਲਾ
ਅੱਜ ਬਿਨ ਡੋਲੀ ਤੁਰ ਚਲੀਆਂ
ਮੇਰੇ ਬਾਬੁਲਾ
ਮੇਰੇ ਬਾਬੁਲਾ
ਤੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਆ ਆ ਆ
ਮੇਰੇ ਅਥਰੂ ਜਾਂਦੇ ਸੁੱਕਦੇ ਵੇ ਏ ਏ ਏ
ਤੇ ਪੈਰ ਨੇ ਜਾਂਦੇ ਰੁਕਦੇ ਵੇ ਏ
ਮੇਰੇ ਅਥਰੂ ਜਾਂਦੇ ਸੁੱਕਦੇ ਵੇ
ਤੇ ਪੈਰ ਨੇ ਜਾਂਦੇ ਰੁਕਦੇ ਵੇ
ਮੇਰੀ ਮਰਜ਼ੀ ਨਾ ਮੁਸ੍ਕਾਂਦੀ ਏ
ਤੇ ਕਿਸਮਤ ਪਯੀ ਆਜ਼ਮਾਂਦੀ ਏ
ਹਾਏ ਏ ਏ ਏ
ਇੰਜ ਲਗੱਦਾ ਮੈਨੂੰ ਹਾਏ
ਜਿਵੇਂ ਰੁਸਿਯਾ ਸਾਰਾ ਜਹਾਂ
ਤੇਰੀ ਅੱਖ ਦਾ ਤਾਰਾ
ਵੱਗੇ ਪਾਣੀ ਖਾਰਾ
ਕਯੁਂ ਪਿੱਛੇ ਏ ਮੁੜਨਾ
ਦਿਲ ਐਸਾ ਏ ਟੁਟਿਆ
ਰੋਏ ਆਂਗਨ ਵੇੜਾ
ਨਹੀਂ ਲਗਨਾ ਫੇਰਾ ਆ ਆ ਆ ਆ
ਮੇਰੇ ਬਾਬੁਲਾ
ਮੇਰੇ ਬਾਬੁਲਾ
ਤੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਮੇਰੇ ਬਾਬੁਲਾ
ਮੇਰੇ ਬਾਬੁਲਾ
ਤੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਮੇਰੇ ਬਾਬੁਲਾ
ਨਜ਼ਰਾਂ ਮਿਲਾ
ਅੱਜ ਬਿਨ ਡੋਲੀ ਤੁਰ ਚਲੀਆਂ ਆ
ਮੇਰੇ ਬਾਬੁਲਾ
ਮੇਰੇ ਬਾਬੁਲਾ
ਤੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਆ ਆ ਆ
ਜਿੰਵੇਂ ਪੂਰਾ ਘਰ ਤੇਰੇ ਨਾਲ ਗਯਾ ਆ ਆ
ਹਰ ਰੁਤ ਹਰ ਮੌਸਮ ਸਾਲ ਗਯਾ ਆ
ਜਿੰਵੇਂ ਪੂਰਾ ਘਰ ਤੇਰੇ ਨਾਲ ਗਯਾ
ਹਰ ਰੁਤ ਹਰ ਮੌਸਮ ਸਾਲ ਗਯਾ
ਨਾ ਆਹਟ ਨਾ ਕੋਈ ਦਸਤਕ ਹੈ
ਘਰ ਬਿਨ ਤੇਰੇ ਬੇਮਤਲਬ ਹੈ
ਹਾਏ ਏ ਏ ਏ
ਇੰਜ ਲਗੱਦਾ ਮੈਨੂੰ ਹਾਂ
ਜਿੰਵੇਂ ਰੁਸਿਆ ਸਾਰਾ ਜਹਾਂ
ਤੇਰੀ ਅੱਖ ਦਾ ਤਾਰਾ ਆ
ਵੱਗੇ ਪਾਣੀ ਖਾਰਾ ਆ ਆ
ਕਯੁਂ ਪਿੱਛੇ ਹੈ ਮੁੜਨਾ
ਦਿਲ ਐਸਾ ਹੈ ਟੁਟਿਆ
ਰੋਏ ਆਂਗਨ ਵੇਹੜਾ
ਨਹੀਂ ਲਗਣਾ ਫੇਰਾ ਆ ਆ ਆ ਆ
ਕੱਲਾ ਹੋਯਾ ਕੱਲਾ ਹੋਯਾ
ਮੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਕੱਲਾ ਹੋਯਾ ਕੱਲਾ ਹੋਯਾ
ਮੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਕੱਲਾ ਹੋਯਾ ਕੱਲਾ ਹੋਯਾ
ਮੰਨ ਦਾ ਮੰਜ਼ਰ ਤੁਰ ਚਲਿਆ
ਕੱਲਾ ਹੋਯਾ ਕੱਲਾ ਹੋਯਾ
ਮੇਰਾ ਲਖਤ-ਏ-ਜਿਗਰ ਅੱਜ ਚਲਿਆ
ਆ ਆ ਆ ਆ ਆ
ਹਾਏ ਓ ਮੇਰੇ ਦਾਦਿਆ ਰੱਬਾ
ਕਿੰਨਾਂ ਜੰਮਿਆਂ
ਕਿੰਨਾਂ ਨੇ ਲੈ ਜਾਣੀਆਂ ਹਾਏ ਏ ਏ ਏ
Dekho Dekho Hai Shaam Badi Deewaani
Posted on: June 20, 2017
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.
Hullo to all in Atuldom
On this blog, Atul has a page for birthdays of various Hindi film artistes. He has meticulously kept track of these dates and makes it a point, as much as possible, to post a song honouring the artiste on the concerned date. That is like a doctor treating his patients.
Read more on this topic…
Cheeni Kum Hai, Cheeni Kum Hai
Posted on: April 11, 2015
- In: Amitabh Bachchan present (without lip syncing) | Amitabh Bachchan songs | Background song | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Lyrics contributed by readers | Multiple version song | Post by Sudhir | Songs of 2000s (2001 to 2010) | Songs of 2007 | Theme song | Title song | Yearwise breakup of songs
- 6 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Amitabh – The Later Decades – 1
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A super star status that has outlived and outlasted all other sovereignties in the history of the Hindi film industry. A persona that has matured and changed with times, with a grace that is unequalled. Amitabh Bachchan, a phenomena in the Hindi film world that goes beyond the normal definitions of a super star.
Read more on this topic…
“Hu Tu Tu” (1999) was a Time Films Production. It was produced and directed by Gulzar. Gulzar had written the story and screenplay too. And he was naturally the lyricist in this movie too.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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