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

Posts Tagged ‘Uttam Kumar


This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4290 Post No. : 15542 Movie Count :

4283

———————————————–
Hindi Songs in Bangla Films – 24
———————————————–

‘Gali Theke Rajpath’ (Bangla film, 1959) was written and directed by Prafulla Chakraborty. The star cast included Uttam Kumar, Sabitri Chatterjee, Chhabi Biswas, Anup Kumar, Chhaya Devi, Tulsi Chakraborty, Bikash Roy, Shyam Laha, Sheela Paul, Helen, Jahar Roy etc. I have watched the video of a moderately edited film on one of the video sharing platforms. Probably, the film’s VHS tape was damaged as I found some  ‘jumps’ in the continuity of the film’s story. Unfortunately, English sub-titles are not available. A short synopsis on the cover of the VCD of the film helped me to understand the film’s story in a proper perspective.

The film opens with Raja (Uttam Kumar), a small-time thief coming out of the jail and Bhola (Anup Kumar), his close associate receives Raja outside the jail. Both of them discuss the plan for a bigger heist.

One day, Mala (Sabitri Chatterjee) arrives in their neighbourhood with her father (Tulsi Chakraborty) to reside in the locality where Raja and Bhola stay.  In the first meeting with them at the time of getting down from the bus, Bhola helps Mala and her father in bringing out their belongings from the bus. But in doing so, he picks her father’s wallet. Finding his wallet missing, Raja decides to pay the fares on their behalf to impress them to be of helping nature. Within few days, Raja and Bhola became closer to Mala’s father, though Mala keeps  a distance without offending them.

Mala is the only earning member by working in the theatre. She is not aware of Raja’s real identity. He tries hard to impress her to gain her attention.  In the meantime, Gobardhan (Bikas Roy) has been trying to stalk Mala in his efforts to make her join films. She tells Raja and Bhloa about her problems with Gobardhan which results in both of them punishing him on more than one occasions. All these actions of the duo create good impression on Mala who starts liking Raja.

In line with their plan to strike something big, Raja and Bhola get acquainted with a businessman Datta (Chhabi Biswas) and impress him into lending them money for their business which does not exist. Datta gives them the financial support as well as goods with a proviso that if  they sell the goods,  he would give them concession. However, being thieves and cheaters, both of them decide neither to return the money nor the goods.

One day, Raja and Bhola are seen picking someone’s pocket in a bus in which Mala is also travelling. She comes to know the real side of Raja. She starts avoiding him. Having lost Mala, Raja decides to reform himself and becomes a changed man. He gives up pickpocketing and cheating business much against the advice of his close friend, Bhola. And then Bhola also falls in line with Raja as for him, his unimpeachable friendship with Raja is more important than his notorious vocation.

Raja approaches businessman Datta and tells him the actual truth about his activities and his love for Mala. The fact is that Datta was already aware of Raja and Bhola’s nefarious activities. He was handling with a reformist approach by testing them with financial help to start a business and become the good citizens.  Datta goes and meets Mala and asks her to forgive Raja. Raja once again regains Mala’s love and the film has a happy ending.

When I watched this film, I was getting a feeling that I was watching a Bollywood film. The story of the film was nowhere near to the quality of most of the Bangla films with strong story lines. However, to the credit of the film’s director, Prafulla Chakraborty and of the main actors like Uttam Kumar, Sabitri Chatterjee, Anup Kumar and the veteran Chhabi Biswas, there was not much of dull moments in the film. The director ensured that Uttam Kumar and Anup Kumar in the roles of petty thieves with their light comical performances remained the likeable characters for the audience in their roles throughout the film.

‘Gali Theke Rajpath’ (1959) has 3 songs all of which sound like Bollywood songs insofar as musical compositions are concerned. Of the three songs, one song is in Hindi and the remaining two Bengali songs are solos sung by Asha Bhonsle and Manna Dey. Incidentally, Manna Dey sung for Uttam Kumar for the first time in this film in which he had also done yodelling.

I am presenting the only Hindi song in the film, “Tere Liye Aaya Hai Le Ke Koi Dil’ sung by Geeta Dutt. The song is picturised on Helen as a dance song in a  thieve’s den in which Uttam Kumar is present. The song is written by Naqsh Layallpuri. The musical score is that of Sudhin Dasgupta, the younger brother of Kamal Dasgupta. The tune of the song sounds somewhat similar to one of the Hindi film songs of the 50s which I am not able to recall. The song has  OP Nayyar style of composition.

Enjoy one more Helen song among the umpteen songs, Geeta Dutt sang for her in Hindi films.

 

Video (Partial)

Audio (Complete)

Song – Tere Liye Aaya Hai Le Ke Koi Dil (Gali Theke Rajpath) (Bangla) (1959) Singer – Geeta Dutt, Lyrics – Naqsh Lyallpuri, MD – Sudhin Dasgupta

Lyrics
(Based on Audio Version)

tere liye aaya hai leke koi dil
le le nazaraana o bhole qaatil
tere liye aaya hai leke koi dil
le le nazaraana o bhole qaatil
tere liye aaya
 
kitne haseen hain ye palkon ke saaye
dekh tujhe koi ishaaron se bulaaye
kitne haseen hain ye palkon ke saaye
dekh tujhe koi ishaaron se bulaaye
rahegi na pheeki
bahaaren zindagi ki
aa tujh ko khushi ki
dikhaa doon manzil
rahegi na pheeki
bahaaren zindagi ki
aa tujh ko khushi ki
dikhaa doon manzil
tere liye aaya hai leke koi dil
le le nazaraana o bhole qaatil
tere liye aaya
 
husn ke mele mein aa ke albele
wo dil hi nahi hai jo dil se na khele
husn ke mele mein aa ke albele
wo dil hi nahi hai jo dil se na khele
kehti hai fasaana
nighaahen mastaana
tuhe to samjhaana
bada hai mushqil
kehti hai fasaana
nighaahen mastaana
tuhe to samjhaana
bada hai mushqil
tere liye aaya hai leke koi dil
le le nazaraana o bhole qaatil
tere liye aaya
 
jalwe dikhaati yun nazaren bachaana
kar ke bahaana kisi ko tarsaana
jalwe dikhaati yun nazaren bachaana
kar ke bahaana kisi ko tarsaana
chhod ye adaayen
jo dil ko jalaayen
aa mil ke banaaye
suhaani mehfil
chhod ye adaayen
jo dil ko jalaayen
aa mil ke banaaye
suhaani mehfil
tere liye aaya hai leke koi dil
le le nazaraana o bhole qaatil
tere liye aaya. . .

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

तेरे लिए आया है ले के कोई दिल
ले ले नज़राना ओ भोले क़ातिल
तेरे लिए आया है ले के कोई दिल
ले ले नज़राना ओ भोले क़ातिल
तेरे लिए आया

कितने हसीं हैं ये पलकों के साये
देख तुझे कोई इशारों से बुलाये
कितने हसीं हैं ये पलकों के साये
देख तुझे कोई इशारों से बुलाये
रहेगी ना फीकी
बहारें ज़िंदगी की
आ तुझको खुशी की
दिखा दूँ मंज़िल
रहेगी ना फीकी
बहारें ज़िंदगी की
आ तुझको खुशी की
दिखा दूँ मंज़िल
तेरे लिए आया है ले के कोई दिल
ले ले नज़राना ओ भोले क़ातिल
तेरे लिए आया

हुस्न के मेले में आ के अलबेले
वो दिल ही नहीं है जो दिल से ना खेले
हुस्न के मेले में आ के अलबेले
वो दिल ही नहीं है जो दिल से ना खेले
कहती हैं फसाना
निगाहें मस्ताना
तुझे तो समझाना
बड़ा है मुश्किल
कहती हैं फसाना
निगाहें मस्ताना
तुझे तो समझाना
बड़ा है मुश्किल
तेरे लिए आया है ले के कोई दिल
ले ले नज़राना ओ भोले क़ातिल
तेरे लिए आया

जलवे दिखाती यूं नज़रें बचाना
कर के बहाना किसी को तरसाना
जलवे दिखाती यूं नज़रें बचाना
कर के बहाना किसी को तरसाना
छोड़ ये अदाएं
जो दिल को जलाएं
आ मिल के बनाएँ
सुहानी महफिल
छोड़ ये अदाएं
जो दिल को जलाएं
आ मिल के बनाएँ
सुहानी महफिल
तेरे लिए आया है ले के कोई दिल
ले ले नज़राना ओ भोले क़ातिल
तेरे लिए आया. . .


This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4280 Post No. : 15522 Movie Count :

4278

———————————————–
Hindi Songs in Bangla Films – 23
———————————————–

Today morning, I saw a message in my mail box from Sudhir ji in which he gave me a link of a Hindi song from a Bangla film which I have not covered so far in the series ‘Hindi songs from Bangla Films’. I took the note of the song and told him that I will write an article covering the song in the coming days. In the afternoon, I got another message from Sudhir ji on whatsapp with an urgent note that today is the birth anniversary of Suchitra Sen and I should write an article on the occasion covering the song referred to by him which is picturised on Suchitra Sen.

Suchitra Sen has been one of my favourite actresses since I saw her performance in ‘Aandhi’ (1975). After watching her performances in many Bangla films in the recent period, my admiration for her as a performing artist has grown. So, it is an opportunity for me to write  a tribute to her on behalf of our blog on the  occasion of  her 89th birth anniversary today, April 6th.

Most of the Hindi film audience may not be much familiar with Suchitra Sen as she had acted in only 7 Hindi films.  Her Hindi films were ‘Devdas’ (1955) in the role of Paro with Dilip Kumar, ‘Musafir’ (1957) with Shekhar, ‘Champakali’ (1957) with Bharat Bhushan,  ‘Sarhad’ (1960) and ‘Bambai Ka Babu’ (1960) with Dev Anand, ‘Mamta’ (1966) with Ashok Kumar / Dharmendra and ‘Aandhi’ (1975) with Sanjeev Kumar. It was the latter two films which made her well-known amongst Hindi film audiences of that time. Unfortunately, there was no occasion for further opportunity to work in Hindi films as she took voluntary retirement 1978 from the film industry.

Suchitra Sen (06/04/1931 – 17/01/2014) whose real name was Roma Dasgupta. She was born in Sen Bangabaari village in Pabna district in East Bengal (now Bangla Desh). The family migrated to Calcutta (now Kolkata) during the partition in 1947. At the age of 16, she got married to Dibanath Sen, a marine engineer and a son of an industrialist. She joined Bangla film industry in 1952 with the support from her father-in-law and her husband who financed her initial films.

Suchitra Sen’s first film was ‘Shesh Kothay’ (1952) which was never released. Her first officially released film was ‘Saat Number Kayedi’ (1953) in which her lead actor was Uttam Kumar who had been then labelled as a ‘flop hero’ due to films in which he worked in 1948-52 flopped at the box office. It was a coincidence that his first film with Suchitra Sen became a box office hit. Since then, the Suchitra Sen-Uttam Kumar pair worked in about 30 films. Almost all of which became box office hits.

During her filmy career (1952-78), Suchitra Sen worked in about 60 films (including 7 Hindi films). I have seen some of her Bangla films which gives me an impression that she was selective, especially from 1960 onwards, in choosing the films with good story line in which she as a heroine got more or less equal footages with the hero of her films. A few of films of her during this period were with woman-oriented stories.

Among the Bangla films I watched, Suchitra Sen gave excellent performances in ‘Saat Pake Bandha’, ‘Uttar Phalguni’ and ‘Deep Jwele Jai’. I feel that she reserved her best for these three films. These films were critically acclaimed and were remade in Hindi like ‘Mamta’ (1966) from ’Uttar Phalguni’ (1963), ‘Kora Kaagaz’ (1974) from ‘Saat Paake Bandha’ (1963), ‘Khamoshi’ (1966) from ‘Deep Jwele Jaai’ (1959) etc

Apart from her good performances and box office success records as an actor, Suchitra Sen’s professional approach to her career must have made the film producers to give her preference while choosing  the heroine. For instance, she refused the role in one of Satyajit Ray’s film because he wanted her to give bulk dates for shooting which would have affected the producers of her other films.

Sometime in 1970, Suchitra Sen lost her husband while on a visit to the USA. One of her close confidants was of the view that though she did not cancel any schedule of shooting at that time, her husband’s death was the beginning of her moving towards a secluded life. The failure of her film ‘Pranay Pasha’ (1978), made her to retire from the film industry at the age of 47. However, over a period of time, it became evident that with retirement from the films, she had also shunned public life. She spent her last 35 years in her house as recluse, confining herself within a close circle of family and a few friends. During this period, she did not attend any public functions. She refused Dada Saheb Phalke Award in 2005 just to avoid going to Delhi and the public glare.

Suchitra Sen suffered from lung infections for which she was admitted in a Kolkata hospital sometime in December 2013. She had almost recovered from her ailment but on January 17, 2014, she got a cardiac arrest which took her life.

[Note: Some of the information on Suchitra Sen is based on a number of articles available on-line including some from Gopal Krishna Roy, a film journalist with United News of India who remained one of a very few  close confidants of  Suchitra Sen until her death].

On the occasion of Suchitra Sen’s  birth anniversary, here is a very popular Meera bhajan “Barse Badariya Saawan Ki’ which is sung by Geeta Dutt for the Bangla film ‘Grihaprabesh’ (1954). The song is picturised on Suchitra Sen and a girl whom I am not able to recognise.  The song is intercepted after the mukhda with Bangla dialogues between Suchitra Sen and  Uttam Kumar who joins them. After the end of the dialogue, the song is resumed with Uttam Kumar playing tabla.

As per www.geetadutt.com , the other voice in the bhajan in the mukhda part is that of Krishna Banerjee who lip sync for the girl. Mukul Roy is the music director.

In the audio version of the song uploaded by SAREGAMA, the song starts after the dialogues in the sound track version of the song. The lyrics are based on the video version of the song.

This popular Meera bhajan has been rendered by many singers including Lata Mangeshkar, Suman Kalyanpur, Sudha Malhotra and other Hindustani classical singers. Geeta Dutt adds one more variation to this bhajan and I like it. Suchitra Sen lends serenity to the bhajan.

Video

Audio

Song – Barse Badariya Saawan Ki (Grihaprabesh) (1954) Singer – Geeta Dutt, Krishna Bannerjee, Lyrics – Meerabai, MD – Mukul Roy

Lyrics

barse badariya saawan ki

barse badariya saawan ki
saawan ki man bhaavan ki
saawan ki man bhaavan ki
barse badariya saawan ki
barse badariya saawan ki
barse badariya saawan ki

saawan ki man bhaavan ki
saawan ki man bhaavan ki

[dialogues]

saawan mein umagyo mero manwa
saawan mein umagyo mere manwa
bhanak suni hari aawan ki
bhanak suni hari aawan ki

umad ghumad chahun disi se aayo
umad ghumad chahun disi se aayo
damini damake jhar laawan ki
damini damake jhar laawan ki
barse badariya saawan ki
barse badariya saawan ki

nanhi nanhi boondan meha barse
nanhi nanhi boondan meha barse
sheetal pawan suhaavan ki
sheetal pawan suhaavan ki

meera ke prabhu girdhar naagar
meera ke prabhu girdhar naagar
aanand mangal gaawan ki
aanand mangal gaawan ki

barse badariya saawan ki
barse badariya saawan ki
saawan ki man bhaavan ki
saawan ki man bhaavan ki
barse badariya saawan ki
barse badariya saawan ki

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

बरसे बदरिया सावन की

बरसे बदरिया सावन की
सावन की मन भावन की
सावन की मन भावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की

सावन की मन भावन की
सावन की मन भावन की

[संवाद]

सावन में उमगयो मेरो मनवा
सावन में उमगयो मेरो मनवा
भनक सुनी हरी आवन की
भनक सुनी हरी आवन की

उमड़ घुमड़ चहुं दिश से आयो
उमड़ घुमड़ चहुं दिश से आयो
दामिनी दमके झर लावन की
दामिनी दमके झर लावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की

नन्ही नन्ही बूंदन मेहा बरसे
नन्ही नन्ही बूंदन मेहा बरसे
शीतल पवन सुहावन की
शीतल पवन सुहावन की

मीरा के प्रभु गिरिधर नागर
मीरा के प्रभु गिरिधर नागर
आनंद मंगल गावन की
आनंद मंगल गावन की

बरसे बदरिया सावन की
बरसे बदरिया सावन की
सावन की मन भावन की
सावन की मन भावन की
बरसे बदरिया सावन की
बरसे बदरिया सावन की


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.

Blog Day :

4156 Post No. : 15325 Movie Count :

4222

Hindi Songs in Bangla Films – 10
– – – – – – – – – – – – – – – – – –

‘Saheb Bibi Golam’ (1956, Bangla film) was based on a story by the same title, written by Bangla novelist, Bimal Mitra. The film was directed by Kartik Chattopadhyay. The main star cast of the film was Uttam Kumar, Sumitra Devi, Anubha Gupta, Chhabi Biswas, Chhaya Devi, Nitin Mukherjee and Padma Devi. The story of the film relates to the time when the aristocracy of feudal lords was on the decline under the British rule by the end of 19th Century. The story revolves around the platonic relationship between the feudal lord’s neglected wife (Sumitra Devi) and a clerk (Uttam Kumar). The film was not only critically acclaimed, it was also a box office success.

The Hindi version of the film titled ‘Saheb Bibi Aur Ghulam’ (1962) was produced by Guru Dutt and directed by Guru Dutt’s right hand man, Abrar Alvi. Although the Hindi version of the film was released 6 years after the release of the Bangla version of the film, the idea to produce the Hindi version of the film was put forward to Guru Dutt by SD Burman as early as 1956 when he saw the shooting of the Bangla version  on his visit to Calcutta (now Kolkata) where Guru Dutt was already doing location hunting for his film ‘Pyaasa’ (1957). Guru Dutt had a meeting with novelist Bimal Mitra in SD Burman’s house in Calcutta, after which he decided to produce and direct the film with SD Burman as the Music Director.

When Guru Dutt  heard the story, he had decided that it had to be Meena Kumari who would be performing the role of Chhoti Bahu, the central character in the film. However, Kamal Amrohi, Meena Kumari’s husband declined the offer saying that she did not have dates. So, after failing to find any alternative actress for the role, the film was put in the back burner. It was only after the box office success of ‘Chaudhvin Ka Chaand’ (1960), Guru Dutt decided to revive ‘Saheb Bibi Aur Ghulam’ (1962). This time, after a lot of hard bargaining, Kamal Amrohi agreed with a raise in her fees and also giving bulk dates of 45 days at a stretch from January 1, 1962. He also put a condition that she would not travel to Calcutta to shoot in the haveli. So, the sets of Chhoti Bahu’s rooms in the haveli had to be created in a Mumbai studio.

Biswajit was identified for the role of Bhootnath, the clerk. But he did not agree for a condition of the exclusive contract with Guru Dutt Films. Shashi Kapoor was approached for the role which fell through as he came considerably late to discuss the role by which time Guru Dutt had decided to act in the film for the role of Bhootnath.

The film’s shooting started on January 1, 1961, exactly one year before Meena Kumari’s shooting schedule was to start. Probably, ‘Saheb Bibi Aur Ghulam’ (1962) was the first film from the stable of Guru Dutt Films which was ready in the cans in the record time except Meena Kumari’s part and the picturization of the songs which had to be postponed as the music director, SD Burman was ill during the first half of 1961. When he had recovered from his illness, he was selected by the Government of India to be part of the cultural delegation to the then USSR and other European countries. Guru Dutt lost his patience with SD Burman and entrusted the music direction to Hemant Kumar.

When SD Burman returned from his foreign trip, he was dismayed to find that he was no longer the music director of ‘Saheb Bibi Aur Ghulam’ (1962). Instead Hemant Kumar was roped in his place. SD Burman was very much upset as he felt that it was Hemant Kumar who had maneuvered to take over the music direction during his absence. He was so much involved with the film that he had already composed tunes for some songs with dummy lyrics without waiting for a formal contract. After this incidence, the relations between SD Burman and Hemant Kumar got affected. This explains as to why Na Tum Hamen Jaano Na Hum Tumhen Jaane from ‘Baat Ek Raat Ki’ (1962) was the last song Hemant Kumar sang for SD Burman.

[Note: Information in this article about what went behind the making of ‘Saheb Bibi Aur Ghulam’ (1962) is mainly based on (1) ‘Ten Years with Guru Dutt – Abrar Alvi’s Journey’ (2008) by Sathya Saran, (2) ‘Meena Kumari – The Classical Biography’ (2013) by Vinod Mehta and (3) ‘S D Burman – The Prince Musician’ (2018) by Anirudha Bhattacharjee & Balaji Vittal.]

The Hindi version of the film was not a frame by frame remake of its Bangla version film. Instead, the screen-play/dialogue writer and director Abrar Alvi and Bimal Mitra had a month-long sittings to finalise the screen-play and dialogues in tune with the taste of Hindi film audience without diluting the basic theme of the story. As a result, the visualization of scenes in Hindi version is quite different from the Bangla version. Let me give an example of the scene in which Bhootnath meets Chhoti Bahu for the first time.

In Bangla version, Bhootnath visits Chhoti Bahu’s (Sumitra Devi) room when she was about to complete her daily puja with her back to the camera. And then she looks back and tells  Bhootnath to sit down on the chair. Bhootnath introduces himself to Chhoti Bahu. There is not much movements in camera angles. In Hindi version, Chhoti Bahu calls him to sit as soon as he enters her room. The camera is focused on her feet the first time Bhootnath sees her. Even when she walks to her chair, the camera is still focused on her feet. But Bhootnath instead of sitting on the chair, he sits on the floor with his his dropping eyes. When he introduces himself as Bhootnath, the camera suddenly focuses on Chhoti Bahu’s  face and she tells him that it is a lovely name. It is at this point, Bhootnath who was speaking to her with eyes down looks up to see her face and is surprised that she was not amused by his name as it has been his experience with others. On the contrary, she says it is one of many names of the God. Also, there is a  empty bed shown while both of them are conversing symbolising the state of her marital life.

The Bangla version of the film kept the end as per the original story, that is Bhootnath (Uttam Kumar) does not get to marry Jaba (Anubha Gupta). But in Hindi version, there is an indirect hint by way of a dialogue and the last scene in which Bhootnath (Guru Dutt) travels with Jaba (Waheeda Rehman) in a horse cart. Since story has been told in the film in the flash back mode, it was possible in Hindi version of the film to change some sequences in the narration of the story.

The Bangla version of the film had 5 songs of which 2 songs were semi-classical songs in Hindi. Hindi version of the film had 7 songs. The background song in the Bangla version was in Hindi  using a part of a traditional dadra, ‘Ab Ke Saawan Ghar Aaja’ whereas in Hindi version, it was a haunting song, Koi Door Se Aawaaz De Chale Aao.

I am presenting another Hindi song from a Bangla film – ‘Saheb Bibi Golam’ (1956), ‘Kankar Mohe Laage Paniya Bharan Kaise Jaaun’ which has been rendered by Sandhya Mukherjee in dadra style. Lyrics are traditional which have been set to music by Robin Chatterjee. In the film, it has been picturised as mujra song. The equivalent song picturised in Hindi version of the film is Saaqiyaa Aaj Mujhe Neend Nahin Aayegi.

Song – Paniya Bharan Kaise Jaaun, Kankar Mohey Laage  (Saheb Bibi Golam) (1956) Singer – Sandhya Mukherjee, Lyrics – Traditional, MD – Robin Chatterjee

Lyrics

aa aaa aaaaaa aaa aaaa
paniya bharan kaise jaaun
aa aa aa aa
paniya bharan kaise jaaun
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage  
paniya bharan kaise jaaun
paniya bharan kaise jaaun  
kankar mohe laage
kankar mohe laage
kankar mohe laage
 
natkhat roke
meri dagariya aa

natkhat roke
meri dagariya aa

laakh bachaa ke chalun najariya
laakh bachaa ke
laakh bachaa ke chalun nazariya
gher let hai bairi saanwariyaa aa
gher let hai bairi saanwariyaa
kaise paanv badhaaun
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage
 
paniya bharan kaise jaaun
haaye ram
paniya bharan kaise jaaun
haaye ram
paniya bharan kaise jaaun
haaye ram
paniya bharan kaise jaaun
paniya bharan kaise jaaun
haaye ram
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage
kankar mohe laage

kankar mohe laage
kankar mohe laage
kankar mohe laaaaa…..ge ae
kankar mohe laaaa……ge ae
kankar mohe laaaa……ge ae
kankar mohe laaaa……ge ae 
kankar mohe laaaa……ge ae 
kankar mohe laaaa……ge ae 
kankar mohe laaaa……ge ae 

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

आ आss आsssss आss आsss
पनिया भरन कैसे जाऊँ
आ आ आ आ
पनिया भरन कैसे जाऊँ
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
पनिया भरन कैसे जाऊँ
पनिया भरन कैसे जाऊँ
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे

नटखट रोके
मेरी डगरीया॰॰आ
नटखट रोके
मेरी डगरीया॰॰आ
लाख बचा के चलूँ नजरिया
लाख बचा के
लाख बचा के चलूँ नजरिया
घेर लेत है बैरी साँवरिया॰॰आ
घेर लेत है बैरी साँवरिया
कैसे पाँव बढ़ाऊँ
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे

पनिया भरन कैसे जाऊँ
हाय राम
पनिया भरन कैसे जाऊँ
हाय राम
पनिया भरन कैसे जाऊँ
हाय राम
पनिया भरन कैसे जाऊँ
पनिया भरन कैसे जाऊँ
हाय राम
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे लागे

कंकर मोहे लागे
कंकर मोहे लागे
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰
कंकर मोहे ला॰॰गे॰॰


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.

Blog Day :

4075 Post No. : 15213 Movie Count :

4182

Hindi Songs in Bangla Films – 1
– – – – – – – – – – – – – – – – –

It is a well-known fact that Shailendra wrote maximum number of songs for the music director, Shankar-Jaikishan (around 365 songs) out of about 750 songs he wrote during his life time. The second in line among music directors was Salil Chowdhury for whom Shailendra wrote around 105 songs. The third place was taken by S D Burman for whom he wrote around 70 songs. There were others music directors for whom he wrote songs albeit in comparatively lesser numbers. They were Roshan, S N Tripathi, Hemant Kumar, Anil Biswas, C Ramchandra, Ravi, Dattaram, and Kishore Kumar.

With major chunk of Shailendra’s songs (around 90% his total songs) written for the music directors listed above, I was curious to know as who were the other music directors to whom Shailendra wrote songs probably for one or two films. I traced almost all ‘other’ music directors. They were Basant Prakash (‘Badnam’ 1952), Manohar Arora (‘Chingaari’, 1955), Mukul Roy (‘Sailaab’ 1956 and ‘Detective’ 1958), Jimmy (Shrimatiji, 1952), Ninu Mazumdar (‘Bhai Saheb’, 1954), Sardul Kwatra (‘Pilpli Saheb, 1954 and ‘Tis Maar Khan’, 1955), Shivram (‘Naya Kadam’ 1958), Shailesh Mukherjee (‘Savera; 1958), Chitrgupt and Gajanan (‘Kal Hamaara Hai’ 1959), Kalyanji-Anandji (‘Satta Baazar’ (1959), Pandit Ravi Shankar (‘Anuradha’ 1960), R D Burman (‘Chhote Nawab’ 1961), Suhrid Kar (‘Kaanch Ki Gudiya’ 1961), and Sapan-Jagmohan (‘Begaana’ 1963).

But the surprise catch among ‘other’ music director to whom Shailendra wrote a song was Nachiketa Ghosh who has composed music for only one Hindi film ‘25th July’ (1951). But Shailendra was not the lyricist for this film. It transpired that Shailendra did write a Hindi song for Nachiketa Ghosh but for a Bengali film ‘Indraani’ (1958). Uttam Kumar and Suchitra Sen were the lead actors in the film. The film is available on YT with English sub-title.

So here is probably Shailendra’s only Hindi song for a Bengali film, ‘Indraani’ (1958). There are 7 songs in the film of which one song is in Hindi. The song is ‘sabhi kuchh lutaakar huye hum tumhaare’ which is sung by Mohammad Rafi. Nachiketa Ghosh is the music director.

The background for this song is that Uttam Kumar and Suchitra Sen get married despite opposition from her parents as Uttam Kumar is unemployed. On the wedding night, their feelings for each other is reflected in this song through a wayside singer playing guitar. The mood of the song appears to me the same as that of songs like ek haseen shaam ko dil mera kho gaya.

The song in the video clip is longer than the audio clip (78 RPM record version) because of the repetition in the former of mukhda part in each antara. Also, there are short dialogues in Bengali between Uttam Kumar and Suchitra Sen during the interludes of the song.

What a lovely song which I heard for the first time. I have been mesmerized by Rafi’s rendition of antara part of the song. Just note, how he goes one octave higher but keep his rendition soft on the antara lines ‘kisi ka tu ho jaa’, ‘hai khaamosh hum bhi’ and ‘ye khwaabon ki duniya’.

Video Clip:

Audio Clip :

Song-Sabhi kuchh lutaa kar huye ham tumhaare (Indraani)(Bangla)(1958) Singer-Rafi, Lyrics-Shailendra, MD-Nachiketa Ghosh

Lyrics(based on Video Clip)

sabhi kuchh lutaa kar
huye hum tumhaare
ke hai jeet uski
jo dil aaj haare
ye khoya sa chanda
ye behke se taare
to phir kyun na machlen
armaan hamaare
sabhi kuchh lutaa kar

mohabbat mein kho jaa..aa
kisi ka tu ho jaa
falak se zameen tak huye ye ishaare
ke hai jeet uski
jo dil aaj haare
sabhi kuchh lutaa kar
huye hum tumhaare
ki hai jeet uski
jo dil aaj haare
sabhi kuchh lutaa kar

hai chupchaap wo bhi
hain khaamosh hum bhi
khule jaa rahe hain magar raaz saare
ke hai jeet uski
jo dil aaj haare
ye khoya sa chanda
ye behke se taare
to phir kyun na machlen
armaan hamaare
sabhi kuchh lutaa kar

wo rangeen duniya
wo khwaabon ki duniya
simat kar ke baahon mein aayi hamaare
ke hai jeet uski
jo dil aaj haare
sabhi kuchh lutaa kar
huye hum tumhaare
ke hai jeet uski
jo dil aaj haare
ye khoya sa chanda
ye behke se taare
to phir kyun na machlen
armaan hamaare
sabhi kuchh lutaa kar


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.

“Amaanush”(1975) was based on a story by Bangla author Shaktipada Rajguru. this movie was made in Bangla as well as Hindi with nearly the same team of artists.
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.

“Anand Ashram”(1977) was produced and directed by Shakti Samanta. The movie had Ashok Kumar, Asit Sen, Uttam Kumar, Sharmila Tagore, Utpal Dutt, Anita Guha/Dutta, Prema Narayan, Master Alankar Joshi, Rakesh Roshan, Moushumi Chatterjee, Manik Dutta, Chandrima Bhaduri, C.S.Dubey, Amal,Manik, Rajat, Shanti, Samar Roy, Nazir, Ravi, D.Sinha, Ratan, Tushar, Dolly, Jyoti 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.

“Bandie” (1978) was produced by F C Mehra and directed by Alo Sarkar for Eagle Films production. The movie had Uttam Kumar, Sulakshana Pandit,Bindu, Prema Narayan, Amjad Khan, Utpal Dutt, Tarun Ghosh, Master Bittoo, Manik Dutt, Helen, Iftekhar, Satyen Kappoo, Padma Khanna, Amarnath Mukherjee, Indrani Mukherjee, Asit Sen, Madan Puri, Amrish Puri, Nandita Thakur, Prem Lala, Master Raju, Shivraj, Chandrima Bhaduri, Manek Chaudhuri etc in it.
Read more on this topic…


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

My first introduction to Uttam Kumar was way back in the childhood years when, for a long time, I used to confuse a lot between him and Biswajeet. It was in the years when watching television was a new adventure every day. One would scour around the neighborhood and get inside a friend’s or a familiar person’s home. Of course, as an uninvited intruder, one had to watch whatever was being telecast. In any case, Doordarshan was the only channel and there was no other option :). Some known programs would be a fixture that everyone watched. At other times, one would just intrude into whatever was playing on the screen.
Read more on this topic…


“Chhoti Si mulaaqaat” (1967) was a production of “Our Movies”, Calcutta. It was produced by Uttam Kumar and directed by Alo Sarkar. The movie had Uttam Kumar, Vyjyanti Mala, Tarun Bose, Shashikala, Rajendra Nath, Pratima Devi, Veena, Badri Prasad, Sulochana Chatterjee, B B Bhalla, Radheshyam, S Hussan, Vishi Kapoor, Ratan Gaurang, Praveen Paul, Sundeep, Pinky etc in it.
Read more on this topic…


“Chhoti Si Mulaaqaat” (1967) was an “Our Production”, Calcutta presentation. It was produced by Uttam Kumar and directed by Alo Sarkar. The movie had Uttam Kumar, Vyjyanti Mala, Tarun Bose, Shashikala, Rajendra Nath, Pratima Devi, Veena, Badri Prasad, Sulochana Chatterjee, B B Bhalla, Radheshyam, S Hussan, Vishi Kapoor, Ratan Gaurang, Praveen Paul, Sundeep, Pinky etc in it.
Read more on this topic…


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 over ELEVEN years. This blog has over 15700 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2020) 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.

Total number of songs posts discussed

15715

Number of movies covered in the blog

Movies with all their songs covered =1211
Total Number of movies covered =4326

Total visits so far

  • 13,608,168 hits

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

Join 1,869 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Music Blogs - BlogCatalog Blog Directory
%d bloggers like this: