Advertisements

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

Posts Tagged ‘Usha Mangeshkar


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.

ना जाने क्यों॰ ॰ ॰ होता है ये ज़िंदगी के साथ
अचानक ये मन
किसी के जाने के बाद
करे फिर उसकी याद॰ ॰ ॰

Aah, Shyama. . . the vivacious, bubbly, chirpy, charming Shyama. That is the image that the mind always carries, of this spirited young lady, so full of life on the screen. Some memories and some reflections are so firmly engraved in the mind that it simply does not register or acknowledge the passage of time and the passing of eras. That is the beauty of these memories – that their beauty simply never fades away.

My very first encounter with her was the song “Mujhe Mil Gaya Bahaana Teri Deed Ka” (film ‘Barsaat Ki Raat’, 1960). I saw this song on Delhi TV, most probably in some edition of the Chitrahaar program. Shama (Shyama) is on screen with Shabaab (Ratna), her younger sister in the film. There is an exchange that leads to certain wrong impressions. Being secretly in love with Amaan (Bharat Bhushan), Shama interprets that conversation to be in her favour. And this happy song of an assumed fulfilment of love is the outcome. The expressions and the rendering of this love song trickled right into the mind and heart of a very young heart, and the lady on the screen became a favorite crush of mine.

A few years later, I would get a chance to see this complete film. And my heart was both joyous and asunder. I got to see more of her scintillating performance, especially the qawwaali “Ji Chaahta Hai Choom Loon Apni Nazar Ko Main”, in which she is brimming with excitement and delight. She makes you feel the thrill that she is experiencing, going in for the kill of the opposite party in the qawwaali competition. Her performance simply takes you along that joyous path of the victory of her singing group over that of Chand Khan’s (Khurshid Bawra’s) group. But then, I was also sad that in the final outcome, she is not the choice of the person she adores and worships. The film ends with her being the loser in the game of love. My heart wept for her, for her love was true and silent, and it made the sacrifice in face of knowing that her beau’s heart is smitten elsewhere. This film remains an all time favorite in my heart.

Then came other films, viewed some years later during college days. Films from the previous three decades were mostly showing as reruns in morning shows (9am to 12 am). We used to skip the morning classes in the college to go visit these unknown unseen films, for the love of that golden era. In that time, I would get to see ‘Aar Paar’ (1954), ‘Shart’ (1954), ‘Chhoo Mantar’ (1956), ‘Makkheechoos’ (1956), ‘Bhai Bhai’ (1956), ‘Sharda’ (1957), ‘Bhaabhi’ (1957), ‘Lala Rukh’ (1958), ‘Zabak’ (1961) and many more. The ‘puppy’ crush was long over and done with, but Shyama was a favorite actress – always would be ready to go see an unseen film, especially if Shyama was part of the cast of actors.

She was born as Khursheed Akhtar, in Lahore. Her date of birth is stated differently in different online sources. The anniversaries table on our blog gives the date as 12th June of 1935. Cineplot gives the date as 7th June, 1935. In his book ‘Beete Kal Ke Sitaare’, Shri Sriram Tamrakar quotes her birth date as 12th July 1933. There are other sources which are at variance with these dates too.

When she was two years old, her family moved to Bombay. Her father was a fruit merchant and had set up a shop in Byculla. With seven siblings, Shyama was part of a large family. School and studies never did interest her. Right from childhood, being a star on the silver screen was her dream. As a child, she had seen a film starring Ishwarlal and Khursheed (the famous singer-actress). She was very impressed by Khursheed’s singing and her acting. On seeing this role, a resolve started to form in her to become an actor. [Ed Note: This picture possibly could be ‘Shaadi’ (1941) or ‘Chandni’ (1942).]

As a young girl, she was quite mischievous and full of pranks. Her elder sisters would admonish her for being such a tomboy. In her own words (from an interview on Cineplot) she says that she always wanted a hungama, indulge in a little romance. But she was very disciplined and cultured too. She never smoked, or drank all her life. And she never appeared in a swimsuit throughout her career. She was very true to her Muslim upbringing and family traditions.

In 1944/45 she and her sisters and friends, one day went to see the shooting of a film at a studio in Dadar (Bombay). The shooting of the film ‘Zeenat’ (1945) was in progress. The specific sequence being filmed was the now iconic all female qawwaali “Aahen Na Bharin, Shiqwe Na Kiye”. As luck would have it, Shaukat Hussain Rizvi, the director of the film, wanted to have more girls to join the singing group. He asked this group of onlooker young ladies whether they would like to join the filming of this song. Without hesitation, Khursheed raised her hand. Rizvi Sb picked her to join the group and play the dholak. In the video of this song, one can see her sitting in the second row behind the main singers, wearing a traditional cap, with a dholak in her lap. The young lady got a billing in the star credits as Baby Khursheed. She was just about 10 years old.

Her father was very upset that his daughter had made this impromptu decision, and was set against her joining films. However, her mother and her sisters prevailed upon him and calmed him to get his consent to permit her to work in films. So out went the school and studies, and the little Khurshid started her career doing child roles and extras. By her own estimates, she probably has appeared 80 films in which she was just an extra or a chorus girl.

‘Nai Maa’ is a 1946 film, which Shyama herself indicates as being her first formal role as a child star. The film is from the banner of Prakash Pictures – the production house of the Bhatt brothers – Vijay and Shankar Bhai. With the consideration that there already were two actresses named Khursheed in the industry, Vijay Bhatt suggested for her to change her name to avoid same-name-confusions. He thought of the name ‘Shyama’. The young Khursheed happily took it on, and this name turned to be her career and her destiny.

Getting seriously into small roles as a child and a teenage artist, she did two very important things. One, she refused to be disheartened by the long succession of bit-roles and being a supporting cast member. Two, she took on to get trained in music and dance, and spent a good slice of her developmental years under the tutelage of the famous Badri Prasad, the multi-talented artist active in the industry at that time. Her perseverance paid off. Her roles started to get more prominent, and her co-stars the more famous ones. She appeared as the younger sister to KL Saigal in ‘Parwaana’ (1947). The same year, she also appeared as the younger sister of Motilal in ‘Beete Din’. On to 1949, and she was now the younger sibling of actor Shyam in the film ‘Kaneez’.

In 1950, she got a very prominent role as the wayward younger sister of Shyam and Karan Dewan in the film ‘Chhoti Bhaabhi’. The title role was played by Nargis (paired with Karan Dewan), but the role played by Shyama was pivotal as the rebellious daughter in the family, who is on the verge of eloping with Yakub, a self serving con-man. Then came 1951 – she was paired as the love interest of Balraj Sahni in ‘Hum Log’; and the same year, she got to play a prominent role in ‘Taraana’ as the third part of the love triangle completed by Dilip Kumar and Madhubala.

It was in 1952 that she was able to belie the popular adage in the industry – ‘once an extra, always and extra’. But this graduation was not without its moments of anxiety and a heart stopping near miss. IS Johar was looking for an effervescent and a lively young new face as the lead for his maiden directorial venture – ‘Shrimati Ji’. Familiar with Shyama and her capabilities from their earlier films together viz., ‘Chhoti Bhaabhi’ (1950) and ‘Ek Teri Nishaani’ (1949), Johar chose Shyama from a list of over 100 candidates for the role. Shyama was excited and happy with this groundbreaking development in her career.

But a scare was still in store, and the career that we see, was almost never. A couple of reels had been shot. One day on the studio floor, one of the financiers was present. On seeing Shyama, he made a curt remark that this girl is too thin to impress in a leading role, and walked away. One can imagine the turmoil that followed, with doubts appearing in the minds of the entire team. Shyama herself notes that she went home and cried all night – here was a once in a lifetime break that suddenly became so close to slip out of her fingers. After the crying session was over, she pulled herself together and made a resolve to address even this issue. Next day, she went out to seek medical help. Whoever would think of a thing like a diet to ‘gain’ weight? She went on a crash diet to do exactly this – gain weight. In a short period of time, she gained a reasonable amount of weight, and went right back in to complete the film.

One more significant episode occurred in the year 1951. Shyama was filming for ‘Sazaa’; she was the second lead to Nimmi and again, the third vertex of the love triangle that includes Dev Anand and Nimmi. The director and cinematographer of this film was Fali Mistry. Affections developed between the two, and two got married. Her family would have preferred a Muslim son-in-law. Fali Mistry being a Parsi, her father did not accept her new venture in life. She did get support from her mother, who was present at the small and quiet ceremony for the wedding. Her father  did not communicate with her for years. Shyama mentions in her interview that the ice between them was eventually broken when she gave birth to her first son, and went to him to get his blessings.

One of the understandings between Shyama and Fali was that she would continue to work in films. Apparently there were other suitors also, but as per herself, the proposals did not go further because the gentlemen did not agree to allow her to continue her work.

Through the 1950s, as well as early sixties, Shyama was in the top bracket of leading ladies in Hindi cinema. A golden period in her career, her popularity can be gauged by the fact that 82 of her films were released in the period from 1952 to 1960. In 1954 alone, 14 of her films came on the silver screen, and 13 in the year 1955. In all 27 films in a period of two consecutive years is a record in itself. An interesting aspect of her career has been that while she was in demand as the leading lady, she continued to do all kinds of roles, including second lead and even as a vamp. By her own admission, she was never too much hung up on being the leading lady, but was always more interested in the content of the role. In fact her only Filmfare award is for her performance in ‘Sharda’ in 1957 – as the best female actor in a supporting role. In the later part of 1960s, she transitioned into character roles and continued to work till the end of 1980s. Her last film as a character artist is ‘Hathyaar’ released in 1989.

Fali Mistry passed away unexpectedly in 1979, leaving behind a family of two sons and one daughter.

In the past 3, 4 days I was in travel myself, and was disconnected from the net for part of that time. Settling back after returning, as I processed through the email backlog, I got to see this message from Harish Raghuvanshi ji, informing about the sad demise of Shyama. She was 82, and as per her latest interviews some years back, she was quite satisfied with the full life she had led, and with her accomplishments on the silver screen.

As I sorted through the list of her songs as yet unpublished on our blog, searching for an appropriate song for this tribute, I came across this chirpy and playful song from the film ‘Ghar Basaa Ke Dekho’ from 1963. I had not heard it before. As I played this song, it struck me as so much Shyama herself, and I knew this is the song so suitable to go along with the write up about her. On screen, she leads the singing and dancing within a group of friends. Some of the faces are familiar, but I am unable to place any names. I request our knowledgeable readers and friends to help identify other actresses supporting Shyama in this song.

The words are from the pen of Rajendra Krishan and the lilting music comes from the mind of Chitragupt. The singing voices are of Suman Kalyanpur, Usha Mangeshkar and chorus. Shyama gets to lip sync most of the lines of Suman Kalyanpur, and the lines sung by Usha Mangeshkar are shared between more than one of the supporting ladies on screen.

A wonderful expression of a philosophy of life, that one can surmise from her interviews, was very dear to Shyama herself. The thought behind the bubbly vivacity in this song is just the same thought that first made her raise her hand unhesitatingly to Rizvi Sb’s query on who would like to join the filming of the group song (qawwaali song in ‘Zeenat’). That is Shyama.

Or to put it more correctly now – that was Shyama. Only the memories remain now.

bichhad kar chale jaao hum se kahin
magar ye na kehna mohabbat nahin

magar ye na kehna mohabbat nahin . . .

Dear Shyama, RIP – Rest In Playfulness, Always 🙂

[Acknowledgements: source material for the above article is referred from articles and interviews published on the blogs Cineplot, Beete Huye Din (by Shishir Krishna Sharma), Wikipedia, and a profile article in the book ‘Beete Kal Ke Sitaare’ by Shri Sriram Tamrakar.]

[Ed Note: This song also is a remembrance of Chitragupt; reviving memories of this prolific music director on the anniversary of his birth – 16th November.]

 

Song – Jidhar Jee Mein Aaya Udhar Hum Chale (Ghar Basaa Ke Dekho) (1963) Singer – Suman Kalyanpur, Usha Mangeshkar, Lyrics – Rajendra Krishan, MD – Chitragupt
Suman Kalyanpur + Usha Mangeshkar
Chorus

Lyrics

jidhar jee mein aaya
udhar hum chale
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

jinki kismet mein aish likha hai
aish karte hain aur jeete hain
jinki kismet mein aish likha hai
aish karte hain aur jeete hain
aah bharna hai jinki kismet mein
aah bharte hain ashq peete hain
zindagi kya hai ek hungaama
ek hungaama roz ho jaaye
kehkahon ke bagair kya jeena
zindagi kehkahon mein kho jaaye
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

aadmi ko mili hain kyon aankhen
dekh le jis qadar nazaare hain
aadmi ko mili hain kyon aankhen
dekh le jis qadar nazaare hain
baag tera hai phool tere hain
aur tere hi chaand taare hain
zindagi naam hain bahaaron ka
hum bahaaron ka ras nichodenge
zindagi ek baar milti hai
ek armaan bhi na chhodenge
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

zindagi teri ek hulchul hai
raqs hai saaz hain taraana hai
zindagi teri ek hulchul hai
raqs hai saaz hain taraana hai
ik jagah par qayaam kya karna
har chaman tera aashiaana hai
ek pal bhi na fikr mein beete
muskuraata ja geet gaata ja
aur duniya jo raah mein aaye
ek thokar usey lagaata ja
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

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

जिधर जी में आया
उधर हम चले
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

जिनकी क़िस्मत में ऐश लिखी है
ऐश करते हैं और जीते हैं
जिनकी क़िस्मत में ऐश लिखी है
ऐश करते हैं और जीते हैं
आह भरना है जिनकी क़िस्मत में
आह भरते हैं अशक पीते हैं
ज़िंदगी क्या है एक हंगामा
एक हंगामा रोज़ हो जाये
कहकहों के बगैर क्या जीना
ज़िंदगी कहकहों में खो जाये
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

आदमी को मिली हैं क्यों आँखें
देख ले जिस कदर नज़ारे हैं
आदमी को मिली हैं क्यों आँखें
देख ले जिस कदर नज़ारे हैं
बाग तेरा हैं फूल तेरे हैं
और तेरे ही चाँद तारे हैं
ज़िंदगी नाम हैं बहारों का
हम बहारों का रस निचोड़ेंगे
ज़िंदगी एक बार मिलती है
एक अरमान भी ना छोड़ेंगे
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

ज़िंदगी तेरी एक हलचल है
रक़्स है साज है तराना है
ज़िंदगी तेरी एक हलचल है
रक़्स है साज है तराना है
इक जगह पर क़याम क्या करना
हर चमन तेरा आशियाना है
एक पल भी ना फिक्र में बीते
मुसकुराता जा गीत गाता जा
और दुनिया जो राह में आए
एक ठोकर उसे लगाता जा
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

Advertisements

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.

In India, a typical Indian male is likely to be interested in Hindi movies and cricket. Typical Indian females are likely to be interested in Hindi movies and TV serials. 🙂

I have been a typical Indian male for many years now. 🙂 I was interested in Hindi movies right from my childhood, viz 1960s. I became interested in cricket from early 1970s.

In those days, one needed to go to movie halls to watch movies. One followed international cricket on radio. Just a few lucky people would be able to watch the match live on the ground.

Nowadays, one can watch all kinds of movies as well as all kinds of cricket matches in the luxury of our homes on TV. One can watch/ follow them on mobile, computers etc as well. That way, following movies and cricket has come a long way from the days of 1960s.

TV channels as well as the content providers (be they movie makers or cricket boards), that dish up the fare that we watch, do not rest on their oars. They constantly reinvent themselves.

As a sports lover, I always thought that Indians needed to follow more sports than just cricket. We in India give undue importance to cricket to the detriment of other sports.

Most armchair critics like us only criticise and we do not do much to address such issues, but the good thing is that some people have actually started addressing these issues. We now have people who have started to promote other sports as well. If we have IPL in cricket, then we have similar leagues in quite a few other less popular sports as well, viz in Hockey, football, badminton, Kabaddi etc. that are being promoted and covered by a few TV networks.

I must admit that I did not watch these coverage till last year. My view was that the standard of India in these sports like say Football was abysmal and organising this football league was unlikely to help matters. About Kabbadi, my view was that it is played in India and neighbouring countries, so what was so great watching a sports that was not even a global sport.

In MP, government lady employees could take childcare leave for upto two years till their child was under 18 years old. Our daughter, then undergoing medical coaching was a few months short of turning 18, so my wife decided to avail childcare leave for the few months for which she was eligible. So she took childcare leave for those months and came over to stay with me in UP. It was supposed to be a childcare leave, but in reality, it turned out to be a husband and pets care leave for her. 🙂

It was in late 2015 that my wife joined me in UP at my place of posting.

My wife had watched the first two editions of PKL (Pro Kabaddi League) and it was on her insistence that I began to watch third season of PLK beginning in january 2016. Initially I watched it grudgingly, but soon I realised that what I was watching was a thrilling sport that required tremendous skill and that I was watcing the best practitioners of the sport in this PKL.

The rules of kabaddi in PKL were modified to make it a thrilling and fast paced sports, which was a far cry from the image of a largely dull and boring rustic sport that it was perceived to be till then. In traditional kabaddi, one could keep playing empty raids ad infinitum, making it a dull and negative spectacle. In PKL, only two empty raids in a row were allowed, and the third raid was a “do or die” raid. Other innovative modifications were bonus point for the raider when six or seven defenders were playing and super tackle for the defenders when three or less defenders were around.

I and my wife would religiously watch TV together in the evening to watch PKL matches. Both of us independently arrived at the decision to “adopt” Patna Pirates as the team to support. The eight teams, all named after various Indian cities, would move in a caravan to the cities of each of the teams in turn. Every team played every other team twice (home and away). The top fours teams advanced to the semifinals. The number one team of a group played number four, while the number two and three teams played the other semifinal.

Patna Pirates, wo looked like the strongest team in the tournament went on to become the champions when they narrowly defeated U Mumba in the final. Rohit Kumar, the Patna Pirates raider impressed everyone and he was the man of the tournament.

The fourth season of PKL was played in june and july of 2016. Patna Pirates once again proved to be the strongest team and they retained the title by defeating Pink Panthers in the final. Rahul Chaudhary of Telugu Titans was the man of the tournament though it was Pardeep Narwal of Patna Pirates who really caught the eyes of the fans with his spectacular escapes from defenders through “dubkis”.

The fifth season of PKL is in progress now. The four seasons of PKL have seen audiences growing up by leaps and bounds. Just as I joined in the third seasons, many more people have begun to follow PKL. It has in fact now become the second biggest sporting league in India after IPL.

The fifth season of PKL is a vastly expanded affair. Now there are twelve teams, grouped into two groups of six teams each. Each teams play other teams in the group thrice and play the teams of other group once. So every team plays 22 matches. The finalists are selected by a method similar to that followed by IPL.

This season was four months long. It was a calculated risk but the organisers seem to have succeeded in their gamble. They managed to keep the watches glued to their TV screen for four months.

The six teams of North (Dabang Delhi, Haryana Steelers, Jaipur Pink Panthers) and West (U Mumba, Puneri Paltan, Gujarat Fortunegiants) were placed in group A, whereas Group B had teams from East (Patna Pirates, Bengal Warriors, U P Yodda) and South (Telugu Titans, Bangalore Bulls and Tamil Thalaivas).

It was interesting to note that new teams, viz Gujarat Fortunegiants, Haryana Steelers and UP warriors did well. It is Tamil Thalaivars, another new team that failed to win much and finished at the bottom of their group.

Initial matches gave the indication that Patna Pirates, despite losing many of their players to other teams in the auction, were the team to beat. It was mainly because of the brilliance of Patna Pirates raider Pardeep Narwal who had looked unstoppable in the previous season and looked just as irrepressible in the earlier matches of the current season.

But as the matches wore on, it turned out that other teams had worked out their strategies to tame Pardeep Narwal. The implementation of their strategies was the main thing. Often the opposition wopuld keep Pardeep Narwal at bay for say 30 minutes out of 40, still he would change the match topsy turvy in the remaining ten minutes of the match.

One can see that the PKL has evolved with time. Many players have moved over to new teams. Teams have worked out new strategies.

Though most players are Indians, every team has some foreigners too. Kabaddi is the national game of Bangladesh as well, but the country which can be said to be the strongest in Kabaddi after India is Iran. They are the only other team apart from India which has a good Kabaddi set up. Most foreigners in PKL are from Iran and they are very important parts of their respective teams.

Ironically, the most popular and most successful foreigner is not an Iranian but a Korean ! Jang Kun Lee is the star raider of Bengal Warrior and he was in fact their skipper in the past. How he and a few other Koreans took to Kabaddi and became this good could be a case study. He really caught the eye of kabaddi watchers in the previous two seasons.

As mentioned earlier, there are quite a few Iranians in various teams. One of them, viz Meraj Sheikh is in fact the captain of the Dabang Delhi team. Abolfazal Maghsodlu is the other Iranian player in the team.

But the two Iranians who have had a major role in their team’s fortune are Fazal Atrachali and Abozar Mighani. Both of them are defenders and they are with Gujarat Fortunegiants. Theie robust tackles have made their team’s defence the strongest in the tournament.

Gujarat Fortunegiants, one of the four new teams in PKL, appear to have done their homework in great detail. They decided to have strong tacklers as well as tall raiders. While their defence is the strongest in the tournament, their raiders, who were largely unknown names till now have really proved out to be surprise packages in the tournament.

Gujarat Fortunegiants have also done something that no other team did ! They brought in a foreigner as their physiotherapist. This foreign physiotherapist is a female. Olivia Witek is from Poland. She is no stranger to contact sports. A trained sports medicine expert in the past, she has been the physiotherapist of Poland American rules Rugby team. She was the physiotherapist of the Polish Kabaddi team that visited India in 2016 to participate in the Kabaddi world cup that was held in Ahmedabad. Perhaps it was during this visit that she caught the eyes of Adanis, who were then recruiting staff for their soon to be launched kabaddi team. It must be said that her training regime must have done a world of good to the players of her team, seeing that Gujarat Fortunegiants are actually in the final of PKL to be played today (28 october 2017). In addition to her to putting her players through their paces, she also serves as an attractive cheergirl for her team in all their matches. I find that she, like me, has two dogs back home. That must be the secret of her success in her profession. 🙂

Patna Pirates, the two times defending champions are the other team in the final and they will seek to make it three titles in a row. It should be a grand and riveting finale seeing that the two teams are easily the best teams in the tournament. I am keenly looking forward to the final that will be played tonight (28 october 2017). And this match will be watched worldwide. Starsports, now a majority stakeholder in PKL is playing a big role in popularising Kabaddi world wide with their TV coverage of this tournament. I have certainly become a PKL fan and I cannot wait to watch the final. This tournament showcasing the native Indian sport of Kabaddi is being sponsored by Vivo, a Chinese company. So Chinese companies too recognise the potential of Kabaddi. Hindi Chini Bhai bhai. 🙂

Kabaddi is an Indian sport but it is surprising that Hindi movies do not have many Kabaddi songs in them. The most well known (some will say the only one) song on Kabaddi is from “Naseeb”(1981). This song, “Pakdo pakdo pakdo” shows two teams playing Kabaddi. The rules of this kabaddi match are much more creative and innovative than even the PKL rules. 🙂 For once, this Kabaddi match is between a male team (led by Rishi Kapoor) and a female team (led by Kim). Both teams have ten players each, far in excess of the figure of seven, but then who in Hindi movies knows how to count. 🙂 And the moves made by the players in this match cannot be found in any Kabaddi coaching manual. 🙂

The male team is coached by Jeewan and the female team by Shubha Khote. Instead of taking interest in their teams performance, the two are shown taking interest in each other throughout the song. 🙂

The song is sung by Usha Mangeshkar, Kishore Kumar and chorus. Anand Bakshi is the lyricist. music is composed by Laxmikant Pyarelal.


Song-Pakdo pakdo pakdo (Naseeb)(1981) Singers-Usha Mangeshkar, Kishore Kumar, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Male Chorus
Female Chorus
All chorus

Lyrics

hey
hey
hey hey

hu tu tu tu
tu tu tu tu
tu tu tu tu tu tu tu tu
tu tu tu tu tu tu tu tu
tu tu tu tu
tu tu tu tu tu

pakdo pakdo pakdo (tu tu tu tu tu tu)
jakdo jakdo jakdo (tu tu tu tu tu tu)
dekho (tu tu tu tu tu tu)
jaane na paaye (tu tu tu tu tu tu)
jaaye to waapas aane na paaye (tu tu tu tu tu tu)
arre pakdo pakdo pakdo (tu tu tu tu tu tu)
jakdo jakdo jakdo
hey
hey

hu tu tu tu tu tu
hu tu tu tu tu tu
pakdo pakdo pakdo (tu tu tu tu tu tu)
jakdo jakdo jakdo (tu tu tu tu tu tu)
dekho jaane na paaye (tu tu tu tu tu tu)
jaaye to waapas aane na paaye
ae pakdo pakdo pakdo
jakdo jakdo jakdo

hey
haa

maaro kainchi todo tangdi
hu tu tu tu tu
ye ghar jaye ho ker langdihu tu tu tu tu
bainya pakdo haath marodo hu tu tu tu tu
gori gori taang na todo hu tu tu tu tu
khel hai pyaare
pyaar nahin hai
dushman hai
dildaar nahin hai

ye tera dil dhadkaane na paaye
arre pakdo pakdo pakdo (hu tu tu tu tu)
jakdo jakdo jakdo (hu tu tu tu tu)
dekho jaane na paaye (hu tu tu tu tu)
jaaye to waapas aane na paaye (hu tu tu tu tu)
arre pakdo pakdo pakdo (hu tu tu tu tu)
jakdo jakdo jakdo
hey haa

hu
hu
hu
hu
hu
hu

koi ladki ye na bhoole
ye ladka hanske na chhoole
(hu tu tu tu)
iska mukhda to hai bhola
shabnam mein hai aag ka shola

apne dil per rahkna kaabu
iske nainon mein hai jaadu

ho nainon se nain milaane na paaye
hey pakdo pakdo pakdo
(tu tu tu tu tu tu)
jakdo jakdo jakdo (tu tu tu tu tu tu)
dekho jaane na paaye (tu tu tu tu tu tu)
jaaye to waapas aane na paaye (tu tu tu tu tu tu)
hey pakdo pakdo pakdo (tu tu tu tu tu tu)
jakdo jakdo jakdo (tu tu tu tu tu tu)
hey haa

hahahaha
ek gayi ab dooji aayi
hu tu tu tu
tauba allaah raam duhaayihu tu tu tu
ye to saans nahin chhodegi hu tu tu tu
ye maidaan mein dam todegi
hu tu tu tu
soch samjh ke zor lagaana
ye naazuk hai bhool na jaana
patli kamar bal khaane na paaye
arre pakdo pakdo pakdo (hu tu tu tu)
jakdo jakdo jakdo (hu tu tu tu)
dekho jaane na paaye (hu tu tu tu)
jaaye to waapas aane na paaye (hu tu tu tu)
arre pakdo pakdo pakdo
ae jakdo jakdo jakdo
hey haa


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.

“Delhi Junction”(1960) was produced by RL Sharma and directed by Mohammad Hussain for Nigaaristan (India) Films, Bombay. The movie had Ajeet, Shakeela, Nishi, Maruti, Manorama, Tiwari, Pran, Protima Devi, Murad, Rafiq, Kamal Mohan, Harun, Anwari Bai, Pal Sharma, Jagdish Kanwal, Nadir, Satish, Sadiq, Sarita, Kukku, Rajni, and Khurshid etc in it.

The movie had six songs in it that were penned by four lyricists viz. PL Santoshi, Prem Dhawan, Farooque Kaiser and Gulshan Bawra. 

Four songs have been covered in the blog.

Here is the fifth song from “Delhi Junction”(1960). This song is sung by Lata and Usha Mangeshkar. It is penned by Prem Dhawan. Music is composed by Kalyanji.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.

The audio of this song is not as good as it could be and the voices of the two singers (which otherwise are distinct) often cannot be separated from each other. Hopefully my colour coding is correct for the two voices.


Song-Kya karoon dil kahin pe kho gaya (Delhi junction)(1960) Singers-Lata, Usha Mangeshkar, Lyrics-Prem Dhawan, MD-Kalyanji

Lyrics

kya karoon
dil kahin pe kho gaya aa
jaane do
hona thha jo ho gaya aa

kya karoon
dil kahin pe kho gaya
kitna roka kitna toka
par sambhaala na gaya ho
kya karoon
dil kahin pe kho gaya
jaane do
hona thha jo ho gaya

kya khata thhi ye nazar ki
ya dilon ka josh thha aa

aankh milte ho gaya kya
kisko itna hosh thha
dekhti hi rah gayi main
dekhti hi rah gayi main
jaane kya ho gaya
ho o o
kya karoon
dil kahin pe kho gaya aa
jaane do
hona thha jo ho gaya

pyaar se na bach sakoge
phir ye darna kis liye ae

sochte thhe dil lagaa ke
aahen bharna kis liye
phir bhi dhokha kha hi baithhe
phir bhi dhokha kha hi baithhe
pyaar ho hi gaya
ho o o
kya karoon
dil kahin pe kho gaya aa
jaane do
hona thha jo ho gaya

kitna roka kitna toka
par sambhaala na gaya ho
kya karoon
dil kahin pe kho gaya aa
jaane do
hona thha jo ho gaya


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.

This post celebrates the 1000th song of Majrooh Sultanpuri on our blog.

rok sakta hamen zindaan e balaa kya majrooh
hum to awaaz hain deewaaron se chhan jaate hain

Powerful lines, written while he was in prison – no, not under the British rule; that happened back in 1946-47. This was a second time he was imprisoned c1950-51, under the regime of a free India. A poet with leftist leanings, his progressive writings were considered a threat by the British regime (which is understandable), and also considered a threat by then government of Morarji Desai (in Bombay). A song titled ‘Aman Ka Jhanda’ was sung at a meeting of poor labor class workers in the Parel area. Being the author, and the on stage presenter of this song, drew the ire of the establishment, and arrest warrants were issued in his name. He was arrested after being underground for some time, and sentenced to one year imprisonment. Morarji Desai suggested that he may render an apology for his writings, and he would be a free man. In response, the young revolutionary poet wrote this couplet.

rok sakta hamen zindaan e balaa kya majrooh
hum to awaaz hain deewaaron se chhan jaate hain

No walls of a prison
No tyranny of a jailer
Has the power to bind me
I am the voice (of conscience)
That permeates through
The walls of confinement
[Note: zindaan = jailer]

Remembering Majrooh Sb on the 98th anniversary of his birth today (1st October).
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 – 34
– – – – – – – – – – – – – – –

Yesterday, 25th July, was the anniversary of passing away of GS Kohli, the music director extraordinaire. He passed away in 1996, in Bombay.

A long time assistant music director to OP Nayyar, he had a short stint as an independent music director in the decade of 1960s. Despite a load of fantastic lilting songs in all his films – songs that became instant hits, very popular in their times, and still continue to be favourites of the lovers of the golden era of Hindi film music – he remained confined to B/C grade stunt films only. He continued to work as OPN’s assistant before, during and after his stint as an independent music director.
Read more on this topic…


This article is written by Raja, 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.

The 9th of June is the birthday of our beloved Arunkumar Deshmukhji, often fondly referred to as our in-house encyclopaedia. 🙂

Arunji, it takes me great pleasure to wish you a very happy birthday on this occasion – and I say this on behalf of all Atulites for whom you are a very special person.
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.

Today, it is the turn of this 1973 Vinod Khanna starrer – ‘Dhamki’ to join the list of Yippeee films on our blog.
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.

“Rani Roopmati” (1959) was a Ravikala Chitra Production. It was produced and directed by S N Tripathi. The movie had Bharat Bhushan, Nirupa Roy, Nalini Chonker, Krishnrao Chonkar, Anil Kumar, Dalpat, Rudha Apte, Rajrani, Heera, Ullhas, B. M. Vyas, Babu Raje, Radhika, Kiranmala, azeem, Bhagwan, Arvind Pandya, Shankar, Ajit, Hameed, Sulochana, Lami, Rajeshwari, Poonam Kapoor, Chandu, Amarnath 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.

“Imtihaan”(1974) was directed by Madan Sinha for New Arts Pictures, Bombay. This movie had Tanuja, Vinod Khanna, Bindu, Ranjeet (special appearance), Abhi Bhattacharya, Asit Sen, Sapru, Murad, C S Dubey, Abhijit Sen, Shashtri, Amrit Patel, Sunayna Santosh, Uday Arora, Neel Oberoy, Sonika Khanna, Dewal Verma, Naveen Pandya, Vijay Kumar, Bhanwar Shrivastava, Ibrahim, Seema, Madhu, Jugnu, Durga, Ravi Kanwar, Sunil Rege, Ibrahim Khan, Geeta Shah, Shankar Bhake, Nasir, Farooque, Chanda, Kamal etc in it.
Read more on this topic…


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

A very Happy Holi (today on date 13 march 2017) to all who visit this blog.

Let there be lot of colour all around you; but not on your clothes??; makes washing difficult ??! And if there is a water shortage in your region please play dry holi- with only colours. Ideally the colours should be organic; they do less harm to the skin and eyes -this is what I have read I haven’t used them ever. I don’t even remember when and where was my last holi; possibly when I had just moved to Dahisar in Mumbai back in 2000. But I still love to see others forget themselves in this game of colours. And also, I love to think of all the famous delicacies that are made at Holi. I have heard of Ghujiyas and Kaanji Vadas, Thandaai and Bhaang. Another major attraction to Holi (for me) these days are the various songs that play on the Radio and TV channels. Enough to drive one down memory lane.
Read more on this topic…


Advertisements

Important Announcement

(© 2008 - 2017) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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 13800 song posts by now.

This blog is active and online for over 3400 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13806

Number of movies covered in the blog

Movies with all their songs covered =1031
Total Number of movies covered =3767

Total visits so far

  • 9,910,149 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,537 other followers

Bookmark

Bookmark and Share

Category of songs

Archives

Current Visitors

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Stumble

Historical dates

Blog Start date: 19 july 2008

Active for more than 3250 days.

%d bloggers like this: