Posts Tagged ‘Triyacharitra’
Ho aaya dekho re salona din
Posted on: January 28, 2024
- In: "Mela" song | Antara Chaudhry Songs | Dance song | Duet | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by Sadanand Kamath | Songs of 1990s (1991 to 2000) | Songs of 1994 | Sonu Nigam - Antara Chaudhry Duet | Sonu Nigam Songs | Tractor song | Yearwise breakup of songs
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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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There are some prominent Hindi film actors whose names are mainly associated with ‘middle of the road’ and ‘off-beat’ cinemas though they have also worked in mainstream Hindi films. The names that comes to my mind are Naseeruddin Shah, Om Puri, Girish Karnad, Shabana Azmi, Smita Patil, Dipti Naval etc. Almost all of them made their Hindi film debut under the direction of Shyam Benegal. I was not aware that Rajeshwari Sachdev was also one of such actors until recently while checking her filmography. She has worked on stage, television and films. She is also a singer and a dancer.
Rajeshwari Sachdev (real name: Raj Kaur Sachdev) was born on 14/04/1975 and studied in Mumbai. Her father, Inderjeet Singh Sachdev is a Sikh while her mother, Meenakshi Iyer is a Tamilian from Pallakad. Both were associated with Indian People’s Theatre Association (IPTA). She graduated from Khalsa College and completed post graduation in English literature from Mumbai University. She learnt Bharatanatyam dance from the age of 5 and continued till 14 years. With her parents connected with IPTA, Rajeshwari was exposed to theaters in her early age as a child artist. She also participated in her school plays.
Interestingly, Rajeshwari made her debut in a Marathi Film, ‘Aaytya Gharaat Gharoba’ (1991) directed by Sachin Pilgaonkar in which she was paired with Laxmikant Berde. For this film, her name was changed from Raj Kaur Sachdev to Rajeshwari Sachdev, the name which continues in all her subsequent films. She got the Maharashtra State Government Award for the Best Actress for this film. Next, she got selected for Shyam Benegal’s ‘Sooraj Ka Saatwaan Ghoda’ (1992) which was her first Hindi film. Soon after, the film’s shooting was completed, Rajeshwari got selected for playing Yashodhara’s role in ‘Little Buddha’ (1993), an international film co-production of France, Italy and the UK. (Rajeshwari’s early prsofile is based on her interview with Aparajita Krishna which was published in The Daily Eye).
In 1994, Rajeshwari worked in two films – ‘Mammo’ (1994), directed by Shyam Benegal in which she had a small role and ‘Triyaacharitra’ (1994), directed by Basu Chatterjee in which she was in the lead role. She has so far worked in 18 Hindi films which includes, other than the films referred to above, ‘Sardari Begum’ (1996), ‘Samar’ (1999), ‘Hari Bhari’ (2000), ‘Bose: The Forgotten Hero’ (2005), ‘Welcome To Sajjanpur’ (2008), ‘Baazaar-e-Husn’ (2013), ‘Nazar Andaaz’ (2022). She has also acted in Marathi ‘middle of the road’ films such as ‘Aaramb’ (2011), ‘Samhita’ (2013), ‘Ek Saangaychay’ (2018), ‘Dombivali Return’ (2019) and ‘Firebrand’ (2019).
Rajeshwari was also active on the Television serials which included ‘Margarita’ (1997), ‘Gubbaare’ (1999), ‘Kahaani Ghar Ghar Ki’ (2003), ‘Samvidhaan’ (2014), ‘Peshwa Bajirao’ (2017) etc. In the recent period, Rajeshwari has acted in a Hindi play ‘Shabdleela’ along with her husband, Varun Badola. Varun Badola is the son of Vishwa Mohan Badola, a very famous actor on the Delhi theater circuit and Delhi AIR.
I have so far watched about half-a-dozen films in which Rajeshwari Sachdev had acted whether in small or lead roles. One of her best performance I feel she has given is in the off-beat film, ‘Triyaacharitra’ (1994). It was only her third film and that too opposite two stalwarts, Om Puri and Nasiruddin Shah.
‘Triyaacharitra’ (1994) was produced by NFDC and Doordarshan and was directed by Basu Chatterjee. The cast included Om Puri, Nasiruddin Shah, Rajeshwari Sachdev, Vijay Kashyap, Deepak Qazir, Mansi Upadhyay, Inderjeet Sachdev, Radha Asrani, Kanika Shivpuri, SM Zaheer etc. The film was based on Shivamurhty’s novel of the same title. In this film, Inderjeet Sachdev, Rajeshwari’s real father donned the role of her father in the film as well. Basu Chatterjee offered Rajeshwari to play a pivotal role in the film after watching one of her Hindi plays. The film was majorly shot in around Allahabad (now Prayagraj).
The story of the film is a heart-wrenching one. It is a commentary on the oppressive patriarchal society of the rural India. At the same time, it is not about male versus female but goes beyond by highlighting as to why such things happen. The detailed story is as under:
Bimli (Rajeshwari) is the daughter of a poor farmer (Inderjeet Sachdev) and his wife (Radha Asrani) who had been betrothed to a village boy during their childhood. Now Bimli is working in a brick kiln and earning money to take care of her parents. Her husband has been working as a laborer in Kolkata whose face she has not seen for years. There is no communication from him either to his own father, Bisram (Nasiruddin Shah) or to Bimli.
Bimli also work as a part time cook for Brick-kiln owner (Deepak Qazir) to serve food to his workers. There are some admirers of Bimli in the brick-kiln which include a manager (Vijay Kashyap), a tractor driver and a truck driver, Billar (Om Puri) who brings truck load of coal for brick making. She has a friendly disposition towards him and Billar assumes that she is attracted to him. He starts flirting with her. However, Bimli sternly reminds him that she is married and he has also a wife.
Billar is hopeful that as Bimli’s husband has not returned from Kolkata for a long time, she would eventually agree to be his wife. He also keeps Bimli’s father happy with regular supply of tobacco for chewing and bottles of liquor for his consumption. One day, Billar gives her a gift of new saaree which she refuses to accept by telling that she knows the purpose of his gift. She makes it very clear to him that though she likes his company, she will continue to be faithful to her husband.
In an adjoining village, Bimli’s father-in-law, Bisram lives alone in his hutment. He is fond of sensual pleasure having affairs with a woman. He is uncomfortable with the rumor of Bimli’s ‘affair’ with the truck driver and going out with other men for village festival. He decides to recall Bimli to his home by arranging the ‘gauna’ (consummations of marriage) ceremony. Bimli’s parents are reluctant for gauna ceremony as her husband has not yet returned from Kolkata. However, Bisram forces them to perform the gauna ceremony in the guise of her ‘rumored affair’ and returns with Bimli in his hutment.
Bimli is respectful to her father-in-law and takes care of him. Bisram on the other hand does not call his son to join Bimli as his intention is to use her as an object of satisfying his sexual desire. In one evening, after his drinks, he tries to molest Bimli. With a knife in her hand for protection, she pushes him out of the house and locks the door. Bisram goes to a temple and spends the night there. Next day morning, Bisram returns home and offers his apology for his misbehavior. Under pressure from panchaayat members, Bisram decides to stay separately in a new hutment leaving his old hutment for Bimli. He spends most of his time praying in the temple.
After a couple of days, Bisram returns from the temple bringing with him a glass of milk as offerings from the temple which he has mixed with drug. Bimli consumes the milk as offering from the temple and soon falls into a deep slumber on the floor. Bisram returns and rapes her after which he spends night in the temple.
Next day, Bisram finds Bimli missing from her hut. She has already realized what happened to her in the night. She leaves the village with the intention of going to Kolkata in search of her husband. Bisram sends his men to locate her at the railway station. In the meanwhile, Bisram has already created enough alibis after which he calls for a panchaayat meeting where his men has brought Bimli and presented before the panchaayat. The panchaayat members are not prepared to go with what Bimli’s presentation of the actual happenings but go by the circumstantial evidences presented by Bisram. The panchaayat declares Bimli guilty and awards punishment to her by way of creating scar on her body by a red-hot iron rod by Bisram who has actually raped her. What an irony!
For the viewers of the film, it is known as to what has actually happened to Bimli. But for panchaayat members, the version presented by Bisram appears to them more reliable thanks to the alibis created by him. At the end of the panchaayat meeting, the temple’s priest says “. . .it is difficult to understand triyaacharitra” and he utters a shloka, “triyaacharitram purushasya bhaagyam”. I did not understand the context of the shloka in the film. A internet search revealed that ‘triya’ means ‘woman’. I also came across a shloka which is attributed to Manu Smriti (Writings of Sage Manu)
Triya charitram purushasya bhagyam
Devo na jaanati kuto manushya
(why man, even God cannot predict a woman’s character and a man’s destiny).
I am not sure whether the shloka connotes the positive or negative traits about Bimli in the film. I found the character of Bimli (Rajeshwari) very strong until she was outmaneuvered by Bisram at the end. Bimli’s story is incomplete as what happens to her in the aftermath of the punishment is unknown to the viewers. Probably, the writer has left to the imagination of the readers of the novel and the viewers of the film. I have read another interpretation of the word, ‘triyaacharitram‘ that a woman can kill her husband or jump on the pyre of her husband. Her character is unpredictabe. So, Bimli can either take revenge against her father-in-law or meekly shifts to her parents’ house.
By the way, why not ‘purushasya charitram and triya bhagyam’?
The film had two songs written by Yogesh Gaud and set to music by Salil Chowdhury. I am presenting the first song from the film, “Ho Aaya Dekho Re Salonaa Din” to appear on the Blog. The song is rendered by Sonu Nigam and Antara Chowdhury. The song is picturised on Rajeshwari and on a dholak player. Vijay Kashyap among other travelers is also seen in the song sequence. The song has been written in colloquial Hindi, probably using Awadhi words and giving a feel of a folk song. Incidentally, the film’s story is based around Prayagraj and Yogesh Gaud, the lyricist of the song, hailed from Awadh (Lucknow).
The background of the song is that on the occasion of Makar Sankranti, Rajeshwari and her other brick-kiln workers go to a village fair on a tractor. Bimli (Rajeshwari) travels with some male workers and roams with them till late night which gets reported to her father-in-law, Bisram. He later uses this as one of the evidences aganst Bimli in panchaayat, depicting her of loose character.
Video Clip:
Audio Clip:
Song-Ho aaya dekho re salona din (Triyaacharitra) (1994) Singers-Sonu Nigam, Antara Chowdhury, Lyrics-Yogesh, MD-Salil Chaudhary
Both
Lyrics:
ho aaya dekho re salona din
salona din
ho hui gawa magan magan mora mann
dhinak dhin
ho aaya dekho re salona din
salona din
ho hui gawa magan magan mora man
dhinak dhin
ho aaya dekho re salona din
salona din
sanwar sanwar hum aaj dekhan chalen melaa re
kaun mil jaaye man mitwa hamen albelaa re ae
sanwar sanwar hum aaj dekhan chalen melaa re
kaun mil jaaye man mitwa hamen albelaa re ae
jikraa se nain ladey jo saayad
arre jikraa se nain ladey jo saayad
jeewan ki dagariyaa pe
jeewan ki dagariyaa pe
mahak uthhe re chandan
ho aayaa dekho re salonaa din
salonaa din
ho hui gawaa magan magan moraa man
dhinak dhin
ho aayaa dekho re salonaa din
salonaa din
tukur tukur koi naar nihaare soone rahiya pe
kaun muskaan ke teer chalaaye dekho bhaiyaa re
tukur tukur koi naar nihaare soone rahiya pe
kaun muskaan ke teer chalaaye dekho bhaiyaa re
kauno chankaawe jhaanjhar kauno
arey kauno chankaawe jhaanjhar kauno
khankaawe kanganwaa re
khankaawe kanganwaa re
khanan khanan khankhan
ho aaya dekho re salonaa din
salonaa din
ho hui gawaa magan magan mora man
dhinak dhin
ho aayaa dekho re salonaa din
salonaa din
chhalak chhalak gayi rut pe ras ki gagri re
phulwaa ki aaj sugandh chaun dis bikhri re
chalak chalak gayi rut pe ras ki gagri re
phulwa ki aaj sugandh chaun dis bikhri re
ho jiyaraa hamraa besudh hoyi ke
jiyaraa hamraa besudh hoyi ke
rasiyaa kauno bhanwraa saa
rasiyaa kauno bhanwraa saa
karat hai ab gun gun
ho aayaa dekho re salonaa din
salonaa din
ho hui gawaa magan magan moraa man
dhinak dhin
ho aaya dekho re salonaa din
salonaa din
ho hui gawaa magan magan moraa man
dhinak dhin
ho aayaa dekho re salonaa din
salonaa din
ho hui gawaa magan magan moraa man
dhinak dhin
ho aayaa dekho re salonaa din
salonaa din
ho hui gawaa magan magan moraa man
dhinak dhin
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
सँवर सँवर हम आज देखन चलें मेला रे
कौन मिल जाये मन मिटवा हमें अलबेला रे॰॰ए
सँवर सँवर हम आज देखन चलें मेला रे
कौन मिल जाये मन मिटवा हमें अलबेला रे॰॰ए
जिकरा से नैन लड़ें जो सायद
अरे जिकरा से नैन लड़ें जो सायद
जीवन की डगरीया पे
जीवन की डगरीया पे
महक उठे रे चन्दन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
टुकुर टुकुर कोई नार निहारे सूनी रहिया पे
कौन मुस्कान के तीर चलाये देखो भैया रे
टुकुर टुकुर कोई नार निहारे सूनी रहिया पे
कौन मुस्कान के तीर चलाये देखो भैया रे
कौनो छंकावे झाँझर कौनो
अरे कौनो छंकावे झाँझर कौनो
खंकावे कंगनवा रे
खंकावे कंगनवा रे
खनन खनन खनखन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
छलक छलक गई रुत पे रस की गगरी रे
फुलवा की आज सुगंध चहुं दिस बिखरी रे
छलक छलक गई रुत पे रस की गगरी रे
फुलवा की आज सुगंध चहुं दिस बिखरी रे
हो जियरा हमार बेसुध होई के
हो जियरा हमार बेसुध होई के
रसिया कौनो भँवरा सा
रसिया कौनो भँवरा सा
करत है अब गुन गुन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
हो आया देखो रे सलोना दिन
सलोना दिन
हो हुई गवा मगन मगन मोरा मन
धीनक धिन
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