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 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 is a special day for Atulites and each one of us on our Whatsapp Group knows that it is Blog’s 9th anniversary. The Blog’s anniversary is the mother of all other celebrations connected with it. Otherwise how would it be possible to celebrate century songs, artists’ centuries, artists’ birth anniversaries, the remembrance days, other special occasions etc without the existence of the Blog?

Nine years ago – July 19, 2008, the first song “Miley Na Phool To Kaanton Se Dosti Kar Lee” appeared on the Blog and Atul ji’s aspiration became a reality. As I understand from the blog posts, in this project, he got encouragement and support from another Hindi film music lover, Raja ji. In any start-up blogging, the initial support from the like-minded persons is very crucial for the success of the blog. As the Blog continued its run, many like-minded persons joined the musical bandwagon.

I joined the Blog sometime in the last week of July 2011 by fluke. I was searching for details of a song on the Google which directed me to the Blog. On the same day, I went through many songs and comments thereon. I felt that this Blog was the place where I could get all relevant and authentic information about the songs at one place. The facility of listening to the song simultaneously with lyrics interested me. I think, in the same month, lyrics in different colours for different singers were introduced for easy identification of singers.

Within a few months of joining the Blog, I got to know of the contributions made by the regulars to the Blog. Among them, Sudhir ji and Arun ji were making significant contributions in enhancing the quality and the reputation of the Blog. They continue to do so. Those days, Sudhir ji was covering in his write-ups mostly the songs of KL Saigal. I used to feel awesome of his detailed analysis of songs, especially of ghazals with English translations.
I was amazed by some of the rare information Arun ji, was churning out regularly on the old Hindi films, of artists and sometime also anecdotes from his kitty (read Note Book) which he had meticulously preserved since his younger days. His knowledge about the forgotten artists of yore was inspiration in developing my interest in such artists. In addition, he was also unwittingly assisting Atul ji, in what is called in media jargon, ‘content audit’ of the blog posts – especially of the old film songs.

After my retirement from the service in June 2009, my relatives and friends used to ask me as to how I am going to spend my time in the post-retirement period. I would reply them by saying that travelling and trekking were my hobbies and I would plan my travels and treks accordingly to keep myself busy. Now, when they ask the same question, I reply them by saying that I have been keeping myself busy in doing some research on old films, their songs and the artists. A bewildered look from them gives me the enough indications that it is beyond their comprehensions that such an activity can keep a person busy on a continuous basis. It was mainly because of my association with the Blog that I have kept myself as busy as I was during my employment.

As we celebrate the 9th anniversary of the Blog today, it is a matter of great satisfaction that there are more like-minded regulars on the Blog today than say 5 years back. I had said earlier on some other occasion and I will repeat that the bandwagons will not move in a desired speed with safety unless it is hauled by a powerful and well maintained locomotive. And that locomotive for the Blog is none other than Atul ji.

Whenever I go through the mind blowing statistical data, most of which are manually updated, I feel that the kind of the work load which Atul ji has been handling on a day-to-day basis for a musical blog has no parallel. While the songs get added on the Blog on arithmetical basis, the work relating to the statistical updating increases in geometrical proportion. As more and more songs get added to the Blog, I am afraid, Atul ji may have to devote more time to keep the Blog up to date than the time required for posting the songs. Hopefully, some alternative system would be developed to automatically update the data with all possible combinations once the song is posted on the Blog.

Congratulations Atul ji and his bandwagons on the occasion of the 9th anniversary of the Blog. I wish you many wonderful years to come for achieving more milestones for the Blog.

On the occasion of the 9th anniversary of the Blog, I have chosen a romantic non-film song ‘Hum Jawaan Tum Jawaan’ (1940s) sung by ‘Bombay Saigal’, Surendra on the words of Pandit Indra. The name of the music director is not known. The orchestration of the song gives me an impression that the music arranger associated with the composition of this song could be one from Goa.

When I first heard this song a year ago, I remembered the song “Hum Aur Tum Aur Ye Khushi” from ‘Alibaba’ (1940). There is some similarity in Surendra’s style of singing in both the songs which have western shades of music.
I was not aware that Surendra had sung many non-filmy songs in his early filmy career. As far as know, none of his non-fimly songs were available on YT until last year when I uploaded his 4 NFSs on YT out of around 20 available on Prof. Surjit Singh’s website.

The music composition for the song under discussion is the reminiscence of the influence of soft classical music of Western countries on Indian music scenes in the 1940s. Pankaj Mullick has sung a song “Praan Chaahe Nain Na Chaahe“(1940) based on Rabindranath Tagaore’s Bangla composition influenced by waltz music of the west. Even, Naushad, a bhakt of purity in Hindi film music, could not avoid waltz’s influence in “Ta Ra Ri Aa Ra Ri” in ‘Daastaan’ (1950).

With the song under discussion, Surendra makes a debut on the Non-Film Song’s segment of the Blog.

Song – Hum Jawaan Tum Jawaan, Husn Ishq Bhi Jawaan (Surendra NFS) (1940s) Singer – Surendra, Lyrics – Pt Indra, MD – [Unattributed]

Lyrics

hum jawaan tum jawaan
husn o ishq bhi jawaan
hosh kehta hum naadaan
hum jawaan tum jawaan

jab raaton ko chhaaye andheraa
apni duniya mein saveraa
jab raaton ko chhaaye andheraa
apni duniya mein saveraa
yaad mein unke dil kaa machalnaa
yaad mein unke dil kaa machalnaa
girnaa sambhalnaa uchalnaa
girnaa sambhalnaa uchalnaa
hum jawaan tum jawaan
husn o ishq bhi jawaan
hosh kehta hum naadaan
hum jawaan tum jawaan

ik halki si tees
ik meethi kasak
ik halki si tees
ik meethi kasak
apne jeene ke ye saamaan
apne jeene ke ye saamaan
ik tirchhi nazar
ik neechi nazar
ik tirchhi nazar
ik neechi nazar
hum to hotey hain un pe qurbaan
hum to hotey hain un pe qurbaan
hum jawaan tum jawaan
husn ishq bhi jawaan
hosh kehta hum naadaan
hum jawaan tum jawaan

chhoti raaten laakhon baaten
chhoti raaten laakhon baaten
laakhon hain armaan
laakhon hain armaan
dil kehta aaraam jawaani
dil kehta aaraam jawaani
hum kehten toofaan
dil kehta aaram jawaani
hum kehten toofaan
hum jawaan tum jawaan
husn ishq bhi jawaan
hosh kehta hum naadaan
hum jawaan tum jawaan
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हम जवां तुम जवां
हुस्न ओ इश्क़ भी जवां
होश कहता हम नादान
हम जवां तुम जवां

जब रातों को छाए अंधेरा
अपनी दुनिया में सवेरा
जब रातों को छाए अंधेरा
अपनी दुनिया में सवेरा
याद में उनकी दिल का मचलना
याद में उनकी दिल का मचलना
गिरना संभलना उछलना
गिरना संभलना उछलना
हम जवां तुम जवां
हुस्न ओ इश्क़ भी जवां
होश कहता हम नादान
हम जवां तुम जवां

इक हल्की सी टीस
इक मीठी कसक
इक हल्की सी टीस
इक मीठी कसक
अपने जीने के ये सामान
अपने जीने के ये सामान
इक तिरछी नज़र
इक नीची नज़र
इक तिरछी नज़र
इक नीची नज़र
हम तो होते हैं उन पे कुर्बान
हम तो होते हैं उन पे कुर्बान
हम जवां तुम जवां
हुस्न ओ इश्क़ भी जवां
होश कहता हम नादान
हम जवां तुम जवां

छोटी रातें लाखों बातें
छोटी रातें लाखों बातें
लाखों हैं अरमान
लाखों हैं अरमान
दिल कहता आराम जवानी
दिल कहता आराम जवानी
हम कहते तूफान
दिल कहता आराम जवानी
हम कहते तूफान
हम जवां तुम जवां
हुस्न ओ इश्क़ भी जवां
होश कहता हम नादान
हम जवां तुम जवां

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 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 article is a tribute to an actor whom I started admiring for his acting calibre only a couple of years back. He became a star actor without having any godfather in Hindi film industry. During his filmy career of less than 15 years (1934-48), he donned the different kind of roles, mostly in negative shades, in around 30 films most of which became box office hits. Had there been a concept of super star in his days, he would have been the one among K L Saigal, Motilal, Surendra etc. The actor is Chandra Mohan and today, July 24, 2017 happens to be his 111^th birth anniversary.

During my younger days, the only information I knew from words of mouth about Chandra Mohan was that he was the most handsome actor of his time. Even until a couple of years back, my awareness about him was restricted to his being from a Kashmiri Pandit family, about his filmography, watching him in VCD of films like ‘Pukaar’ (1939), ‘Roti’ (1942), ‘Humayun’ (1945) and ‘Shaheed’ (1948). Each of his roles in these films impressed me of his acting skill, the dialogue delivery and the expressions.

Chandra Mohan rarely got opportunity to work as hero in a conventional sense in his 30 odd films. Even in the films like ‘Bharosa’ (1940) and ‘Apna Ghar’ (1942) in which he was in the lead roles, he had some shades of negative characters like a seducer of his best friend’s wife and an autocratic husband, respectively. It is said that his facial features and cat eyes always created the shades of villain in him. His eyes were so powerful that even his innocuous smiles gave an impression of villainous smiles.

During the last two years or so when I was more into songs of the films of 1940s, I became aware of some of the important film personalities of that era and one of them was Chandra Mohan. I had read an interview of him taken by Hyacinth, a name under which Susheela Rani Patel wrote articles in ‘Filmindia’ magazines (November 1941). The interview was taken on the eve of the release of his film ‘Roti’ (1942). This was also a period when his career was at its peak. The interview gave me an impression of Chandra Mohan being a short tempered person, a self-centred egoistic man and a man of strong likes and dislikes.

Recently, I came across a moving obituary on Chandra Mohan written by Khorshed Dhondy, a film journalist who knew Chandra Mohan personally. The article appeared in April 1949 issue of SOUND Magazine, (Courtesy: Professor Surjit Singh’s Website). After reading the article, I had a different impression of Chandra Mohan – a kind hearted man, helped needy persons anonymously, a spend thrift during financially good times but accepted the life as it came in bad times. He was not arrogant but his frank talks may have given that impression.

Chandra Mohan Wattal (24/07/1906 – 02/04/1949) was born in Narsinghpur (presently in MP) in a Kashmiri Pandit family. His grandfather was the Diwan of Karauli State (now in Rajasthan) and his father was a member of the darbaar of Maharaja of Gwalior. Chandra Mohan lost his mother when he was a child. He was brought up by his maternal grandmother at Narsinghpur. His grandmother pampered him so much that he had become a spoilt child. It is not known whether he completed his high school.

Sometime in the 1930, after his father’s death, Chandra Mohan realised that his views and his grandparents views were poles apart. So he ran away from his house and reached Delhi. After changing job many times, he joined a film distribution company at Delhi at a monthly salary of Rs.35/-. The job entailed travelling for meeting film producers for negotiating terms for their film distributions.

On one such assignment, Chandra Mohan travelled to Kolhapur to discuss with the owners of Prabhat Film Company for negotiating the terms for distribution of their film ‘Sairandri’ (1933). V Shantaram saw in him the artistic potential – a handsome young man with his blue-greenish eyes which spoke more than his voice. He offered him a contract for the film which he refused. However, when Baburao Pendharkar left Prabhat, Chandra Mohan was asked to reconsider his decision. This time, Chandra Mohan met V Shantaram in Poona (Pune) and accepted the offer at a monthly salary of Rs.75/-. Thus he got his first role of a fanatic priest in Prabhat’s ‘Amrit Manthan (1934).

Chandra Mohan’s role in ‘Amrit Manthan’ (1934) was very much appreciated by both the cinegoers and the film critics. With his very first film, he had become a star. Thereafter, he worked for Prabhat’s ‘Dharmatma’ (1935) as an evil priest, in ‘Amar Jyoti’ (1936) as a tyrannical minister, and in ‘Wahan’ (1937) as autocratic Aryan king. Sometime in 1936, Chandra Mohan had differences with Shantaram over his remuneration which had remained the same despite the box office successes of his three films in a row. So he left Prabhat and joined Huns Pictures of Master Vinayak in 1937 on profit sharing basis.

After completing ‘Jwaala’ (1938), he quit Huns Pictures and joined Sohrab Modi’s Minerva Movietone. He got the role of Mughal Emperor Jehangir in ‘Pukaar’ (1939). His role had created so much impression that Maharaja of Kashmir, Hari Singh who was a close friend of Chandra Mohan, used to receive him personally at his royal palace and address him as Jehangir. In Minerva’s ‘Bharosa’ (1940), his role as a seducer of his friend’s wife was critically appreciated in the film’s review in ‘Filmindia’.

Keeping with his temperament, Chandra Mohan left Minerva Movietone too after doing just two films and became a free-lancer. During his free-lancing phase, he had done a double role in negative character in ‘Geeta’ (1940) – as Durga Khote’s husband and her son. His role of a ruthless businessman in ‘Roti’ (1942) and an autocratic husband in ‘Apna Ghar’ (1942) who ‘conveys more from his actions than the words’ were well appreciated. In ‘Shakuntala’ (1943), his portrayal of role as King Dushyant had many shades of emotions.

The World War II period (1939-45) brought significant speculative gains for businessmen. Some of them channelled the money in film productions. During this time, the remunerations of the star actors went up significantly. Chandra Mohan was one of the major beneficiaries of this trend as he did nearly 20 films during this period. According to a film journalist I referred to earlier, Chandra Mohan earned as much as Rs.18 lakhs during this period which was a big sum at that time.

However, Chandra Mohan’s good earnings came at a cost which was reflected in his career later. During the boom, he had accepted roles in the films of all sorts, some of which flopped at the box offices. During this period, he tried his hand in producing a film ‘Jhankar’ (1942) in partnership with his close friend M Kumar. This film too flopped at the box office.

Once the war was over, there was a slump in business activities which also got reflected in the film industry. However, keeping with his temperament, Chandra Mohan would not lower his remuneration nor would he approach film production banners for roles. The result was that he did not get any films during 1946 and 1947. During this period, whatever he had earned was majorly lost in gambling like horse races which he was very fond of. Also his lavish life style and partying with his close friends continued until all his earnings were exhausted. He had to sell his personal belongings like cars, race horses etc to maintain his routine expenses.

It was during this period that Chandra Mohan was afflicted with some kind of mental illness (probably depression) resulting in losing his mental balance. It is said that during this period, he used to get hallucinations quite often. It is during this time, he became extremely religious person as against the atheist earlier. He spent whatever little money he had for going on pilgrimage all over India and visiting places of all faiths.

In the film industry, when the chips are down for an artist, even his close friends desert him. Chandra Mohan was lucky that he had some close friends like Motilal, M Kumar, Ulhas, Ranjan Haksar who were genuinely attached to him irrespective of his financial conditions. They used to visit his house in Churchgate periodically to inquire about his well being.

I guess that the moral support (perhaps, discreetly financial too) which Chandra Mohan got from his close friends during his difficult times might have brought him to normalcy. After about 2 years of hiatus, he got an important role in Filmistan’s ‘Shaheed’ (1948). His stunning performance as a duty bound Deputy Commissioner whose son (Dilip Kumar) has become a revolutionary, was as memorable as that of Dilip Kumar in ‘Shakti’ (1982). His monologue in a court scene where, for the first time, he supports his son for his actions, is unforgettable. He also acted in Prakash Picutres’ ‘Raam Baan’ (1948) in the role of Ravan and ‘Dukhiyaari’ (1948) etc.

Unfortunately, Chandra Mohan’s second innings was short lived. On the morning of April 2, 1949, he breathed his last due to heart attack after a short illness of about 15 days. Baburao Patel, editor of ‘Filmindia’ wrote in his tribute to Chandra Mohan – ‘the lambs of the day can never reach the stature of the lion that died’.

Chandra Mohan’s untimely death was one of the main reasons for further delay of K Asif’s magnum opus, ‘Mughal-e-Azam’ (1960) in which he was playing the role of Emperor Akbar. Some reels of the film was already shot.

Coming to the song for the occasion, from the VCDs of his films I have watched, I could not find any song which Chandra Mohan had lip synced on the screen. At last, I have settled for a background song picturised on him. The song is ‘Na Jaane Kahaan Ka Ye Jaadu Kiya Hai’ from the film ‘Shakuntala’ (1943). The singer of the song is not identified. My guess is that the singer is Khan Mastana.

There were 13 songs in the film written by Deewan Sharar and Ratan Piya. However, the song under discussion has not been identified as to which of the two lyricists had written the song. My take is that the song may have been written by Deewan Sharar as I find that 8 songs for which Ratan Piya have been accredited, have pure Hindi lyrics whereas the song under discussion have words like ‘adaayen’ ‘nighaayen’, ‘jahaan’ ‘jaam’ which a purist Hindi poet would generally avoid. Vasant Desai composed music for all the songs. Six songs from the film have been covered in the Blog.

‘Shakuntala’ (1943) was the first film produced and directed by V Shantaram after he left Prabhat films and set up Rajkamal Kala Mandir . The star cast included Jaishree, Chandra Mohan, Nimbalkar, Zohra, Ameena, Raja Pandit, Nana Palsikar, Shantarin etc. The film was a box office hit. It ran for 104 weeks in Swastik theatre in Bombay (Mumbai).

Interestingly, for his first film under his own banner, V Shantaram chose Chandra Mohan for the role of King Dushyant in the film despite their earlier disagreement in 1937 because of which Chandra Mohan had left Prabhat Films in 1937. Chandra Mohan had acknowledged in his interview that V Shantaram was the best director among the directors he worked with.

Song – Na Jaane Kahaan Ka Ye Jaadu Kiya Hai (Shakuntala) (1943) Singer – Unidentified Male Voice, Lyrics – [Unattributed], MD – Vasant Desai

Lyrics

na jaane kahaan kaa ye
jaadoo kiyaa hai
kisi ne mere dil mein
ghar kar liyaa aa hai
na jaane kahaan kaa ye
jaadoo kiyaa hai
kisi ne mere dil mein
ghar kar liyaa aa hai

wo baanki adaayen
wo meethi nighaahen aen
wo baanki adaayen
wo meethi nighaahen
chale…en
chale phir wahaan par
jahaan dil diyaa hai
jahaan dil diyaa hai
kisi ne mere dil mein
ghar kar liyaa aa hai

inhin ne kiyaa aa mast
saare jahaan ko o
inhin ne kiyaa aa mast
saare jahaan ko o
jin aankhon kaa..aa
jin aankhon kaa
ik jaam hamne piya hai
hamne piya hai
kisi ne
mere dil mein
ghar kar liyaa aa hai
na jaane kahaan kaa ye
jaadoo kiyaa hai
kisi ne mere dil mein
ghar kar liyaa aa hai

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

ना जाने कहाँ का ये जादू किया है
किसी ने मेरे दिल में घर कर लिया है

वो बाँकी अदाएं
मीठी निगाहें
वो बाँकी अदाएं
मीठी निगाहें
चले॰॰एन
चलें फिर वहाँ पर
जहां दिल दिया है
किसी ने मेरे दिल में घर कर लिया है

इन्हीं ने किया मस्त सारे जहां को॰॰
इन्हीं ने किया मस्त सारे जहां को॰॰
जिन आँखों का॰॰
जिन आँखों का इक जाम हमने पिया है
हमने पिया है
किसी ने
मेरे दिल में
घर कर लिया है
ना जाने कहाँ का ये जादू किया है
किसी ने मेरे दिल में घर कर लिया है

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.

Saga Of Sleepless Nights -1
– – – – – – – – – – – – – – –

oo oo. . neend na mujh ko aaye,
dil mera ghabraaye
chup ke chup ke, koyi aa ke,
soyaa pyaar jagaaye

कोई तो ऐसी उमर रही होगी, कोई तो ऐसा मुकाम आया होगा ज़िंदगी में, जब किन्हीं जज़्बातों के चलते, कुछ (या फिर कई) रातें आप ने जाग के गुज़ारो होंगीं।

There must have been an age, a time in life, a passage of emotional intensities, when you may have spend a few (or maybe many) sleepless nights – thinking, waiting, contemplating. Yes, they visit us all, the nights of the wide open eyes, when a cloudy sky is an irritating bore – for if the skies were clear, at least you would be able to start counting the stars.

The level and quality of the anxieties may be different, but yes, all of us have experienced such flavors of anxieties, that have kept us awake when we should not have been. Sleep is such a dear and an essential passage, without which our very survival is threatened. And yet, there are compulsions of overriding emotions that sometimes force us to forsake even this essential commodity.

Sometimes we are sleepless because we are too sad; sometimes we are sleepless because we are too happy; and then again, sometimes we are sleepless for we are not sure. And mostly, we are sleepless when we are in love. Sometimes it is because we are agonized over the apparent cruelties of the person we love. And sometimes we are sleepless because we are ecstatic for the messages and favors of love received. And then there are uncertainties that keep gnawing us from the inside – uncertainties of the type that say “he loves me, he loves me not”, or “will I meet her tomorrow again?”.

Such vagaries of love take over the reins of the mind. The body discounts, nay forsakes, the fatigue of the day. The eyes may be clamoring for some rest, but the mind insists on keeping awake. For some reasons, it is the comfort and the pleasure of being alone in the silences of the night. For some other reasons, it is the only time one may have of a private expression of personal sadnesses. Or the only time of private tribulations of anxieties, as one waits for an arrival or a happening. The newly-father-to-be is seen pacing outside the delivery room, sleepless, anxiously awaiting to hear the sounds of the outcome (pun intended). It is interesting to recall; of all the childbirth scenes picturized in the Hindi Cinema, the most such scenes are happening in the night. More sleeplessness for all.

Another creature of sleeplessness is – yes, it is the poet. Ask any poet about sleepless nights, and you will be handed over a few sample verses immediately. Long nights and poets have an association that predates even history. A sleepless mind, of the creative type, is sure to string together some words and make a song, eulogizing all the characteristics and the experiences of a sleepless night. Every poet of note, and also those not of note, have all penned verses about tackling sleeplessness – some may enjoy it, others may bemoan it, but none can ignore it or overlook it. A number of sonnets by Shakespeare touch upon this subject of sleeplessness; I shall try to bring that into one of this series.

And Hindi cinema. Of course, yes. Scores of situations where one comes across songs and verses that tell the stories about sleepless nights. The poets and the composers have labored hard to bring us some very beautiful songs that are driven by lack of any comfortable rest. Ah yes, a number of such songs will immediately come to mind. In this series, my effort is to present some real wonderful, but obscure gems that talk about the loneliness of sleepless nights, or yes, even otherwise. What I mean by ‘otherwise’ is the songs that are the tellings about the sleeplessness by one person to the other. Eg. “Ibtidaa e Ishq Mein Hum Saari Raat Jaage. . .” (‘Hariyali Aur Raasta’, 1962) or “Mein Kyaa Kahoon Raat Ki Baat Sakhi Ri” (‘Tilasmi Duniya’, 1946). So yes, we shall be meeting some very familiar songs, and some lost memories in this series.

Today’s song is from an as yet unrepresented film on our blog. The film is ‘Talwaar Ka Dhani’ from 1956. The song is penned by Gopal Singh Nepali, and the music is from the mind of the magic melody maker – Chitragupt. The singing voice is that of Asha Bhosle. Earlier today, Atul ji has an observation about GS Nepali – Chitragupt – Asha Bhosle combination that has come together to create some very memorable songs in the 1950s. This song is one of their best, I must say.

It is GS Nepali’s birth anniversary today (11^th August). A lot has already been written about this poet, by me and by Atul ji in earlier posts – “Hum The Intezaar Mein, Ghaayal Tere Pyar Mein” (‘Sultanat’, 1954), and “Jab Sur Alag Ho Saaz Se” (‘Sati Madalsa’, 1955). So I will not repair to the details herein, and will move on with a grand salute to this lesser known poet, who has recently clocked a century of posts on our blog.

The song – well something needs to be said about it. I was actually searching for a song for GS Nepali Sb’s anniversary. In my searches, I came across the film ‘Talwaar Ka Dhani’ of 1956. As has happened so many times before, the songs of this film are sitting with me but I have not heard them. Or not all of them. As I played this song, getting to hear it for the first time, I was simply bowled over. I played it again and again, but I simply do not seem to be getting enough of it into myself. Simply said, this song is a beauty – a beauty of soft melodious expression of some very lovely and meaningful poetry. This song simply is not going away from the mind. The theme being sleepless nights, I then just got hooked on to initiate this series today, with this song – a series that I have been contemplating for more than a year now. The wait simply has been that I have still to fully plan and chalk out the series. But the encounter with this song last night just fast forwarded the decision for me. One song of this film is already posted here on our blog. This is the second song to find its place here.

Listen to this lovely beautiful aria. The starting bars themselves, even before the words start, have such a soothing comforting effect on the mind. I am sure you will fall in love, as I have. And then the voice comes along, with the words. Asha ji is trying to be soft, but simply cannot keep out the playful expectations, that make the sound of this song so cute and endearing. Let me stop my words and let you click the play. And be in love, all over again.

[Ed Note: Ah yes, one more ‘Raja’ song. ]

Song – Neend Na Aayi Raja, Tum Yaad Aaye  (Talwar Ka Dhani) (1956) Singer – Asha Bhosle, Lyrics – Gopal Singh Nepali, MD – Chitragupt

Lyrics

neend na aayi raja
tum yaad aaye
thandi hawaaon mein bhi
soya na jaaye. . .
neend na aaye raja

laakhon sitaare
dilkash nazaare
phir bhi kami hai piya
bina tumhaare
nazron mein tum ho to
chaand na bhaaye
thandi hawaaon mein bhi
soya na jaaye
neend na aayi raja

dil nahin bas mein
pyaar nas nas mein
neend chura ke meri
khaao na kasmen
dil nahin bas mein
pyaar nas nas mein
neend chura ke meri
khaao na kasmen
mujhko papiha tere naghme sunaaye
thandi hawaaon mein bhi
soya na jaaye
neend na aayi raja

teri judaai
meri tanhaai
yaad puraani phir se
taaza ho aayi
teri judaai
meri tanhaai
yaad puraani phir se
taaza ho aayi
aise royen kaise
palken milaaye
thandi hawaaon mein bhi
soya na jaaye
neend na aayi raja

neend na aaye raja
tum yaad aaye
thandi hawaaon mein bhi
soya na jaaye. . .
neend na aayi raja
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
नींद ना आई राजा
तुम याद आए
ठंडी हवाओं में भी
सोया ना जाये॰॰॰
नींद ना आई राजा

लाखों सितारे
दिलकश नज़ारे
फिर भी कमी है पिया
बिना तुम्हारे
नज़रों में तुम हो तो
चाँद ना भाए
ठंडी हवाओं में भी
सोया ना जाये
नींद ना आई राजा

दिल नहीं बस में
प्यार नस नस में
नींद चुरा के मेरी
खाओ ना कसमें
दिल नहीं बस में
प्यार नस नस में
नींद चुरा के मेरी
खाओ ना कसमें
मुझको पपीहा तेरे नग़में सुनाये
ठंडी हवाओं में भी
सोया ना जाये
नींद ना आई राजा

तेरी जुदाई
मेरी तनहाई
याद पुरानी फिर से
ताज़ा हो आई
ऐसे रोएँ कैसे पलकें मिलाये
ठंडी हवाओं में भी
सोया ना जाये
नींद ना आई राजा

नींद ना आए राजा
तुम याद आए
ठंडी हवाओं में भी
सोया ना जाये॰॰॰
नींद ना आई राजा

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

If it is a post by me then it has to be someone’s’ birthday.

It is 8^thSeptember. Our beloved Asha Bhonsle’s 84^thbirthday. So let me wish her a very Happy Birthday with this very lively number from her Non- Film album ‘Janam Samjha Karo’ (1997). I just thought that it will be a lovely departure from routine to showcase the versatility of the forever young-at-heart Asha.

I am not going to get into her life history in this post, I will just say I am super excited that I am going to be seeing her in person, live in the show which goes by the name Rendezvous with Asha Bhonsle, which I assume will be as exhilarating an experience as the Rendezvous with Hema Malini has been last year. The minute I got the invite for this I had posted it on our WhatsApp group to find out if any Atulite will be interested and we could have gone as a gang. Our dear Rajaji said that much as he would like to be therehe cannot make it. But I am glad that I will have Gajendraji and his wife as company. By the time we had decided on the number of tickets to be purchased the stock of tickets with the organisers were exhausted but Gajendraji was an angel to book the tickets.

So, coming back to the song which I had in mind for the occasion is from a music album ‘Janam Samjha Karo’ (the only non-film cassette in my collection) which came out when the non-film music industry was booming with albums of people like Hariharan with Leslie Lewis as ‘Colonial Cousins’, Alisha Chinai, Suneeta Rao etc. This was the period when MTV and Channel V exploded on television in the name of satellite television. Songs of this genre were called Indie pop. The album had eight songs all written by Majrooh Sultanpuri and Leslie Lewis was the music director.  Asha Bhonsle was in her sixties and Majrooh in late seventies but the songs were everything that a young at heart could ask for. It had love songs in all the moods that accompany the emotion- roothna-manana; ikraar- inkaar aur takraar; etc.

For people who are not introduced to Leslie Lewis he is the son of prolific film choreographer Devaraj Peter Lewis – going by the name PL Raj in Bollywood. Leslie used to play guitar at the Café Royal, Oberoi Towers Mumbai and recorded with Kalyanji Anandji, Laximkant Pyarelal, RD Burman and Louis Banks. Starting with 1987, he composed advertising jingles and was nominated for awards from the Indian Academy of Advertising Film Art (IAAFA). In 1989 received an award for his work. He went on to make some famous jingles such as “Doodh-Doodh-Doodh (Piyo full glass)”, “Mango Fruity fresh and juicy”, “Thums Up taste the thunder”, “Santoor Santoor”, etc.

Video (2 Stanzas)

Audio (3 stanzas)

Song – Raat Shabnami Bheegi Chaandni (Asha Bhosle – NFS) (1997) Singer – Asha Bhosle, Lyrics – Majrooh Sultanpuri, MD – Leslie Lewis

Lyrics

raat shabnami
bheegi chandani
teesra koi
door tak nahin
is ke aage hum
aur kya kahen
jaanam samjha karo
raat shabnami
bheegi chandani
teesra koi
door tak nahin
is ke aage hum
aur kya kahen
jaanam samjha karo
ho is ke aage hum
aur kya kahen
jaanam samjha karo

sanam tumko jis din se dekha hum ne
deewaana dil kaboo mein nahin
bada pyaara ye bhi itefaaq dekho
tum hi mil jaate ho har kahin
tum hi mil jaate ho har kahin pyaare
aage khud hi jaan lo
aur kya kahen
jaanam samjha karo
raat shabnami
bheegi chandani
teesra koi
door tak nahi
is ke aage hum
aur kya kahen
jaanam samjha karo
ho is ke aage hum
aur kya kahen
jaanam samjha karo

agar tum bhi wo chaaho jo main chaahun
to gul khil jaaye iqraar ka
dilon ko milne de kuchh na bolen hum
mazaa aaye phir to pyaar ka
mazaa aaye phir to pyaar ka jaani
aage khud hi jaan lo
aur kya kahen
jaanam samjha karo
raat shabnami
bheegi chandani
teesra koi
door tak nahi
is ke aage hum
aur kya kahen
jaanam samjha karo
ho is ke aage hum
aur kya kahen
jaanam samjha karo

thehro padi hai raat yeh saari
kaahe ki jaldi jaane mann
daale hue yeh reshmi bahen
yun hi lipte raho tum gulbadan
taqdeer se yeh mil gaya mauqa
aage khud hi jaan lo
aur kya kahen
janam samjha karo
raat shabnami
bheegi chandani
teesra koi
door tak nahi
is ke aage hum
aur kya kahen
janam samjha karo

raat shabnami
bheegi chandani
teesra koi
door tak nahi
is ke aage hum
aur kya kahen
janam samjha karo
ho is ke aage hum
aur kya kahen
janam samjha karo
ho is ke aage hum
aur kya kahen
janam samjha karo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

रात शबनमी
भीगी चाँदनी
तीसरा कोई
दूर तक नहीं
इस के आगे हम
और क्या कहें
जानम समझा करो
रात शबनमी
भीगी चाँदनी
तीसरा कोई
दूर तक नहीं
इस के आगे हम
और क्या कहें
जानम समझा करो
हो इस के आगे हम
और क्या कहें
जानम समझा करो

सनम तुमको जिस दिन से देखा हमने
दीवाना दिल काबू में नहीं
बड़ा प्यारा ये भी इत्तेफाक़ देखो
तुम ही मिल जाते हो हर कहीं
तुम ही मिल जाते हो हर कहीं प्यारे
आगे खुद ही जान लो
और क्या कहें
जानम समझा करो
रात शबनमी
भीगी चाँदनी
तीसरा कोई
दूर तक नहीं
इस के आगे हम
और क्या कहें
जानम समझा करो
हो इस के आगे हम
और क्या कहें
जानम समझा करो

अगर तुम भी वो चाहो जो मैं चाहूँ
तो गुल खिल जाये इक़रार का
दिलों को मिलने दें कुछ ना बोलें हम
मज़ा आए फिर तो प्यार का
मज़ा आए फिर तो प्यार का जानी
आगे खुद ही जान लो
और क्या कहें
जानम समझा करो
रात शबनमी
भीगी चाँदनी
तीसरा कोई
दूर तक नहीं
इस के आगे हम
और क्या कहें
जानम समझा करो
हो इस के आगे हम
और क्या कहें
जानम समझा करो

ठहरो पड़ी है ये रात सारी
काहे की जल्दी जाने मन
डाले हुये ये रेशमी बाहें
यूं ही लिपटे रहो तुम गुलबदन
तक़दीर से ये मिल गया मौका
आगे खुद ही जान लो
और क्या कहें
जानम समझा करो
रात शबनमी
भीगी चाँदनी
तीसरा कोई
दूर तक नहीं
इस के आगे हम
और क्या कहें
जानम समझा करो

रात शबनमी
भीगी चाँदनी
तीसरा कोई
दूर तक नहीं
इस के आगे हम
और क्या कहें
जानम समझा करो
हो इस के आगे हम
और क्या कहें
जानम समझा करो
हो इस के आगे हम
और क्या कहें
जानम समझा करो

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.

Feroze Khan – a name that forever spells flamboyance and style. Almost sounding like the Kingdom of the Pathaan. A popular and likeable persona who had to face near disapproval as a leading man, till quite many years into his career. And that too, when he decided to take on the industry on his own terms, and set up his own production house, delivering one hit film after another.

Remembering Feroze Khan on his 78^th anniversary of birth today (25^th September).

For almost a decade and half of in his early career, his forays into the top grade cinema is to be the understudy – the second lead, the hero’s best friend, the younger brother – always to end up as the runner up by the time the story concludes. Well, in ‘Aadmi Aur Insaan’ (1969), he is shot at and killed while deposing in a court room. A performance, by the way, which got him the year’s Filmfare award as the Best Supporting Male Actor. At a level, this image quite stuck with him for many years. It is almost as if his performance skills are heightened in the face of another skilled and popular opponent. But by himself, the producers at the top line almost as if do not want to gamble with his name.

After about a dozen years of this experience, he sets up his own production house – to deal with the film making world on his own terms now. In an earlier article for the song “Raaton Ki Siyahi Hai. . .”, I have written about his career progression from the late 1950s to his last appearances  in the first decade of the 2000s.

Today, I present this song from the film ‘Tasveer’ from 1966. The film comes from the banner of Wadia Movietone, and is directed by JBH Wadia. As I searched for some details, I locate this very interesting review that our dear Memsaab has published for this film on her website. After reading the review, it sounds like a must-see film.

The interesting thing about this film is that it brings together two very ultra long timers in the industry, after a gap of almost quarter of a century. When I saw this co-incidence, I could not believe it myself. DN Madhok has been writing songs in Hindi films since 1932. And C Ramchandra has been on the music direction since late 1930s, early 1940s. These two extremely prolific artists apparently came together only twice before this film. In 1943, they worked together in films ‘Zabaan’ and ‘Bhaktraj’. Then after 23 years, they come together just once again – and that film is ‘Tasveer’ in 1966. And that, after having been contemporaries in the industry for almost three decades.

Both artists are at the closing horizon of their careers. DN Madhok’s name appears just in one more film. Which makes this his second last film. C Ramchandra inning continues, and he goes on to direct the music for another handful of films, two of which are in the decade of 1970s. But nonetheless, it is the closing years for both.

The song is in the voice of Mahendra Kapoor. On screen, a very young and energetic Feroze Khan is serenading his lady love – Kalpana. This one is a typical in-the-grden-around-the-trees song. Feroze Khan, is in his seventh year in the films. Memsaab comments that Feroze Khan is attempting to do a Shammi Kapoor in this film, and, I quote, “. . . he is so FINE, he almost succeeds”. Now that is saying a lot.

So, enjoy this song, and remember this firebrand swashbuckling young pathaan from the 1960s.

Song – Tasveer Bhi Dekhi Thi, Aur Inko Bhi Dekha Hai  (Tasveer) (1966) Singer – Mahendra Kapoor, Lyrics – DN Madhok, MD – C Ramchandra

Lyrics

tasveer bhi dekhi thi
aur inko bhi dekha hai
tasveer ajab shai thi
aur ye bhi cheez kya hai
tasveer bhi dekhi thi
aur inko bhi dekha hai

mauka bhi hai fizaayen bhi
ye parbati hawaayen bhi
mauka bhi hai fizaayen bhi
ye parbati hawaayen bhi
aur saath mein ye
ae dil. . .
aur saath mein ye
ae dil kya aur maangta hai
tasveer bhi dekhi thi
aur inko bhi dekha hai
tasveer ajab shai thi
aur ye bhi cheez kya hai
tasveer bhi dekhi thi
aur inko bhi dekha hai

kyon itni mastiyaan bhar lee
aankhon mein kisi ne apni
kyon itni mastiyaan bhar lee
aankhon mein kisi ne apni
wo nazren jhuki rehti hain. . .
wo nazren jhuki rehti hain
jinka ke bol baala hai
tasveer bhi dekhi thi
aur inko bhi dekha hai
tasveer ajab shai thi
aur ye bhi cheez kya hai
tasveer bhi dekhi thi
aur inko bhi dekha hai

aise jo chup hain yun
hum samajh gaye hain kyon
aise jo chup hain yun
hum samajh gaye hain kyon
zulfon ne jhuk ke kaanon mein. . .
zulfon ne jhuk ke kaanon mein
kuchh in se keh diya hai
tasveer bhi dekhi thi
aur inko bhi dekha hai
tasveer ajab shai thi
aur ye bhi cheez kya hai
tasveer bhi dekhi thi
aur inko bhi dekha hai

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

तस्वीर भी देखी थी
और इनको भी देखा है
तस्वीर अजब शै थी
और ये भी चीज़ क्या है
तस्वीर भी देखी थी
और इनको भी देखा है

मौका भी है फिज़ाएँ भी
ये परबती हवाएँ भी
मौका भी है फिज़ाएँ भी
ये परबती हवाएँ भी
और साथ में ये ए दिल॰ ॰ ॰
और साथ में ये ए दिल
क्या और मांगता है
तस्वीर भी देखी थी
और इनको भी देखा है
तस्वीर अजब शै थी
और ये भी चीज़ क्या है
तस्वीर भी देखी थी
और इनको भी देखा है

क्यों इतनी मस्तियाँ भर लीं
आँखों में किसी ने अपनी
क्यों इतनी मस्तियाँ भर लीं
आँखों में किसी ने अपनी
वो नज़रें झुकी रहती हैं॰ ॰ ॰
वो नज़रें झुकी रहती हैं
जिनका के बोल बाला है
तस्वीर भी देखी थी
और इनको भी देखा है
तस्वीर अजब शै थी
और ये भी चीज़ क्या है
तस्वीर भी देखी थी
और इनको भी देखा है

ऐसे जो चुप हैं यूं
हम समझ गए हैं क्यों
ऐसे जो चुप हैं यूं
हम समझ गए हैं क्यों
ज़ुल्फों ने झुक के कानों में॰ ॰ ॰
ज़ुल्फों ने झुक के कानों में
कुछ इनसे कह दिया है
तस्वीर भी देखी थी
और इनको भी देखा है
तस्वीर अजब शै थी
और ये भी चीज़ क्या है
तस्वीर भी देखी थी
और इनको भी देखा है

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.

पल दो पल का साथ हमारा
पल दो पल के याराने हैं
इस मंज़िल पर मिलने वाले
उस मंज़िल पर खो जाने हैं
 
pal do pal ka saath hamaara
pal do pal ke yaaraane hain
is manzil par milne waale
us manzil par kho jaane hain

This thought, expressed in these words, probably first came about four decades ago (film is ‘The BurningTrain’, 1980). It was March of 1980 that this film hit the theatres around the country. This qawwaali gained a good amount of popularity in its time, and still continues to be a part of selection of lists of qawwaalis in Hindi films. And in a matter of few months, the writer of these lines arrived at the manzil, from where, he was lost to us. 25^th October of the same year. The iconic poet Abdul Hayee, decided to abandon this world – an act, a thought that he had expressed multiple times in his verses, over the previous three decades or so, of his career as a songwriter in Hindi films.

Remembering Sahir Sb on the anniversary of his passing away (25^th October).

About thirty five years earlier, the listeners started to get the first glimmer of the grimness of life as he saw it. He made his debut in films, in 1948, with the film ‘Azaadi Ki Raah Par’. Scanning the sonography of his writings for films, one has to wait till 1954, and the film ‘Taxi Driver’, to catch the first expressions of listlessness and despair with life.

maayusiyon kaa majmaa hai jee mein
kyaa rah gayaa hai is zindagi mein
rooh mein hai gham dil mein dhuaan

Yes, the iconic song “Jaayen To Jaayen Kahaan. . .” (film ‘Taxi Driver’). Before we come to 1954 and to these verses, there is very little despair, and very little sadness in his poetry for films. I keep stressing ‘for films’, because his non film writings have carried this helpless angst against what this world and this existence is. His very first collection of poetry, published while he still was in college in Lahore, is titled ‘Talkhiyaan’ – which literally translates to ‘bitternesses’. But in his writings for films, we encounter this expression first time in ‘Taxi Driver’.

And then, as if a dam has broken loose. It is 1955 and film is ‘Devdas’. Sahir writes

agar iss jahaan ka maalik kahin mil sake to poochhen
mili kaun si khaataa par hamen is qadar sazaayen

(from the song “Wo Na Aayenge Palat Kar. . .“)

It is 1955 again, and the film is ‘House No. 44’. The verses are

teri duniya me jeene se to behtar hai ke mar jaayen
wohi aansoo wohi aahen wohi gham hai jidhar jaayen

Then again, in ‘Marine Drive’ he writes

zafaaon per zafaa bedaad per bedaad hoti hai
hamaari zindagi kya maut bhi barbaad hoti hai
hamen itnaa to batlaa de jiyen ham yaa ke mar jaayen
bataa ai aasmaan waale tere bande kidhar jaayen

1955 again, and the film is ‘Munim ji’. The verses make an experienced announcement about the reality of this life.

jeevan ke safar mein raahi, miltey hain bichhad jaane ko
aur de jaate hain yaadien, tanhaai mein tadpaane ko

Yet again in 1955, the film is ‘Railway Platform’, and this time the lines tell of another face of life’s reality.

kadam kadam par honi baithhi apnaa jaal bichhaaye
is jeewan ki raah mein jaane kaun kahaan rah jaaye
basti basti parwat parwat gaataa jaaye banjaaraa
lekar dil kaa iktaaraa. . .

Come 1956, and the film ‘Chandrakanta’. The song tells us

maine chaand aur sitaaron ki tamanna ki thi
mujhko raaton ki siyaahi ke siwaa kuchh na mila

 And as if this was not emphatic enough, he goes on to write in the film ‘Funtoosh’,

apne liye kab hain ye mele
ham hain har ek mele mein akele
kyaa paayegaa usmein rahkar
jo duniyaa jeevan se khele
dukhi man mere sun mera kahnaa
jahaan nahin chainaa vahaan nahin rahna

With ‘Pyaasa’ (1957), this bitterness reaches its zenith; and he writes

jahaan ik khilaunaa hai insaan ki hasti
ye basti hai murda paraston ki basti
yahaan par to jeevan se hai maut sasti
ye duniya agar mil bhi jaaye to kyaa hai

And as if this was not convincing enough, his exhortations rise in intensity, and he screams out the words

jalaa do ise phoonk daalo ye duniya
mere saamne se hataa lo ye duniya
tumhaari hai tum hi sambhaalo ye duniya
ye duniya agar mil bhi jaaye to kyaa hai

In ‘Light House’, in 1958, the lines of the song are

lo aaj hamne tod diyaa, rishtaa-e-ummeed
lo ab kabhi gilaa na karenge kisi se ham
tang aa chuke hain kashmakash e zindagi se hum
thukra na den jahaan ko kahin be-dilee se hum

And then, he added another song, which says

saare jag mein apna koi nahin
sukh kyaa dukha ka sapnaa koi nahin
kis jagah jaayen, kis ko dikhlaayen
zakhm-e-dil apnaa

‘Dhool Ka Phool’ came in 1959. His frustrations and anger at the divisive forces in the society burst out in the lines

maalik ne har insaan ko insaan banaayaa
humne usse hindu yaa musalmaan banaayaa
kudrat ne to bakshi thi hamein ek hi dharti
humne kahin bhaarat kahin iraan banaayaa

In 1960, there came the iconic qawwaali in the film ‘Barsaat Ki Raat’. A set of verses that touched upon a variety of emotions of love and the very existence of the individual itself. His own disenchantment, probably, trickles through, in the lines

mere naamuraad junoon kaa hai ilaaj koyi to maut hai
jo dawaa ke naam pe zahar de usi chaaraagar ki talaash hai

Then it was the film ‘Dharamputra’ in 1961. The poet in him raised his voice against the senseless communal divide, and its manipulation. The words are starkly put together

dharti ki sulagti chhaati ke bechain sharaare poochhte hain
yeh kis ka lahoo hai kaun mara

The wrenching torture of loneliness inside, came spewing out in the film ‘Hum Dono’, again from 1961.

kaun rotaa hai kisi aur ki khaatir ai dost
sabko apni hi kisi baat pe ronaa aayaa
kabhi khud pe, kabhi haalaat pe ronaa aayaa
baat nikli, to har ik baat pe ronaa aayaa

‘Gumraah’ was released in 1963. His personal demons fighting with himself inside, brought out these verses

wo afsaanaa jise anjaam tak laanaa naa ho mumkin
use ik khooboorat mod dekar chhodnaa achchhaa
chalo ik baar phir se, ajnabi ban jaayen ham dono

Also in 1963 came the musical history of ‘Taj Mahal’. And the soul of Sahir rose up to challenge the creator Himself with the lines

ye qatl o khoon kaa riwaaz kyun hai
ye rasm e jang o jadaal kyaa hai
jinhe talab hai jahaan bhar ki
unhi kaa dil itnaa tang kyun hai
. . .
jahaan mein jashn e wafaa ke badle
ye jashn e teer o tafang kyun hai
khudaa e bartar teri zameen par
zameen ki khaatir ye jang kyun hai

The vagaries of his personal destinies starkly reflects in the lines he wrote the 1964 film ‘Chaandi Ki Deewaar’,

ye bebasi bhi kisi ba’ddua se kam to nahin
ke khul ke jee na sakey aur maut bhi na miley
kahin qaraar na ho aur kahin khushi na miley
hamaare baad kisi ko ye zindagi na miley

Again in 1964, the intensity of his despair with life would insistently glare back through the lines in the film ‘Shagun’

bujhaa diye hain khud apne haathon
mohabbaton ke diye jalaa ke
meri wafaa ne ujaad di hain
ummeed ki bastiyaan basaa ke

That I am highlighting the agony and the despair in this selected anthology of his verses, does not imply that his other expressions do not measure up. Not at all. His poetry of love and romance is equally, if not more, expressive of amorous emotions of the human heart. A discourse of the brighter side of his love poetry merits a separate write up. And his grasp of human emotions across the spectrum, is visible in the songs that otherwise would simply be categorized as situational in the movies. That set of writings too, have the power to capture the heart in ways more than one.

Beyond the mid 1960s, the agony within his writings begins to show less and less. In the external environment, the modes of cinematic expressions were changing, and the music of the films was being transformed away and beyond the melodic gems of the golden era. He simply seemed to have withdrawn himself within, pulling all his despair and sorrow, to the inside. But some rare moments did come along.

1973 saw the release of ‘Joshila’, and quite unexpectedly, his writings touched upon the pain of loneliness once again.

jhoothaa bhi naataa nahin chaahon mein
tu hi kyon doobaa rahe aahon mein
koyi kisi sang mare, aisaa nahin hone waalaa
koyi nahin jo yoon hi jahaan mein, baante peer paraayi
ho, kis kaa rastaa dekhe ai dil ai saudaai
meelon hai khaamoshi barson hai tanhaai. . .

In 1975, came ‘Ek Mahal Ho Sapnon Ka’ and in a moment of release, his pen created the lines

dekha hai zindagi ko kuchh itna qareeb se
chehre tamaam lagne lage hain ajeeb se

It was back in 1964, that he wrote his epitaph for himself (film is ‘Dooj Ka Chaand’).

ye raah akele katati hai
yahaan saath na koi yaar chale
us paar na jaane kya paaye
is paar to sab kuchh haar chale
lo apna jahaan duniya waalon
hum is duniya ko chhod chale

On 25^th October in 1980, Sahir Sb is duniya ko chhod gaye, leaving behind a body of work in form of seven hundred plus film songs, that are an immense treasure of personal emotions in all the shades of human experiences. In 1980, along with qawwaali that I started this article with, he also wrote another nazm that was featured in the film ‘Kabhi Kabhi’. Yes, I talk of the immensely impressive “Main Pal Do Pal Ka Shaayar Hoon”. (Interesting to note the repetition of the phrase ‘pal do pal’, in both these songs.)

In this song, Sahir Sb has said something, which probably is the only one place where I would disagree with him. Totally. You would remember the lines

kal aur aayenge naghmon ki khilti kaliyan chun’ne waale
mujhse behtar kehne waale. . .

No Sahir Sb, I sincerely disagree from the depths of my heart. None will follow who may express it better than you. All songwriters will say it, definitely in different ways, and definitely in ways that are measures of excellence, in their own unique expressions. But no one will be able to say

dil jaley to jaley
gham paley to paley
kisi ki na sun gaayeja. . .

Quite in contrast to the mood of the article, today’s song is a lilting gem that has been created by Sahir Sb and N Dutta for the 1959 film ‘Naach Ghar’ – one of his handful of films that is still waiting to be Yippeee’ed on our blog. Sung by Lata ji, this song is such an endearing expression of expectation; the heart is calling out to the beloved, and is giving so many reasons describing the wait, exhorting for the lover to pay heed, and come. This is such a lovely creation of words and music that I was for a moment surprised that this song is still waiting in the wings.

Listen and enjoy.

Song – Door Se Yun Na Tarsaao  (Naach Ghar) (1959) Singer – Lata Mangeshkar, Lyrics – Sahir Ludhianvi, MD – N Dutta

Lyrics

door se yun na tarsaao
roshni ban ke aa jaao
aaj ki raat ke liye

door se yun na tarsaao
roshni ban ke aa jaao
aaj ki raat ke liye. . .

deep jal chuke
saaye dhal chuke
ab to aa jaao
deep jal chuke
saaye dhal chuke
ab to aa jaao
mere pyaar ko
intezaar ko
yun na thukraao
aji tum yun na thukraao
kitni pyaas hai
kitni aas hai
ab to jaan jaao
door se yun na tarsaao
roshni ban ke aa jaao
aaj ki raat ke liye. . .

raat raat bhar
jaag jaag kar
sapne bunti hoon
raat raat bhar
jaag jaag kar
sapne bunti hoon
baithi raah mein
kab se chaah mein
kaliyan chunti hoon
aji main kaliyan chunti hoon
kitni pyaas hai
kitni aas hai
ab to jaan jaao
door se yun na tarsaao
roshni ban ke aa jaao
aaj ki raat ke liye. . .

nain mil chuke
phool khil chuke
ab katraana kya
nain mil chuke
phool khil chuke
ab katraana kya
pehle loot ke
peechhe rooth ke
dil tadpaana kya
aji yun dil tadpaana kya
kitni pyaas hai
kitni aas hai
ab to jaan jaao
door se yun na tarsaao
roshni ban ke aa jaao
aaj ki raat ke liye. . .
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
दूर से यूं ना तरसाओ
रोशनी बनके आ जाओ
आज की रात के लिए

दूर से यूं ना तरसाओ
रोशनी बनके आ जाओ
आज की रात के लिए॰ ॰ ॰

दीप जल चुके
साये ढल चुके
अब तो आ जाओ
दीप जल चुके
साये ढल चुके
अब तो आ जाओ
मेरे प्यार को
इंतज़ार को
यूं ना ठुकराओ
अजी तुम यूं ना ठुकराओ
कितनी प्यास है
कितनी आस है
अब तो जान जाओ
दूर से यूं ना तरसाओ
रोशनी बनके आ जाओ
आज की रात के लिए॰ ॰ ॰

रात रात भर
जाग जाग कर
अपने बुनती हूँ
रात रात भर
जाग जाग कर
अपने बुनती हूँ
बैठी राह में
कब से चाह में
कलियाँ चुनती हूँ
अजी मैं कलियाँ चुनती हूँ
कितनी प्यास है
कितनी आस है
अब तो जान जाओ
दूर से यूं ना तरसाओ
रोशनी बनके आ जाओ
आज की रात के लिए॰ ॰ ॰

नैन मिल चुके
फूल खिल चुके
अब कतराना क्या
नैन मिल चुके
फूल खिल चुके
अब कतराना क्या
पहले लूट के
पीछे रूठ के
दिल तड़पाना क्या
अजी यूं दिल तड़पाना क्या
कितनी प्यास है
कितनी आस है
अब तो जान जाओ
दूर से यूं ना तरसाओ
रोशनी बनके आ जाओ
आज की रात के लिए॰ ॰ ॰

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 produced and directed by Shakti Samanta for Shakti Films, Bombay. The movie, based on a Bangla story by Shaktipada Rajguru, was made in Hindi as well as Bangla with the same actors. The movie had Uttam Kumar, Sharmila Tagore, Anil Chatterjee, Prema Narayan, Utpal Dutt, Abhi Bhattacharya, Manmohan, Asit Sen, Manik Dutt, Tarun Ghosh, Amol Sen, Subrotho Mahapatra, S N Bannerjee, Rajni Gupta, Probir Roy etc in it.

Kishore Kumar and Asha Bhonsle, the two main playback singers of the movie were nominated for filmfare awards for best singers. Kishore Kumar went on to win the best male playback singer award for the song “dil aisa kisi ne mera toda”.

The movie had six songs in it. Four of these songs have been covered in the past.

Here is the fifth song from “Amaanush”(1975) to appear in the blog. The song is sung by Kishore Kumar and Asha Bhonsle. Indeewar is the lyricist. Music is composed by Shyamal Mitra.

This song was excluded from the Hindi version of the movie and only its record version is available. However, the Bangla version of this song, sung by the same singers, was picturised in the Bangla version of “Amaanush” on Uttam Kumar and Sharmila Tagore as Jodi hoye chor kaanta. One person has superimposed the Hindi song on the picturisation of the Bangla version of this song and has uploaded it on YT, passing it off as the “rare” clip of this song of “Amaanush”(1975) Hindi version.

Here is this lovely romantic duet from “Amaanush”(1975), which was excluded from the Hindi version but whose Bangla version was retained in the Bangla movie.

Lyrics

Tere gaalon ko choomoon jhumka ban ke
bhole dikhte ho par ho paapi man ke
dekha navyauvan to man kho gaya
abhi to achhe bhale thhe tum to
abhi tumhen kya ho gaya
tere gaalon ko choomoon jhumka banke
bhole dikhte ho par ho paapi man ke
dekha navyauvan to man kho gaya
arre re re
abhi to achhe bhale thhe tum to
abhi tumhen kya ho gaya
tere gaalon ko choomoon jhumka ban ke

aah
tumhen na laaj na dar kabhi gaalon kabhi balo pe nazar
kis ne diye ye haq tumko saajan ji
bhole dikhte ho
par ho paapi man ke
dekha navyauvan to man kho gaya
gore gaalon ke bhanvar mein tere
mera man gum ho gaya
tere gaalon ko choomoon jhumka ban ke

tere chanchal nainon mein apna maran dekha hai
na na na
in nainon se nain mila ke sundar sapan dekha hai
tere chanchal nainon mein apna maran dekha hai
na na na
in nainon se nain mila ke sundar sapan dekha hai
tumne ye kya kiya
bolo piya
kiya sab toone mujhe dosh diya
tar chhoo liye tune dil ke daaman ke
tere gaalon ko choomoon jhumka ban ke

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 – 51
– – – – – – – – – – – – – – –

It is not just a song that I should be concerned about. It is the entire film that I am surprised, has missed the attention of the team members of this blog. And not that the film is the issue. It is the songs that I wonder about. And just the category – ‘How come I missed this song’, will not suffice. Maybe another category that says – ‘How come we all missed this movie’.

The film that I am talking about is ‘Mahabharat’ from 1965. And I am sure you will be asking me – why? Another quite obscure film from the 1960s, as obscure as they come. But the songs, I am sure are going to turn out to be very familiar, most of them are favorites from radio listening days. Just sample these

• “Champa Kali Chhup Chhup Jaaye Re”
• “Ta Na Na Dir Dir Deem, Deem Ta Dere Na”
• “Hari Hari Dharti Hai Neela Gagan”
• “Sakhi Ri Baaje Mann Ki Baansuriya”

And today’s debut song, which is not the least of these – “O Chanda. . . Aaj Ki Raat Na Dhalna”. This film is such treasure of wonderful songs, all of them available online. And yet, this film has taken all this time to make its debut here.

The film is produced under the banner of AG Films, Bombay and is directed by Babubhai Mistry. The star cast is impressive and includes Pradeep Kumar, Padmini, Dara Singh, Abhi Bhattacharya, Jeevan, Ambika, Manhar Desai, Tiwari, Anoop Kumar, Maruti, and Achla Sachdev amongst others. Song list in Geet Kosh contains 9 songs. All the songs are from the pen of Bharat Vyas. And the music direction – it is Chitragupt.

Today’s debut song is a duet sung by Lata Mangeshkar and Mahendra Kapoor. The lilting melody, a dream song – it is such a dear memory from the past. The words, the music and the rendition – all three come together to create this masterpiece. A must listen for the lovers of music and songs of 1950s and 1960s. Enjoy.

Song – O Chanda. . . Aaj Ki Raat Na Dhalna  (Mahabharat) (1965) Singer – Lata Mangeshkar, Mahendra Kapoor, Lyrics – Bharat Vyas, MD – Chitragupt

Lyrics

aaaa aaaaaa
aaaaa aaaa
aaa aaaaaa aaaaa
aaaaa aaaaaaaa aaa
 
ooo ooo ooo
ooo ooo ooo
aaaa aaa aaaaa aaa
aaaaa aaaa aaaa aaa

o chanda. . .
aaj ki raat na dhalna
o chanda. . .
aaj ki raat na dhalna
jhilmil taaron ki chhaon mein
main jhoomum pee ki baahon mein
do praanon ke armaanon ka
sapna nahin badalna..aa..aa
o chanda. . .
aaj ki raat na dhalna

jee bhar geet milan ka gaa loon
piya ke haathon maang saja loon
jee bhar geet milan ka gaa loon
piya ke haathon maang saja loon
teri chaandni ki kirnon mein
jee mein aata aaj naha loon
ye badh bhaagin
raat suhaagin
phir aayegi kal na..aa..aa
o chanda. . .
aaj ki raat na dhalna
o chanda. . .
aaj ki raat na dhalna

teri palkon mein raswanti
raat ki rani chehak rahi
teri palkon mein raswanti
raat ki rani chehak rahi
teri alkon ko chhoo kar ke
rajnigandha mehak rahi
kitna aaj bhala lagta hai
chalna aur machalna..aa..aa
o chanda. . .
aaj ki raat na dhalna

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आsss आssss
आssss आsss
आss आsssss आssss
आssss आsssssss आss

ओs ओs ओs
ओs ओs ओs
आss आs आssss आss
आssss आsss आsss आss

ओ चंदा॰॰आ
आज की रात न ढलना
ओ चंदा॰॰आ
आज की रात न ढलना
झिलमिल तारों की छाँव में
में झूमूँ पी की बाहों में
दो प्राणों के अरमानों का
सपना नहीं बदलना॰॰आ॰॰आ
ओ चंदा॰॰आ
आज की रात न ढलना

जी भर गीत मिलन का गा लूँ
पिया के हाथों मांग सजा लूँ
जी भर गीत मिलन का गा लूँ
पिया के हाथों मांग सजा लूँ
तेरी चाँदनी की किरणों में
जी में आता आज नहा लूँ
ये बढ़भागिन
रात सुहागिन
फिर आएगी कल ना॰॰आ॰॰आ
ओ चंदा॰॰आ
आज की रात न ढलना
ओ चंदा॰॰आ
आज की रात न ढलना

तेरी पलकों में रसवन्ती
रात की रानी चहक रही है
तेरी पलकों में रसवन्ती
रात की रानी चहक रही है
तेरी अलकों को छू कर के
राजनीगंधा महक रही है
कितना आज भला लगता है
चलना और मचलना॰॰आ॰॰आ
ओ चंदा॰॰आ
आज की रात न ढलना

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.

In the year 1969, “Mere Sapnon Ki Rani Kab Aayegi Tu” – the song from ‘Aradhana’ had taken the entire nation by storm. So many things of this song became such dear memories, that have lasted for decades. Of course, the melody (Sachin Da) and its rendition (Kishore Kumar) are absolutely superlative. The song, and its popularity paved the way and propelled Rajesh Khanna towards super stardom. And the other things about this song – well the parallel drive of the army jeep and the toy train is one. Sharmila Tagore sittings in the window seat in the train is absolutely ravishing with her smile and dimpled cheeks. She is reading a novel, rather pretending to read, as her eyes and mind are on the antics of the young man in the jeep. Ah yes, and the novel she has in her hand – a very popular thriller writer of that era – Alistair Maclean; and the title of novel – ‘When Eight Bells Toll’. (No, no, don’t worry, I will not get into the story line of the novel ).

Let’s see, what else. Aah yes, the almost edge of the cliff driving, one handed driving, while playing the mouth organ, with a scampering hearted young man, jumping about in the jeep at the same time. And the man behind the wheel, in a black leather hat – Sujit Kumar. This single handed driving on the cliff edge while playing the mouth organ with the other hand, besought Sujit Kumar a memorable imagery, that embedded in the collective memory much more than his career till then. And it also kind of shifted his career path – more towards character roles in A grade cinema.

Remembering Sujit Kumar on his birth anniversary today (7th February).

Sujit Kumar was born this day in 1934, in the city of Benaras. His family were rich landowners for generations in that area. An unlikely, unexpected and a very hesitant entrant into the film world, Sujit had never planned to or dreamed of being a film star. Going through his school and college in a very normal traditional manner, the plans for him was to go to UK for higher studies and get an MBA degree.

It was chance, or a mistake, or destiny – at college he participated in a stage play. The play was judged as very successful and was sent as an entry to a college play competition. More destiny – Phani Majumdar, renowned director of his times, was invited to judge the competition. Sujit’s play was adjudged the winner, and Sujit Kumar adjudged as the best actor in the competition. Phani Da talked with him, and suggested joining films. He invited him to join as assistant director on the then current project – ‘Akaashdeep’ (1965), with a promise to take on Sujit as a hero in the following film he would produce.

The destiny turned fickle; ‘Akaashdeep’ was a commercial let down, and Phani Da could not have a next project to work on with a newcomer. Sujit remembers his predicament – on one hand he was to go to London for MBA and now he was forced to make rounds of film producers offices in search of work. He was very disheartened. He got into other films as an assistant director – like ‘Apna Bana Ke Dekho’ and ‘Door Gagan Ki Chhaon Mein’.

Around early to mid 1960s, the Bhojpuri film industry began taking roots. The first film ‘Ganga Maiya Tohey Piyari Chadhaibo’ was released in 1962, to a great success. Its producers, Nazir Husain and director Kundan Shah, then approached Sujit Kumar for their next project. Sujit was very excited with the offer and started to prepare for the role. Just less than a week prior to the start of shooting schedule, he was informed that he had been removed from the film. Rumors had it that Aseem Kumar, the hero of the earlier ‘Ganga Maiya Tohey Piyari Chadhaibo’, went to meet Kum Kum, the heroine of that earlier film, and through her, he influenced the producer director to retain Aseem Kumar as the hero.

Sujit was very dejected. But then the destiny did another flip. Bachubhai Shah, another producer starting his venture into Bhojpuri films, approached him for his first project. Sujit, cautious to the extreme, requested for a meeting with the heroine, Naaz, to make sure he does not get dumped once again. After the meeting, all was well. The film ‘Bidesiya’ went on to be one of the greatest hits of the Bhojpuri cinema.

Time was also when Sujit started to get lead roles in Hindi films, albeit in B and C grade thriller type films. A sampler list – ‘Ek Saal Pehle’ (1965), ‘Laal Bangla’ (1966), ‘Labela’ (1966), ‘Ek Raaz’ (1960s), ‘Lamboo in Hong Kong’ (1967), ‘Sub Ka Ustad’ (1967), ‘Lahu Pukaarega’ (1968), ‘Gunda’ (1969), and ‘Mangu Dada’ (1970). In parallel, his career in A grade films as a character artist was also shaping up simultaneously. He appeared in a number of films in supporting roles – ‘Ladka Ladki’ (1966), ‘Pati Patni’ (1966), ‘Jaal’ (1967), ‘Aankhen’ (1968), ‘Aulaad’ (1968), ‘Aradhna’ (1969), ‘Ittefaq’ (1969), ‘Aan Milo Sajna’ (1970), and so on. A special mention here needs to be made of the 1969 film ‘Gustakhi Maaf’. In this comedy film, Sujeet Kumar and Sanjeev Kumar teamed up to play the roles of two brothers, who get entangled with a double roled Tanuja, making for one of the most rollicking comedies of the 1960s.

Past the 1970 milestone, Sujit Kumar’s career took off in two directions – a very successful lead actor in Bhojpuri films, and a very successful and sought after character actor in Hindi films. Later on, he also turned a producer, making some big name films like ‘Anubhav’ (1986), ‘Aasmaan Se Ooncha’ (1989), ‘Ganga Kahe Pukar Ke’ (Bhojpuri) (1991), ‘Khel’ (1992), ‘Daraar’ (1996), ‘Champion’ (2000) and ‘Aetbaar’ (2004).

Sujit Kumar passed away on 5^th February, in 2010, after a long fight with cancer.

Today’s song is from the 1969 film ‘Gunda’. The film is produced under the banner of Smart Films, Bombay and is directed by Mohammed Husain. The cast of actors consists of Sheikh Mukhtar, Sujit Kumar, Jayanti, NA Ansari, Bhagwan, Helen, Bela Bose, Shakeela Bano Bhopali, Shaam Kumar, Shefali, Mumtaz Begum, Uma Dutt, Mohan Jerry, Satish, Sharifa, and Fatima etc.

The film has six songs, written by three song writers – Anjaan, Shadaab, and Dev Kohli. Music for this film is composed by GS Kohli. One song of this film is already showcased here on our blog. This is the second song of this film, coming on board today. The singing voices are of Mohammed Rafi and Suman Kalyanpur. On screen, the song is performed by Sujit Kumar and Jayanti.

A wonderful duet, that is a expression of love song. The gentleman is quite keen to announce to the world, his love for the lady. And the lady is reticent, and asks the gentleman to wait. Enjoy this tete-a-tete between lovers.

[Acknowledgements: The material for the above article is gathered and adapted from an interview with Sujit Kumar, published in Cineplot in 2007, and newspaper articles published in Times of India, Hindustan Times, Zee News, and Rediff.]

Song – Haan Hum Ne Pyaar Kiya Keh Den Zamaane Se  (Gunda) (1969) Singer – Mohammed Rafi, Suman Kalyanpur, Lyrics – Anjaan, MD – GS Kohli

Lyrics

haan hum ne pyaar kiya
keh den zamaane se
abhi nahin
na na abhi nahin
o ho abhi nahin
na na abhi nahin
pyaar kabhi chhupta hai
aise chhupaane se
kabhi nahin
na na kabhi nahin
meri jaan kabhi nahin
na na kabhi nahin

tumhin se pyaar kiya hai
isey chhupaayen kyon
kiya hai zurm hum ne kya
nazar churaayen kyon
kiya hai pyaar magar aisi koi baat na kar
zamaane waale hum pe ungliyaan uthaayen kyon
zamaana kya hai
zamaane ne kis ka saath diya
hamaari baat karo
hum ne tumse pyaar kiya
deewaane yun na sataa
yun na sataa
yun na sataa
ab to dil ka raaz keh de
dil ke deewaane se
abhi nahin
na na abhi nahin
meri jaan abhi nahin
na na abhi nahin
haan hum ne pyaar kiya
keh den zamaane se
abhi nahin
na na abhi nahin
o ho abhi nahin
na na abhi nahin

ghata si zulf aaj khul ke mehak jaane de
dhalak raha hai ye aanchal to dhalak jaane de
sambaahlo khud ko abhi aise beqaraar na ho
balaa se dil behak raha hai
behak jaane de
teri adaayen jab yun dil ko beqaraar karen
dabaa ke dard kab talak yun intezaar karen
na chhed aise sanam
tujhko qasam
meri qasam
ab to dil se milne de
dil kisi bahaane se
abhi nahin
na na abhi nahin
meri jaan abhi nahin
na na abhi nahin
ho oo oo
haan hum ne pyaar kiya
keh den zamaane se
abhi nahin
na na abhi nahin
o ho abhi nahin
meri jaan abhi nahin
pyaar kabhi chhupta hai
aise chhupaane se
kabhi nahin
na na kabhi nahin
meri jaan kabhi nahin
na na kabhi nahin

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हाँ हमने प्यार किया
कह दें ज़माने से
अभी नहीं
ना ना अभी नहीं
ओ हो अभी नहीं
ना ना अभी नहीं
प्यार कभी छुपता है
ऐसे छुपाने से
कभी नहीं
ना ना कभी नहीं
मेरी जां कभी नहीं
ना ना कभी नहीं

तुम्हीं से प्यार किया है
इसे छुपाएं क्यों
किया है ज़ुर्म हमने क्या
नज़र चुराएँ क्यों’
किया है प्यार मगर ऐसी कोई बात ना कर
ज़माने वाले हम पे उँगलियाँ उठाएँ क्यों
ज़माना क्या है
ज़माने ने किस का साथ दिया
हमारी बात करो
हमने तुमसे प्यार किया
दीवाने यूं ना सता
यूं ना सता
यूं ना सता
अब तो दिल का राज़ कह दे
दिल के दीवाने से
अभी नहीं
ना ना अभी नहीं
मेरी जां अभी नहीं
ना ना अभी नहीं
हाँ हमने प्यार किया
कह दें ज़माने से
अभी नहीं
ना ना अभी नहीं
ओ हो अभी नहीं
ना ना अभी नहीं

घटा सी जुल्फ आज खुल के महक जाने दे
ढलक रहा है ये आँचल तो ढलक जाने दे
संभालो खुद को अभी ऐसे बेक़रार ना हो
बला से दिल बहक रहा है
बहक जाने दे
तेरी अदाएं जब यूं दिल को बेक़रार करें
दबा के दर्द कब तलक यूं इंतज़ार करें
ना छेड़ ऐसे सनम
तुझको क़सम
मेरी क़सम
अब तो दिल से मिलने दे
दिल किसी बहाने से
अभी नहीं
ना ना अभी नहीं
मेरी जां अभी नहीं
ना ना अभी नहीं
हो ओ ओ
हाँ हमने प्यार किया
कह दें ज़माने से
अभी नहीं
ना ना अभी नहीं
ओ हो अभी नहीं
मेरी जां अभी नहीं
प्यार कभी छुपता है
ऐसे छुपाने से
कभी नहीं
ना ना कभी नहीं
मेरी जां कभी नहीं
ना ना कभी नहीं

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 – 56
– – – – – – – – – – – – – – –

सुन के देखो तो पता चलता है । Outside of the big name films and their music, so much else was happening in the world of Hindi film music. And so much that became obscure and almost lost. And quite a bit of it is actually lost, at least for now. Listening to this melody, created by Prem Warburtani and Bulo C Rani, and rendered by Asha, one cannot but be convinced that there was a lot more going on in the Hindi film world, outside of the big name films and music. Yes, it is time to stop and smell not just the roses, but the other oh so beautiful flowers that are lost in the brush.

So yes, there is a film by the name ‘Jaadu’ in 1960s. At the mention of this name, the mind always goes back to “Laara Loo, Laara Loo” composed by Naushad Sb for the 1950 film of this name. But today, we are starting to explore this another film by the same name, released in 1966.

The film is produced under the banner of Fine Art Pictures, Bombay, and is directed by B Gupta. The cast of actors, as listed in the Geet Kosh is quite impressive, giving an impression of being a stunt / costume drama film – Ranjan, Chitra, Helen, Sundar, Randhir, Rajan Haksar, Shivraj, Habeeb, Pal Sharma, Jeevankala, BM Vyas, and Lakshmichaya etc.

The film has six songs which have been penned by four song writers – Naresh Pal, Prem Warburtani, Shadab, and Tabish Kanpuri. Today’s song is written by Prem Warburtani. The music is composed by Bulo C Rani.

So with this song, the 1966 ‘Jaadu’ makes its debut on our blog. An absolutely terrific song, that I had to post today. Just as the music starts, and the the voice of Asha ji comes on almost immediately with a short alaap, the heart suddenly knows that a wonderful song is following.

Listen, enjoy, and then let me know.

Song – Dhadhakte Huye Do Dilon Ki Kahaani  (Jaadu) (1966) Singer – Asha Bhosle, Lyrics – Prem Warburtani, MD – Bulo C Rani

Lyrics

aaa aaa aaa oo ho
ooo ooo ooo aa ha
la la la la laaa..aa..aaa

dhadakte huye do dilon ki kahaani
suni hai bahaaron
sitaaron ne mil ke
jawaani ke duniya ko mehka rahe hain
mohabbat ke gulshan mein do phool khil ke
aaa aaaa aaaaa aaaaaa aaaa
dhadakte huye do dilon ki kahaani
suni hai bahaaron
sitaaron ne mil ke

gagan ke sitaaron ne
zameen ki bahaaron ne
tumhin ko pukaara
tunhim ko sadaa di
aaa aaa aaa oo oo
gagan ke sitaaron ne
zameen ki bahaaron ne
tumhin ko pukaara
tunhim ko sadaa di
jhoom uthi
dil ki khushi
aaj tumse mil ke
jawaani ki duniya ko mehka rahe hain
mohabbat ke gulshan mein do phool khil ke
aaa aaaa aaaaa aaaaaa aaaa
dhadakte huye do dilon ki kahaani
suni hai bahaaron
sitaaron ne mil ke

tumhen aaj paa kar
tumhari kasam hai
meri zindagi mein bahaar aa gayi hai
ooo ooo ooo aaa aa aa
tumhen aaj paa kar
tumhari kasam hai
meri zindagi mein bahaar aa gayi hai
dil ki kali
aur khili
aaj tumse mil ke
jawaani ki duniya ko mehka rahe hain
mohabbat ke gulshan mein do phool khil ke
aaa aaaa aaaaa aaaaaa aaaa
dhadakte huye do dilon ki kahaani
suni hai bahaaron
sitaaron ne mil ke

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आ आ आ ओ हो
ओ ओ ओ आ हा
ला ला ला ला ला॰॰आ॰॰आ

धड़कते हुये दो दिलों की कहानी
सुनी है बहारों
सितारों ने मिल के
जवानी की दुनिया को महका रहे हैं
मोहब्बत के गुलशन में दो फूल खिल के
आss आsss आssss आsssss आsss
धड़कते हुये दो दिलों की कहानी
सुनी है बहारों
सितारों ने मिल के

गगन के सितारों ने
ज़मीन की बहारों ने
तुम्हीं को पुकारा
तुम्हीं को सदा दी
आs आs आs ओs ओs
गगन के सितारों ने
ज़मीन की बहारों ने
तुम्हीं को पुकारा
तुम्हीं को सदा दी
झूम उठी
दिल की खुशी
आज तुमसे मिल के
जवानी की दुनिया को महका रहे हैं
मोहब्बत के गुलशन में दो फूल खिल के
आss आsss आssss आsssss आsss
धड़कते हुये दो दिलों की कहानी
सुनी है बहारों
सितारों ने मिल के

तुम्हें आज पा कर
तुम्हारी क़सम है
मेरी ज़िंदगी में बहार आ गई है
ओs ओs ओs आss आs आs
तुम्हें आज पा कर
तुम्हारी क़सम है
मेरी ज़िंदगी में बहार आ गई है
दिल की कली
और खिली
आज तुमसे मिल के
जवानी की दुनिया को महका रहे हैं
मोहब्बत के गुलशन में दो फूल खिल के
आss आsss आssss आsssss आsss
धड़कते हुये दो दिलों की कहानी
सुनी है बहारों
सितारों ने मिल के

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.

The Yippeee film for today is the 1969 ‘Raat Ke Andhere Mein’. Belonging to the B/C grade thriller cum social category, the film is produced under the banner of Ashok Films, Bombay, and is directed by Devraj. The star cast of the film includes Dev Kumar, Sonia Sahni, Shahida, Dev Dutt, Bhagwan, Mohan Choti, Murad, Rajan Haksar amongst others.

The film is a variation on the traditional lost-and-found theme. The variation in this case is that a child is lost; later on he grows up to be a criminal and then found by the parents. The story line is summarized as follows,

Dev Kumar is a bad character, and is on the run from the police. He is the long lost son of Murad and Mridula Rani, who have been searching for him for years, based on the description of a locket that the child was wearing when he got separated from his parents. The child has grown up into a criminal, and actually he knows he is the son of Murad. But because he is a criminal, he refuses to go back to his parents, for the fear of bringing bad name to them. Murad and his family also suspect this to be true, but are not certain.

To reach his son, Murad plans a way to trap him, with the help of police. The criminal son is in love with Sonia Sahni. Murad arranges a stage show in which he brings Sonia Sahni to perform a dance. The plan is put in place, with the expectation that Dev Kumar will find some way or the other come to the program to watch his beloved. The expected happens. Dev Kumar enters the theatre in disguise, but then removes it once he is inside. The police inspector Rajan Haksar is watching the audience and he locates Dev Kumar. By the time the performance comes to an end, he is enters the box section where Dev Kumar is sitting, and takes him into custody. The film moves towards a happy-ending as Rajan Haksar takes the criminal Dev Kumar, not to the police station but to Murad’s residence. After all is sorted out and everybody is happy, the inspector then takes the criminal with him, saying that he will try for a pardon or a light sentence for him.

The film has five songs listed, one of which is a multi version song that appears two times in the film, once as a solo in Rafi Sb’s voice and the second time as a solo in Lata Mangeshkar’s voice. The 4+1 songs already posted on the blog are listed as under,

In the Geet Kosh listing, it is indicated as if some more songs may be in the film. However, Atul ji, while posting the penultimate song of this film, had done a fast-forward review of the film, and confirms that the 5+1 songs listed in the Geet Kosh are the only songs in the film, and no more.

This is one of the very few films that Prem Dhawan has written the songs, as well as composed the music for. I have written about this in the two earlier posts of the songs of this film, listed at number 1 and number 4 above.

The songs of this film are a veritable treat for the aficionados. Almost all the songs became very popular in their time and were frequently heard on the radio waves. “Apne Naame Ke Kareeb. . .”, the two versions of “Agar Bewafa Tujhko Pehchan Jaate” and the stage dance song “Na Jaane Peer Dil Ki. . .” have been some the all time favorites of the listeners.

Today’s song is a duet, or maybe a so-called duet, in the voices of Rafi Sb and Usha Timothy. I say ‘so-called’, because in the song, most of the singing is done by Rafi Sb, and Usha Timothy just gets to add the words “thoda thoda” once in each refrain. So literally speaking, it is “thoda thoda” contribution by her to this song. On screen, the song is picturized on Dev Dutt and Shahida.

This song too, is a delightful offering, maybe lesser known in comparison to its more popular siblings in this film. But still a pleasure to listen to. Enjoy.

And plus let us celebrate the film ‘Raat Ke Andhere Mein’ joining the list of films with all songs posted, on the blog. Cheers.

Song – Hothon Pe Inkaar Thoda Thoda  (Raat Ke Andhere Mein) (1969) Singer – Mohammed Rafi, Usha Timothy, Lyrics – Prem Dhawan, MD – Prem Dhawan

Lyrics

oo

oo oo

o sangdil haseena
maathe pe kyon paseena
pathar bhi pighalte hai
dekha tha ye kabhi na

ke hothon pe inkaar
thoda thoda
aankhon mein iqraar
thoda thoda
tu maane na maane
tujhe bhi to hum se hai pyaar
thoda thoda
haan
hothon pe inkaar
thoda thoda
aankhon mein iqraar
thoda thoda
tu maane na maane
tujhe bhi to hum se hai pyaar
thoda thoda

itne burey hum nahin
ke aankhen churaao
katra ke yun na chalo
na daaman bachaao
ik din kisi pe to aayega dil
ik din koi le ke jaayega dil
kar lo hameen pe aitbaar
thoda thoda
haan
hothon pe inkaar
thoda thoda
aankhon mein iqraar
thoda thoda
tu maane na maane
tujhe bhi to hum se hai pyaar
thoda thoda

hota na hum se jo pyaar
to kyon sharmaate
chhup chhup ke yun meri jaan
tum milne na aate
mil ke nazar yun hi jhukti nahin
ye wo lagi hai jo chhupti nahin
tera bhi dil hai beqaraar
thoda thoda
haan
hothon pe inkaar
thoda thoda
aankhon mein iqraar
thoda thoda
tu maane na maane
tujhe bhi to hum se hai pyaar
thoda thoda

milne ki hai aarzoo
to kaisi ye doori
teri meri dastaan
rahe na adhoori
kab tak akele mera dil jaley
tadpaane waale aa lag ja galey
mil jaaye hum ko qaraar
hahn thoda thoda
haahan
hothon pe inkaar
thoda thoda
aankhon mein iqraar
thoda thoda
tu maane na maane
tujhe bhi to hum se hai pyaar
thoda thoda

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

ओ ओ

ओ संगदिल हसीना
माथे पे क्यों पसीना
पत्थर भी पिघलते हैं
देखा था ये कभी ना

के होठों पे इंकार
थोड़ा थोड़ा
आँखों में इक़रार
थोड़ा थोड़ा
तू माने ना माने
तुझे भी तो हमसे है प्यार
थोड़ा थोड़ा
हाँ
होठों पे इंकार
थोड़ा थोड़ा
आँखों में इक़रार
थोड़ा थोड़ा
तू माने ना माने
तुझे भी तो हमसे है प्यार
थोड़ा थोड़ा

इतने बुरे हम नहीं
का आँखें चुराओ
कतरा के यूं ना चलो
ना दामन बचाओ
इक दिन किसी पे तो आएगा दिल
इक दिन कोई लेके जाएगा दिल
कर लो हमीं पे एतबार
थोड़ा थोड़ा
हाँ
होठों पे इंकार
थोड़ा थोड़ा
आँखों में इक़रार
थोड़ा थोड़ा
तू माने ना माने
तुझे भी तो हमसे है प्यार
थोड़ा थोड़ा

होता ना हमसे जो प्यार
तो क्यों शर्माते
छुप छुप के यूं मेरी जान
तुम मिलने ना आते
मिल के नज़र यूं ही झुकती नहीं
ये वो लगी है जो छुपती नहीं
तेरा भी दिल है बेक़रार
थोड़ा थोड़ा
हाँ
होठों पे इंकार
थोड़ा थोड़ा
आँखों में इक़रार
थोड़ा थोड़ा
तू माने ना माने
तुझे भी तो हमसे है प्यार
थोड़ा थोड़ा

मिलने की है आरज़ू
तो कैसी ये दूरी
तेरी मेरी दास्तान
रहे ना अधूरी
कब तक अकेले मेरा दिल जले
तड़पाने वाले आ लग जा गले
मिल जाये हमको क़रार
हाहं थोड़ा थोड़ा
हाहाँ
होठों पे इंकार
थोड़ा थोड़ा
आँखों में इक़रार
थोड़ा थोड़ा
तू माने ना माने
तुझे भी तो हमसे है प्यार
थोड़ा थोड़ा

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.

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 5
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

/‘ऊ’/

‘ए’ – एक दिल हैं एक जान हैं

तुम मुझे यूं भुला ना पाओगे
जब कभी भी सुनोगे गीत मेरे
संग संग तुम भी गुनगुनाओगे॰ ॰ ॰

क्या सच ब्यान कर गए आप, रफी साब॰ ॰ ॰

Your voice, and your songs are so imprinted on the memory, that the mind sings along the verses, every time it hears any of your songs. These memories are now lifelong; they will not be deserted till the last breath.

Moving forward with the series of duets – I am skipping ‘ऊ’ because no duet song starting with this vowel is available. So I come to ‘ए’, as the starting letter for today’s song.

This song is from the 1976 film ‘Shaque’, a taut psychological thriller starring Shabana Azmi, Vinod Khanna, Utpal Dutt, Bindu, Durga Khote, Farida Jalal, Master Atul, Arvind Deshpande, Suhas Bhalekar, Satya Kumar Patil, VP Kaale, and AK Banerjee. The film is produced and directed by the husbsand-wife team of Aruna and Vikas, under their own banner – Avikam, Bombay. The five songs in this film are penned by Gulzar (four) and Hafiz (one), and the music direction is by Vasant Desai. This was the last film that Vasant Desai composed the music for, before his unfortunate demise in an unexpected and zany lift accident.

The film deals with a slinking doubt that creeps into the lives of a happily settled couple. Doubts, that go way back into the past, when the couple were less affluent, and a criminal event had happened at the workplace of the husband. The circumstances of the event eventually left the case open, as the guilt of any specific individual could not be established. Years later, that lack of closure becomes the source of doubt and distrust between the couple. The film is very down to earth and very sensibly handled by the director’s team.

This song is one of that rare category of songs that seems to be have been created and recorded as a complete song, but then are used partially in the film, plus they re not released in any other format. So the part of the song that is included on the film’s sound track is the only part that is available. Folks will recall the unlisted song of film ‘Pyaasa’ (1957) – “Peechhe Peechhe Duniya Aage Aage Hum“, that got posted in July last year as a partial song which is available only on the film’s soundtrack. That is a similar example. Then in the 1987 film ‘Susman’, there are one or maybe two bhajans by Kabir, that play in the background, in many parts, throughout the film. They too are not available, other than from the film’s soundtrack. Another example that comes to mind is the complete ghazal “Dil Ka Bharosa To Nahin” from the 1961 film ‘Shama’ – that too is not available anywhere else other than the sound track only. I am sure there are many more such songs and partial songs sitting only in the film’s soundtrack waiting to be discovered.

The online link that is provided actually plays the song more than once. The actual length of the available snippet is just a tad over one minute. The uploader has created a longer piece by splicing and pasting together the available snippet multiple times.

Even this one minute snippet is a wonderful example of how Vasant Desai has taken the free metre verses penned by Gulzar and weaved them into a delectable song. Enjoy this minute long sojourn of beautiful sound.

Song – Ek Dil Hai Ek Jaan Hai Ek Jaan e Jaan (Shaque) (1976) Singer – Asha Bhosle, Mohammed Rafi, Lyrics – Gulzar, MD – Vasant Desai

Lyrics

aaa aaa aaa aaa
aa haa
o ho
o ho
oo oo oo
oo oooo ooo oooo

ek dil hai
ek jaan hai
ek jaan e jaan
jaan e jaan miley jahaan
wahin mera jahaan
wo mera jahaan

kahaan
hmmm
kahaan

tum zara zameen pe rakh do
paaon ke nishaan
jhuk ke choom lega
us zameen ko aasmaan
tumhaare paaon ke nishaan

wo nishaan
hain kahaan

chhaaon chhaaon chal raha hai
dhoop ka dhuaan
aaa aaaaa aaaa aaaaa
dhuaan?
haan. . . dhuaan
chhaaon chhaaon chal raha hai
dhoop ka dhuaan
dhoondhta hua tumhaare paaon ke nishaan
aaaa aaaa aaaa
aa haa
ho ho
o ho
ho oo oo oo
ho oo ooo ooo

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आ आ आ आ
आ हा
ओ हो
ओ हो
ओ ओ ओ
ओ ओsss ओs ओsss

एक दिल है
एक जान है
एक जान ए जान
जान ए जान मिले जहां
वहीं मेरा जहान्
वो  मेरा जहान्

कहाँ
हम्मम
कहाँ

तुम ज़रा ज़मीन पे रख दो
पाँव के निशान
झुक के चूम लेगा
उस ज़मीन को आसमान
तुम्हारे पाँव के निशान

वो निशान
हैं कहाँ

छांव छांव चल रहा है
धूप का धुआँ
आss आssss आsss आssss
धुआँ?
हाँ॰॰॰ धुआँ
छांव छांव चल रहा है
धूप का धुआँ
ढूँढता हुआ तुम्हारे पाँव के निशान
आ आ आ
आ हा
हो हो
ओ हो
हो ओ ओ ओ
हो ओ ओ ओss

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 – 58
– – – – – – – – – – – – – – –

1966 and 1967 appears to be very fertile years, as far as discovering obscure films and songs is concerned. I start searching for the films from these years, and I continue finding films and songs that seem to have been lost in time. A good number of them have already appeared online in one form or another. But there is still a good set that seem to be as yet unavailable online.

Today’s film – ‘Sheba And Hercules’ from 1967, is one of them. After some earlier comments from some readers on the blog and also some followers on YouTube, which corrected my statement about the song being posted for the first time, I try to be more cautious, and apply more effort to search the song before posting. So for this song today, I searched using many different options, but I am not able to trace any song of this film online. But I do not claim that the song is making a debut online, because I have been held in error of such statements before. So I will say that as far as my searches could show, I did not find this film and this song online as yet.

The name of the film itself indicates an obscure and a lost film. As dear Arun ji has also noted in one of his articles earlier, we can depend on the producers of Hindi films to create links across histories and across geographies; even to the extent of combining factual history and fictional characters. This endeavor to connect and to integrate disparate persona, events and aeons, is really ‘commendable’ – these producers and these films are working towards not just national integration, but also international integration. These producers deserve a big applause for their effort.

Case in point is this film. I am going by the title – since I have no clue as to the content and the storyline of the film. Hercules is a Roman God whose stories are part of the Roman Mythology. Incidentally, in Greek mythology also, a similar Hero/God appears, with a slightly altered name – Heracles. There are many similarities in the stories of these two, across these two cultures.

Queen Sheba is very much a historical persona, whose details are found in Biblical history, and from there connects are found in Jewish and Islamic history also. There is archaeological evidence that also supports this historical records. Sheba was the Queen of the kingdom of Saba – area in the southern Arabic peninsula that is current day Yemen. Her historical record is contemporaneous with King Solomon, who was the king of Israel in circa 970-931 BC. There is a detailed record of Queen Sheba’s visit to Israel, accompanied by a grand retinue, and of bringing many gifts of spices, dry fruits and other items, loaded on camels. The Jewish history records that the spices brought by Queen Sheba were of the type never seen and used before in Israel. There is a record of their conversations, in which Sheba asks many questions from Solomon, who is considered to be the wisest man who ever lived on this earth. After being satisfied with the answers she receives, she returns to her lands. Historians have recorded this visit as one of the earliest examples of a trade and cultural exchange delegation going from one nation to another.

But I digress. The point I am trying to arrive at is the these two mythological / historical personae – Hercules and Sheba – could never have possibly been contemporaneous in person. However, still, the producers of Hindi films have found a happy meeting ground for these two, in the film titled ‘Sheba And Hercules’. I would request other readers and friends to please add some information about the storyline of this film.

The film is a costume drama produced under the banner of Meena Films, Bombay and is directed by BS Chaudhry. The star cast includes Randhawa, Vijaya Chaudhary, Indira, Heeralal, Kamal Mehra, Tuntun, Rajan Kapoor, Trilok Singh, and Saudagar Singh amongst others. Geet Kosh tells us that there are six songs in this film. All songs have been written by Raja Mehdi Ali Khan and the music is by a gentleman named Chandan. Now this is a name that I have not encountered before. As I tried to look through the Geet Kosh, I am not able to locate any other reference to this name as a music director. Quite likely, this person, as many others who have given music in one or two films, would probably have been an assistant music director, and then got a chance to try his hand as an independent artist. But after one outing, did not get any more work in the industry.

The singing voice in this song is of Krishna Kalle. This is a song of ‘expression of love’, in which the lady is expressing her magnanimity that she is a benefactor, and that as a favor unto him, she has fallen in love with the gentleman to whom this song is being addressed. Now that is quite a thought.

So with this song, the film ‘Sheba And Hercules’ makes a debut on our blog. And so does the music director Chandan. I would request other knowledgeable readers and friends to please add more information about this film, and the music director.

Song – Jaao Ji Tum Pe Hum Merbaan Ho Gaye  (Sheba And Hercules) (1967) Singer – Krishna Kalle, Lyrics – Raja Mehdi Ali Khan, MD – Chandan

Lyrics

jaao ji

jaao ji
tum pe hum merbaan ho gaye
jaao ji
tum pe hum merbaan ho gaye
pyaar machla. . .
pyaar machla iraade jawaan ho gaye
jaao ji
jaao ji
tum pe hum merbaan ho gaye

ji machalta khamosh kaise rahen
ji machalta khamosh kaise rahen
tum se sharma ab aur kya kya kahen
tum se sharma ab aur kya kya kahen
haaye kya kya kahen
haaye zaalim
dil ke saare
dil ke saar afsaane bayaan ho gaye
jaao ji
jaao ji
tum pe hum merbaan ho gaye
jaao ji
tum pe hum merbaan ho gaye

kis ne tum se kaha door hum se raho
kis ne tum se kaha door hum se raho
mere dil ki suno  apne dil ki kaho
mere dil ki suno  apne dil ki kaho
aji dil ki kaho
haaye qaatil
tum to khamoshiyon
tum to khamoshiyon ki zubaan ho gaye
jaao ji
jaao ji
tum pe hum merbaan ho gaye
jaao ji
tum pe hum merbaan ho gaye

aaj allah kasam hum nahin hosh mein
aaj allah kasam hum nahin hosh mein
tum ko le lenge palkon ki aaghosh mein
tum ko le lenge palkon ki aaghosh mein
haaye aaghosh mein
haaye
aaj laila
aaj laila ki hum dastaan ho gaye
jaao ji
jaao ji
tum pe hum merbaan ho gaye

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

जाओ जी

जाओ जी
तुम पे हम मेरबाँ हो गए
जाओ जी
तुम पे हम मेरबाँ हो गए
प्यार मचला॰॰॰
प्यार मचला इरादे जवां हो गए
जाओ जी
जाओ जी
तुम पे हम मेरबाँ हो गए

जी मचलता है खामोश कैसे रहें
जी मचलता है खामोश कैसे रहें
तुमसे शर्मा अब और क्या क्या कहें
तुमसे शर्मा अब और क्या क्या कहें
हाए क्या क्या कहें
हाए ज़ालिम
दिल के सारे
दिल के सारे फसाने ब्याँ हो गए
जाओ जी
जाओ जी
तुम पे हम मेरबाँ हो गए
जाओ जी
तुम पे हम मेरबाँ हो गए

किसने तुमसे कहा दूर हमसे रहो
किसने तुमसे कहा दूर हमसे रहो
मेरे दिल की सुनो अपने दिल की कहो
मेरे दिल की सुनो अपने दिल की कहो
अजी दिल की कहो
हाए क़ातिल
तुम तो खामोशीयों
तुम तो खामोशीयों की ज़ुबाँ हो गए
जाओ जी
जाओ जी
तुम पे हम मेरबाँ हो गए
जाओ जी
तुम पे हम मेरबाँ हो गए

आज अल्लाह कसम हम नहीं होश में
आज अल्लाह कसम हम नहीं होश में
तुमको ले लेंगे पलकों की आग़ोश में
तुमको ले लेंगे पलकों की आग़ोश में
हाए आग़ोश में
हह हाए
आज लैला
आज लैला की हम दास्ताँ हो गए
जाओ जी
जाओ जी
तुम पे हम मेरबाँ हो गए

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.

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 6
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘ऐ’ – ऐ चाँद तू देना गवाही

कहाँ आवाज़ दें तुमको कहाँ हो

सिर्फ एक गीतों का ही तो आसरा है॰ ॰ ॰ और कहाँ आवाज़ दें तुमको, ना जाने किस जहान् में चले गए॰ ॰ ॰

We arrive at the sixth episode of this series – a lively duet from the 1963 film ‘Holiday In Bombay’.

As I look at the blog statistics, the number of Rafi Sb – Asha Bhosle duets currently stands at 496, prior to this post. These are strictly duet songs. I make this specific distinction because there are another 20 songs in the blog, in which this pair is accompanied by one or more other voices. They are singing together but essentially not is a pure duet format.

‘Holiday In Bombay’ is a film produced under the banner of Yugchhaaya, and is directed by PL Santoshi. The list of actors in this film is, Shashi Kapoor, Vijaya Chaudhary, Rajendra Nath, Naseem Banu, Dhumal, P Kailash, Ulhas, Randhir, Sulochana Chatterjee, Rajan Haksar, Jeevankala, Ram Kumar, Renu Maakad, Heera Sawant, Kundan, BB Bhalla, D Dileep, Nazeer Kashmiri, Hublikar, and Lakshmi Chhaaya.

Geet Kosh lists eight songs for this film written by four songwriters – Anand Bakshi, Anjaan, PL Santoshi and Anwar Farrukhabaadi. This particular song is penned by Anwar. The music direction is by N Datta.

Although the complete film is available online, the video clip of this song is not. I request other folks who might have seen this film, to please add more information about the picturization of this song.

Song – Ae Chanda Tu Dena Gawaahi (Holiday In Bombay) (1963) Singer – Asha Bhosle, Mohammed Rafi, Lyrics – Anwar Farrukhabaadi, MD – N Dutta

Lyrics

ae chanda tu dena gawaahi
ae chanda tu dena gawaahi
dil hum ne diya hai tere saamne
dil hum ne diya hai tere saamne
ae chanda tu dena gawaahi
ae chanda tu dena gawaahi

gungunaane lagin aaj tanhaaiyaan
baj rahi hain kahin door shehnaaian
gungunaane lagin aaj tanhaaiyaan
baj rahi hain kahin door shehnaaian
ae sitaaro hanso
ae nazaaro hanso
geet chheda hai jaati hui shaam ne
dil hum ne diya hai tere saamne
dil hum ne diya hai tere saamne
ae chanda tu dena gawaahi
ae chanda tu dena gawaahi

raat ke haath mein chaand ka phool hai
ye koi khwaab hai ya koi bhool hai
raat ke haath mein chaand ka phool hai
ye koi khwaab hai ya koi bhool hai
dil ko mehka diya
hum ko behka diya
teri aankhon ke rangeen paighaam ne
dil hum ne diya hai tere saamne
dil hum ne diya hai tere saamne
ae chanda tu dena gawaahi
ae chanda tu dena gawaahi

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ऐ चंदा तू देना गवाही
ऐ चंदा तू देना गवाही
दिल हमने दिया है तेरे सामने
दिल हमने दिया है तेरे सामने
ऐ चंदा तू देना गवाही
ऐ चंदा तू देना गवाही

गुनगुनाने लगीं आज तन्हाइयाँ
बज रहीं हैं कहीं दूर शहनाइयाँ
गुनगुनाने लगीं आज तन्हाइयाँ
बज रहीं हैं कहीं दूर शहनाइयाँ
ऐ सितारो हंसो
ऐ नज़ारो हंसो
गीत छेड़ा है जाती हुई शाम ने
दिल हमने दिया है तेरे सामने
दिल हमने दिया है तेरे सामने
ऐ चंदा तू देना गवाही
ऐ चंदा तू देना गवाही

रात के हाथ में चाँद का फूल है
ये कोई ख़्वाब है या कोई भूल है
रात के हाथ में चाँद का फूल है
ये कोई ख़्वाब है या कोई भूल है
दिल को महका दिया
हमको बहका दिया
तेरी आँखों के रंगीन पैगाम ने
दिल हमने दिया है तेरे सामने
दिल हमने दिया है तेरे सामने
ऐ चंदा तू देना गवाही
ऐ चंदा तू देना गवाही

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.

“Asen mi nasen mi. . . whether I’m there or not, I’ll be there forever.”
[Title of her biography, a quote by her own self, in a conversation with her biographer, Lalita Tamhane.]

She was just into 55th year when she passed away in 1991. Continuing to be active, even after having managed to get past an initial scare of cancer, the remission succeeded to claim her, much to the loss of the entire industry, and its heritage.

Remembering Nutan, on the anniversary of her passing away, today (21^st February).

Starting her career at the age of 14 (‘Hamaari Beti’, 1950), she worked through the next four decades – as string of memorable roles that span the entire spectrum of emotions across from tragedy all the way to comedy. The understated emotions are conveyed through the eyes and expressions, much more powerfully than words. The Kalyani of ‘Bandini’ (1963), expressing her anger and turmoil, through actually saying and expressing very little, heightened the portrayal of a mute victim, who is driven by circumstances to murder. And then she lives out her internment, with the same silence and withdrawal; in the end, returning to her past, forsaking a promise of happiness and acceptance in a new world. Nutan remains in memory as the quintessential Kalyani, all the way from Gauri in ‘Seema’ (1956) and Sujata in ‘Sujata’ (1959), up to Anu Rai in ‘Anuraag’ (1972), living through the tragic last few months of the life of her only child; as Mahjubi in ‘Suadaagar’ (1973), betrayed with promises of false love and usurpation; and as Sanyukta in ‘Main Tulsi Tere Aangan Ki’ (1978), facing the ignominy of having a competitor for the affections of her own husband, come to live under the same roof.

But when given the opportunity to get into light comic roles – Shanti in ‘Paying Guest’ (1957), Jameela in ‘Dil Hi To Hai’, and Sulekha in ‘Tere Ghar Ke Saamne’ (1963) – another facet of her character comes through that seems unbelievable in the face of her image of the victimized woman having all the troubles and miseries foisted upon her. Oh how I wish the film ‘Chhabili’ (1960) was available; would have loved to see her role as a chhabili.

An unforgettable performer, who garnered a record six Filmfare awards (five as the leading lady, and one in supporting role); a record that stood for well over three decades. Into her forties, she still commanded leading roles contrary to the traditions of the industry. And into her fifties, she was still chiselled and stunning, continuing to command author backed roles in the films she appeared in.

The song for today is from the 1970 film ‘Maa Aur Mamta’. The film is produced under the banner of Suchitra Kala Mandir, and is directed by Asit Sen. The star cast is listed as Ashok Kumar, Nutan, Jitendra, Mumtaz, Rehman, Jayant, Nirupa Roy, Sujeet Kumar, Roopesh Kumar, Shabnam, Shivraj, Beerbal, Leela Mishra, Brahm Bhardwaj, Keshto Mukherjee, Karan Diwan, Paro, Bilkis, Dilip Dutt, Machchar, Madhu Apte. A social drama that has six songs written by Sarshaar Sailaani and Anand Bakshi, and are tuned to music by Laxmikant Pyaarelal. This song is written by Anand Bakshi. On screen, the song is performed by Nutan, as she is accompanied by Sujeet Kumar.

Three songs of this film are already showcased on our blog. This is the fourth song to find its place here. The lyrics for this song have been sent in by Prakashchandra ji.

It is terrible that she went away so young – depriving us of what could have been possible. But then maybe it is good for whatever transpired – the memories are as elegant and as preserved, as was she herself, into her fifties. Her biography records an episode from when she was an infant. As a baby, she would go into bouts of crying that lasted for many hours. All the medical consultation and advise could not locate any problems. Then, one astrologer read her horoscope and said that she is a delivered soul who has come back into this world quite unwillingly. The prophecy played itself out, when she decided to leave so early.

o re maanjhi
o mere maanjhi
. . . abki baar
le chal paar
le chal paar

Song – Baat Ye Anokhi Mere Meet Ho Gayi  (Maa Aur Mamta) (1970) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics (Provided by Prakash Chandra)

baat ye anokhi mere meet ho gayee
raat din dhadknaa dil ki reet ho gayee
ho raamaa kaahe rey mohey preet ho gayee
ho raamaa kaahe rey mohey preet ho gayee
baat ye anokhi mere meet ho gayee
raat din dhadknaa dil ki reet ho gayee
ho raamaa kaahe rey mohey preet ho gayee
ho raamaa kaahe rey mohey preet ho gayee

laaj ka pehraa
maine
ho o o mann ke dwaar bithaayaa
laaj ka pehraa
maine
ho o o mann ke dwaar bithaaya
is ghoonghat mein
aise
ho o mukhda laakh chhupaayaa
haayye rey barjori
nindiyaa ho gayee chori
ho o haar gayee main
saiyyaan teri jeet ho gayee
ho raamaa kaahe rey mohey preet ho gayee
baat ye anokhi mere meet ho gayee
raat din dhadknaa dil ki reet ho gayee
ho raamaa kaahe rey mohey preet ho gayee
ho raamaa kaahe rey mohey preet ho gayee

teri  najariyaa
sajnaa
ho o o mere sapnon ki doli
teri najariyaa
sajnaa
ho o o mere sapnon ki doli
baith main iss mein
chal dee
ho o tere sang  humjoli
rokey jag naa maanoon
kaaran main na jaanoon
ho o log kehte hain mohey preet ho gayee
ho raamaa kaahe rey mohey preet ho gayee
baat ye anokhi mere meet ho gayee
raat din dhadknaa dil ki reet ho gayee
ho raamaa kaahe rey mohey preet ho gayee
ho raamaa kaahe rey mohey
kaahe rey mohey
preet ho gayee

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

बात ये अनोखी मेरे मीत हो गई
रात दिन धड़कना दिल की रीत हो गई
हो रामा काहे रे मोहे प्रीत हो गई
हो रामा काहे रे मोहे प्रीत हो गई
बात ये अनोखी मेरे मीत हो गई
रात दिन धड़कना दिल की रीत हो गई
हो रामा काहे रे मोहे प्रीत हो गई
हो रामा काहे रे मोहे प्रीत हो गई

लाज का पहरा
मैंने
हो ओ ओ मन के द्वार बिठाया
लाज का पहरा
मैंने
हो ओ ओ मन के द्वार बिठाया
इस घूँघट में
ऐसे
हो ओ मुखड़ा लाख छुपाया
हाये रे बरजोरी
निंदिया हो गई चोरी
हो ओ हार गई मैं
सैंयां तेरी जीत हो गई
हो रामा काहे रे मोहे प्रीत हो गई
बात ये अनोखी मेरे मीत हो गई
रात दिन धड़कना दिल की रीत हो गई
हो रामा काहे रे मोहे प्रीत हो गई
हो रामा काहे रे मोहे प्रीत हो गई

तेरी नजरिया
साजना
हो ओ ओ मेरे सपनों की डोली
बैठ मैं इस में
चल दी
हो ओ ओ तेरे संग हमजोली
रोके जग ना मानूँ
कारण मैं ना जानूँ
हो ओ लोग कहते हैं मोहे प्रीत हो गई
हो रामा काहे रे मोहे प्रीत हो गई
बात ये अनोखी मेरे मीत हो गई
रात दिन धड़कना दिल की रीत हो गई
हो रामा काहे रे मोहे प्रीत हो गई
हो रामा काहे रे मोहे

काहे रे मोहे

प्रीत हो गई

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 क्या हुआ
जो तूने छू लिया॰ ॰ ॰

The touch was of magic. But the real life is so different from reel life. A career that spanned well over five decades, the opportunities for this magic touch weren’t many.

Remembering Naqsh Lyallpuri on the anniversary of his birth (24^th Feb).

The full real name of this poet was Jaswant Rai Sharma. He was born in 1928, in the Lyallpur town (now in Pakistan, and renamed to Faislabad). His father was an engineer and he wanted young Jaswant to follow his footsteps and be an engineer. His mother passed away when he was only six, and his father remarried. As the young child grew through his school and college days, his interest in literature became evident and prominent. He drifted apart from his father, for the obvious reason that his father did not look kindly at the literary interest of his son, whom he had dreamt of being another engineer in the family.

When he was 18, he went to work with Hero Publishers, a publishing house in Layallpur. Just about a year later, partition happened, and he moved with family to Lucknow. His literary and poetic interests and activities met with a stern disapproval from his father. The drift made the young Jaswant leave home and move to Bombay, in search of a career as a songwriter. He took on the pen name of ‘Naqsh’ – meaning an imprint or an impression, and added Lyallpuri, being the town of his birth.

The early years, rather the early decades were just a struggle. He first started working with Times of India as a proof reader, and later got an employment with the Post Office. As for literary activities, he was drawn into the theatre activities to start with and started writing stage plays. Here, he came in touch with actor Ram Mohan, who in turn, introduced him to Jagdish Sethi. After reading some of his poetical works, Jagdish Sethi gave the first opportunity to write for films. He (Jagdish Sethi) was in the process of making the film ‘Jaggu’, which got released in 1952. He introduced Naqsh to the music director of the film – Hansraj Behl. And Naqsh got to write one song for this film.

The lyricist and the MD struck up a good friendship, and Hansraj Behl called upon Naqsh to write for him again in ‘Pensioner’ (1954) and ‘Mast Qalandar’ (1955). And so the career train started to move, albeit quite slowly. In 1955, he got his first independent assignment as a a lyricist for the film ‘Teen Sardar (1955), for which he wrote 6 songs. In ones and twos, songs written by him started getting popular. However, recognition as an impressive songwriter eluded him till the latter part of 1960s.  In 1968 came the film ‘Teri Talaash Mein’. The film did not do well, but its songs became very popular. With music by Sapan-Jagmohan, songs like “Kho Diye Hain Sanam Teri Talash Mein” in Asha Bhosle’s voice, the Rafi rendition of “Teri Awaaz Ki Jaadugari Se”, another one by Asha Bhosle – “Raaze-Dil Hamse Kaho Hum To Koi Ghair Nahin” etc. became very well known.

From here starts the ascendency of Naqsh Sb’s popularity. Continuing from this 1968 musical hit, he found the popular pulse with songs like “Main To Har Mod Par Tujhko Doonga Sadaa” (‘Chetna’, 1970), “Sajaaya Na Karo Phool Baalon Pe” (‘Gunaahon Ke Raaste’, 1970), “Jindagi Ke Mod Par Hum Tum Mile. . .” (‘Mann Tera Tan Mera’, 1971), “Phir Milengi Kahaan Aisi Tanhaaiyaan” (‘Bhaavna’, 1972), “Le Chalo, Le Chalo, Ab Kahin Le Chalo” (‘Maan Jaaiye’, 1972), “Kai Sadiyon Se Kai Janmon Se” (‘Milaap’, 1973), “Rasm e Ulfat Ko Nibhaayen To Nibhaayen Kaise” (‘Dil Ki Raahen’, 1973), “Ye Shaam Hai Dhuaan Dhuaan” (‘Ek Naao Do Kinaare’, 1973), “Mere Mann Pawan Sang Udd Chal” (‘Ek Naari Do Roop’,1973), “Do Honth Hile Ek Geet Suna” (‘Nai Duniya Naye Log’, 1973), “Ulfat Mein Zamaane Ki Har Rasm Ko Thukraao” (‘Call Girl’, 1974), “Har Janam Mein Hamaara Milan” (‘Kaagaz Ki Naao’, 1975), “Tumhen Ho Na Ho Mujhko To. . .” (‘Ghraonda’, 1977), “Tumhen Dekhti Hoon To Lagta Hai Aise” (‘Tumhaare Liye’, 1978), “Yeh Mulaaqaat Ek Bahaana Hai” (‘Khandaan’, 1979), “Phir Teri Yaad Naye Deep Jalaane Aayi” (‘Aayee Teri Yaad’, 1980), “Maana Teri Nazar Mein Tera Pyaar Hum Nahin” (‘Ahista Ahista’, 1981), “Na Jaane Kye Hua, Jo Tu Ne Chhoo Liya” and “Pyaar Ka Dar Hai, Meetha Meetha, Pyaara Pyaara” (‘Dard’, 1981) – an many more.

In 2005, when Naushad Sb came on board for composing music for the film ‘Taj Mahal’, then Naqsh Lyallpuri was called upon to write the songs. Again, then in 2007, when Khaiyyaam Sb was scoring the music for the film ‘Yatra’, Naqsh Sb wrote the songs. A journey of almost six decades, that started in 1952 with the song “Agar Teri Aankhon Se Aankhen Mila Doon”, continued into next millennium, with elan.

In 2016, he had a fall, and a hip bone fracture. He was hospitalized in October 2016, and never did recover from this injury. He passed away on 22^nd Jan, 2017.

Dhala Din Aise, Doob Gaya Jaise
Jalta Sooraj Raat Ke Gehre Andhere Mein…  (‘Laal Kothi’, 1978)

The song I present today is from an extremely obscure film from 1960 – ‘Safed Ghoda Kaala Sawaar’, which also carried the alternate title as ‘Black Rider’. The film makes its debut on our blog today. This film is directed by Mehmood, for the production banner of Screen Arts. The cast of actors of this costume drama film is listed briefly as Kaamran, Krishna Kumari, Habeeb, Sham, and Najma. The film has five songs listed, all penned by Naqsh Lyallpuri. Music direction is by Harbans.

A very delightful song of aspirations of love, it is a lovely rendition by Sudha Malhotra.

Song – Maine Dekha Hai Sapna Bahaar Ka  (Safed Ghoda Kaala Sawaar) (1960) Singer – Sudha Malhotra, Lyrics – Naqsh Lyallpuri, MD – Harbans

Lyrics

maine dekha hai sapna bahaar ka
ho oo mere dil ne taraana chheda pyaar ka
haaye mere dil ne taraana chheda pyaar ka

main na samjhoon
main na jaanoon
koi bataaye mujhko kya ho gaya hai
jhukti jaayen
meri palken
baithe bithaae mera dil kho gaya hai
dil kho gaya hai
rang aankhon mein jhalke khumaar ka
ho oo mere dil ne taraana chheda pyaar ka
haaye mere dil ne taraana chheda pyaar ka
maine dekha hai sapna bahaar ka
ho oo mere dil ne taraana chheda pyaar ka

chupke chupke
dil mein apne
maine basaa li hai duniya niraali
mere armaan
khil gaye hain
jabse mila hai mujhe bagiya ka maali
bagiya ka maali
haal poochho na dil e beqaraar ka
ho oo mere dil ne taraana chheda pyaar ka
haaye mere dil ne taraana chheda pyaar ka
maine dekha hai sapna bahaar ka
ho oo mere dil ne taraana chheda pyaar ka

pyar ban ke
aane waala
laaya hai mere liye naghme khushi ke
zindgagi ne
rang badla
ab na lagenge mujhe din pheeke pheeke
din pheeke pheeke
yehi mausam hai mere singaar ka
ho oo mere dil ne taraana chheda pyaar ka
haaye mere dil ne taraana chheda pyaar ka
maine dekha hai sapna bahaar ka
ho oo mere dil ne taraana chheda pyaar ka

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
मैंने देखा है सपना बहार का
हो ओ मेरे दिल ने तराना छेड़ा प्यार का
हाए मेरे दिल ने तराना छेड़ा प्यार का

मैं ना समझूँ
मैं ना जानूँ
कोई बताए मुझे क्या हो गया है
झुकती जाएँ
मेरी पलकें
बैठे बिठाये मेरा दिल खो गया है
दिल खो गया है
रंग आँखों में झलके खुमार का
हो ओ मेरे दिल ने तराना छेड़ा प्यार का
हाए मेरे दिल ने तराना छेड़ा प्यार का
मैंने देखा है सपना बहार का
हो ओ मेरे दिल ने तराना छेड़ा प्यार का

चुपके चुपके
दिल में अपने
मैंने बसा ली है दुनिया निराली
मेरे अरमां
खिल गए हैं
जबसे मिला है मुझे बगिया का माली
बगिया का माली
हाल पूछो न दिल ए बेक़रार का
हो ओ मेरे दिल ने तराना छेड़ा प्यार का
हाए मेरे दिल ने तराना छेड़ा प्यार का
मैंने देखा है सपना बहार का
हो ओ मेरे दिल ने तराना छेड़ा प्यार का

प्यार बनके
आने वाला
लाया हैं मेरे लिए नग़में खुशी के
ज़िंदगी ने
रंग बदला
अब ना लगेंगे मुझे दिन फीके फीके
दिन फीके फीके
यही मौसम है मेरे सिंगार का
हो ओ मेरे दिल ने तराना छेड़ा प्यार का
हाए मेरे दिल ने तराना छेड़ा प्यार का
मैंने देखा है सपना बहार का
हो ओ मेरे दिल ने तराना छेड़ा प्यार का

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 – 62
– – – – – – – – – – – – – – –

Over a period of time now, more and more films and film songs are becoming available online. Earlier this week itself, Bakshi ji mentioned in one of our conversations that he is now downloading films right on to his smart phone from the internet, and watches them at his convenience. The smart phones are coming up with huge storage memories. The mobile phone service providers are coming up with plans that allow large data volumes to be downloaded. As per him, services like Jio are able to provide good bandwidth, and it does not take long to download a full film. This seems to be a good time for lovers of Hindi films and film music – just log on, do some search and one is able to find many items of interest. And to add, of course, that more and more people are now uploading films and songs online, and sharing with the world.

When I started this series, at the request of Katie Ben, for many episodes I was following the yearly sequence, as per the list worked out by her. In between, sometimes I would jump ahead for a special request. But the progression was linear more or less. Lately, I have been moving back and forth between the years, as I continue to either discover hitherto unavailable songs, or having acquired them from friends, I have uploaded them myself. Having reached up to the year 1967 with postings of songs of unrepresented films, I move back to 1965 again today.

The film being introduced today is ‘Gopal Krishna’. As the name suggests, this is a religious film, that highlights the life and times of Lord Krishna, when he descended upon this earth, as an incarnation for destroying the evil forces in this creation.

The film is produced under the banner of Chitrashala, Bombay and is directed by D Raman. The cast of actors is listed as Jaishri Gadkar, Prakash, Rajan Haksar, Sapru, SK Prem, Ratnamala, Mohan Choti, Mridula, Dalpat, Moni Chatterji, Sadhana Khote, Madhumati, Uma Khosla, Lalita Kumari, Saudagar Singh, KL Panda, and Pal Singh. From this list, I surmise that the lead role of Krishna is played by the person whose name is listed as ‘Prakash’. There are eight songs listed for this film. All the songs are from the pen of Bharat Vyas, and the music is composed by N Dutta.

This lovely song is rendered by Suman Kalyanpur. On screen this is performed by Jaishree Gadkar, playing the role of Radha ji, as she is serenading Krishna, role played by Prakash (I hope my guess is correct). The scenario is the groves by the banks of River Jamuna. Krishna is sitting beneath the ‘kadamb’ tree playing his flute, and Radha ji is going to the ‘panghat’ with a ‘matki’ to fetch water for home. This is the most typical scenario in the tales of the pastimes of Radha and Krishna. Their exchanges are being seen by their friends. The gopis accompanying Radha ji are watching from a distance and praising. So are the gwaala friends of Krishna, led by Mohan Choti.

View and enjoy this very auspicious episode from the tales of Shri Krishna.

Song – Teri Muraliya Meri Paayaliya, Donon Ka Kaisa Mel Re  (Gopal Krishna) (1965) Singer – Suman Kalyanpur, Lyrics – Bharat Vyas, MD – N Dutta

Lyrics

teri muraliya
meri paayaliya
donon ka kaisa mel re
dharti naache
gagan bhi naache
dekh ke preet ka khel re
teri muraliya
meri paayaliya

tere suron mein jaadu bhara hai
meri taal mein geet hai
tere suron mein jaadu bhara hai
meri taal mein geet hai
kya todegi isko duniya
janam janam ki preet hai
teri muraliya
meri paayaliya
donon ka kaisa mel re
dharti naache
gagan bhi naache
dekh ke preet ka khel re
teri muraliya
meri paayaliya

tere liye badnaam kiya mujhe
saare gokul gaaon ne
tere liye badnaam kiya mujhe
saare gokul gaaon ne
kadamb ke neeche
ghunghat kheenche
naachungi tere saamne
teri muraliya
meri paayaliya
donon ka kaisa mel re
dharti naache
gagan bhi naache
dekh ke preet ka khel re
teri muraliya
meri paayaliya

log kahen tu hai kaala kaanha
nazar na aaye rain mein
log kahen tu hai kaala kaanha
nazar na aaye rain mein
main to tumhen rakhungi kanhaiya
kajra bana ke nain mein
teri muraliya
meri paayaliya
donon ka kaisa mel re
dharti naache
gagan bhi naache
dekh ke preet ka khel re
teri muraliya
meri paayaliya

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
तेरी मुरलीया
मेरी पायलिया
दोनों का कैसा मेल रे
धरती नाचे
गगन भी नाचे
देख के प्रीत का खेल रे
तेरी मुरलीया
मेरी पायलिया

तेरे सुरों में जादू भरा है
मेरी ताल में गीत हैं
तेरे सुरों में जादू भरा है
मेरी ताल में गीत हैं
क्या तोड़ेगी इसको दुनिया
जनम जनम की प्रीत है
तेरी मुरलीया
मेरी पायलिया
दोनों का कैसा मेल रे
धरती नाचे
गगन भी नाचे
देख के प्रीत का खेल रे
तेरी मुरलीया
मेरी पायलिया

तेरे लिए बदनाम किया मुझे
सारे गोकुल गाँव ने
तेरे लिए बदनाम किया मुझे
सारे गोकुल गाँव ने
कदम्ब के नीचे
घूँघट खींचे
नाचूँगी तेरे सामने
तेरी मुरलीया
मेरी पायलिया
दोनों का कैसा मेल रे
धरती नाचे
गगन भी नाचे
देख के प्रीत का खेल रे
तेरी मुरलीया
मेरी पायलिया

लोग कहें तू है काला कान्हा
नज़र ना आए रैन में
लोग कहें तू है काला कान्हा
नज़र ना आए रैन में
मैं तुओ तुम्हें रखूंगी कन्हैया
कजरा बना के नैन में
तेरी मुरलीया
मेरी पायलिया
दोनों का कैसा मेल रे
धरती नाचे
गगन भी नाचे
देख के प्रीत का खेल रे
तेरी मुरलीया
मेरी पायलिया

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.

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 8
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

/ औ, ऋ /

‘क’ – कहिए कैसा मिज़ाज है आपका

ना जाने कौन ये आवाज़ देता है॰ ॰ ॰

The sounds of his voice keep reverberating in the valleys of the mind – the voice that carries a million musical memories of an entire lifetime, unforgettable.

Today’s song in this series is a delightful exchange of young hearts in love. The film is ‘Salaam Memsaab’ from 1961. On screen, the song is performed by a very young Subiraj, and a very enchanting Kum Kum. It is always such a joy to watch Kum Kum on screen with that scintillating smile and the twinkle in the eyes that goes along with it. In a chirpy naughty mood, her expressions and her movements are such a pleasure to see. However, in this clip, I must say, her dance movements are just the typical signature dance steps of Bhagwan. Now Bhagwan is also in this film, and it is a matter of conjecture whether he had some say in the choreography and songs picurization. Maybe he did, the steps in this clip are so very much Bhagwan.

The film is produced by an entity that is called the Young Technicians Unit – Baria Films, and is directed by K Parvez. The star cast is listed as

Kumkum, Subiraj, KN Singh, Sheikh, Bhagwan, Meena, Wasi Khan, Arvind Kumar, Ahmed Patni, S Malik, Bir, and Naazi. Music for this film is composed by Ravi. The eight songs in this film are written by four songwriters – Asad Bhopali, SH Bihari, Priyadarshi and Qamar Jalaalabaadi. This particular song is from the pen of Asad Bhopali.

The singing voices are of Rafi Sb and Asha Bhosle. The song is a lover’s tete-a-tete with the young Subiraj pursuing Kum Kum. At first, he is responsible for making her fall, then he tries to appease her by asking her “कहिए कैसा मिजाज है॰॰॰”.

A fun song, that is also such a wonderful melodious memory from the radio listening days. Listen and enjoy.

Song – Kahiye Kaisa Mizaaj Hai Aapka (Salaam Memsaab) (1961) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Asad Bhopali, MD – Ravi
Mohammed Rafi + Asha Bhosle

Lyrics

kahiye kaisa mizaaj hai aapka
hum se kya vaasta hai janaab ka
arey arey aap to bigadne lagey
nahin nahin aapko samajhne lagey
o kahiye kaisa mizaaj hai aapka
hum se kya vaasta hai janaab ka
arey arey aap to bigadne lagey
nahin nahin aapko samajhne lagey
o kahiye kaisa mizaaj hai aapka

jis din se pyaar hua
dil beqaraar hua
jeena dushvaar hua teri kasam
jis din se pyaar hua
dil beqaraar hua
jeena dushvaar hua teri kasam
yun na sataaya karo
dil na jalaaya karo
kasmen na khaaya karo jhoothe sanam
tera deewaana hoon teri kasam
kya bharosa hai mardon ki zaat ka
kya iraada hai aakhir janaab ka
arey arey aap to bigadne lagey
nahin nahin aapko samajhne lagey
kahiye kaisa mizaaj hai aapka

nazron ne jaan liya
dil ne pehchaan liya
lo hum ne maan liya apna tumhen
nazron ne jaan liya
dil ne pehchaan liya
lo hum ne maan liya apna tumhen
mushkil se baat bani
dil ko bas hai ye khushi
tumne samjha to sahi apna mujhe
dekho ji aise na dekho hamen
o saara jhagdha tha itni si baat ka
hum se kya vaasta hai janaab ka
arey arey aap to bigadne lagey
nahin nahin aapko samajhne lagey
o kahiye kaisa mizaaj hai aapka

ye rut ye pyaara samaan
dil ki duniya hai jawaan
ye baaten roz kahaan jaane wafaa
ye rut ye pyaara samaan
dil ki duniya hai jawaan
ye baaten roz kahaan jaane wafaa
aise mein dil bhi mera
masti mein jhoom utha
halka halka sa nasha chhaane laga
ab zindagi ka mazaa aane laga
kahiye kaisa mizaaj hai aapka
hum se kya vaasta hai janaab ka
arey arey aap to bigadne lagey
nahin nahin aapko samajhne lagey
kahiye kaisa mizaaj hai aapka
hum se kya vaasta hai janaab ka

aaa aaa aaaa aaaaa
ho ooo ooo ooo ooo ooo
aaa aaa aaaa aaaaa
ho ooo ooo ooo ooo ooo
aaa aaa aaaa aaaaa
ho ooo ooo ooo ooo ooo

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
कहिए कैसा मिज़ाज है आपका
हमसे क्या वास्ता है जनाब का
अरे अरे आप तो बिगड़ने लगे
नहीं नहीं आपको समझने लगे
ओ कहिए कैसा मिज़ाज है आपका
हमसे क्या वास्ता है जनाब का
अरे अरे आप तो बिगड़ने लगे
नहीं नहीं आपको समझने लगे
ओ कहिए कैसा मिज़ाज है आपका

जिस दिन से प्यार हुआ
दिल बेक़रार हुआ
जीना दुश्वार हुआ तेरी कसम
जिस दिन से प्यार हुआ
दिल बेक़रार हुआ
जीना दुश्वार हुआ तेरी कसम
यूं ना सताया करो
दिल ना जलाया करो
कसमें ना खाया करो झूठे सनम
तेरा दीवाना हूँ तेरी कसम
क्या भरोसा है मर्दों की ज़ात का
क्या इरादा है आखिर जनाब का
अरे अरे आप तो बिगड़ने लगे
नहीं नहीं आपको समझने लगे
कहिए कैसा मिज़ाज है आपका

नज़रों ने जान लिया
दिल ने पहचान लिया
लो हमने मान लिया अपना तुम्हें
नज़रों ने जान लिया
दिल ने पहचान लिया
लो हमने मान लिया अपना तुम्हें
मुश्किल से बात बनी
दिल को है बस ये खुशी
तुमने समझा तो सही अपना मुझे
देखो जी ऐसे नहीं देखो हमें
ओ सारा झगड़ा था इतनी से बात का
हम से क्या वास्ता है जनाब का
अरे अरे आप तो बिगड़ने लगे
नहीं नहीं आपको समझने लगे
कहिए कैसा मिज़ाज है आपका

ये रुत ये प्यारा समां
दिल की दुनिया है जवां
ये बातें रोज़ कहाँ जान ए वफा
ये रुत ये प्यारा समां
दिल की दुनिया है जवां
ये बातें रोज़ कहाँ जान ए वफा
ऐसे में दिल भी मेरा
मस्ती में झूम उठा
हल्का हल्का सा नशा छाने लगा
अब ज़िंदगी का मज़ा आने लगा
कहिए कैसा मिज़ाज है आपका
हमसे क्या वास्ता है जनाब का
अरे अरे आप तो बिगड़ने लगे
नहीं नहीं आपको समझने लगे
कहिए कैसा मिज़ाज है आपका
हमसे क्या वास्ता है जनाब का

आss आss आsss आssss
हो ओs ओs ओs ओs ओs
आss आss आsss आssss
हो ओs ओs ओs ओs ओs
आss आss आsss आssss
हो ओs ओs ओs ओs ओs

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 Atuldom

Remembering today a producer- director who started his career in Bollywood in the year 1948. Our in-house encyclopaedia has already enlightened us that this was as a writer for an AR Kardar film of Filmistan. The other Filmistan movies that carry his name as writer are ‘Anarkali’ (1953), ‘Munimji’ (1955), and ‘Paying Guest’ (1957).

Recently Zee Classic ran a series which was hosted by the writer-lyricist Javed Akhtar called ‘Classic Legends’ which tried to give an insider’s view on the legendary film personalities. I happened to see the episode which featured this writer- producer- director or to put it in one phrase “Film Maker”.  Javed Saab talked about the various genres under which films are made in India and said that this particular film-maker made movies in a genre called ‘Rom-Com Musical’.

The person whom we are remembering today on his 15^th death anniversary – Nasir Hussain, was one who thought up this kind of entertaining movies. But then we had ample doses of romance and comedy in all movies made in India and music is a must for our movies be they suspense thrillers or murder mysteries, or even vendetta movies.

Nasir Hussain gave us all these ingredients in equal measure in many of his movies. So, what if ‘Yaadon Ki Baarat’ (1973) was vendetta of a boy who witnessed his parents’ murder. We still had seven songs in the movie of which 3 were romantic. Similarly, ‘Teesri Manzil’ (1966) had Asha Parekh trying to solve her sister’s death – so, it can be called a murder mystery. This movie too had 6 songs of which 2 were pure romantic numbers and one was a total comedy, in addition to all the situational comedy that kept occurring through the movie. Then he also made movies where the family gets separated in the first few minutes and then the poor protagonist -simply put ‘the hero’ – goes through the paces of the movie trying to look for his lost mother or father, wooing the wealthy heiress, singing a few songs in the process etc. Almost all of Nasir Hussain’s movies followed the same story in the sixties. He changed his storyline somewhat for ‘Caravan’ (1971) and ‘Bahaaron Ke Sapne’ (1967), later on in the mid-eighties we had ‘Manzil Manzil’ (1984) with the story of a separated family coming back together in the climax. The later part of the seventies had two Nasir Hussain movies with only romance and songs as their backbone – ‘Hum Kisise Kam Nahin’ (1977) and ‘Zamaane Ko Dikhana Hai’ (1981).

There were a few constants in Nasir Saab’s movies namely – Majrooh Sultanpuri, Asha Parekh, Rajendranath, and a character that used to walk-in swinging a racquet calling himself Subodh Mukherjee. Of course, from the 1966 ‘Teesri Manzil’ RD Burman was his constant for music direction, an association that lasted for almost 19 years till the 1984 ‘Zabardast’. Even when his son Mansoor Khan took over the direction of movies of Nasir Hussain Films ‘Qayamat Se Qayamat Tak’ (1988) and ‘Jo Jeeta Wahi Sikandar’ (1992) Nasir Saab continued to write the script and dialogues. He was possibly the first to have back-to-back songs or four songs-in-a-row kind of situations – remember “Megha Re Bole Ghanan Ghanan” and “Bade Hain Dil Ke Kaale” (film ‘Dil Deke Dekho’, 1959). “Aap Ke Kamre Mein Koi Rehta Hai” (‘Yaadon Ki Baraat’, 1973) had three parts to it.  And then of course the foursome “Chaand Mera Dil“, “Aa Dil Kya Mehfil Hai Tere”, “Tum Kya Jaano Mohabbat Kya Hai” and “Mil Gaya Hum Ko Saathi” came all together in ‘Hum Kisise Kam Nahin’ (1977).

On going through the list of Nasir Hussain’s movies posted on our blog I find that many of his movies have already been Yippeee’d. ‘Hum Kisise Kam Nahin’ has been shown as having 5/6 songs posted. On reviewing the list, I found that the one song from the four-song medley has been posted. Which means it is not 5/6 but 5/9 posted.

Let us enjoy this second song from the dance competition medley. Not in this clip, but towards the end of the this four song medley, Amjad Khan also makes an entrance into this scene.

Thank you Nasir Saab for leaving us enjoyable movies

Song – Aa Dil Kya Mehfil Hai Tere Kadmon Mein (Hum Kisi Se Kam Nahin) (1977) Singer – Kishore Kumar, Lyrics – Majrooh Sultanpuri, MD – RD Burman
Chorus

Lyrics (Provided by Sudhir)

aa
dil kya
mehfil hai tere
kadmon mein

aa. . . dil kya
mehfil hai tere

duniya ki bahaaren tere liye
chaand sitaare tere liye

ho ho ho ho

jaan e ada
oo ho ho ho
jaan e ada
jaan e wafaa
tujh pe main fida
ho ho ho
ho jaan e wafaa
tujh pe main fida

ho oo oo
aa. . . dil kya
mehfil hai tere
kadmon mein

aa. . . dil kya
mehfil hai tere

duniya ki bahaaren tere liye
chaand sitaare tere liye

ho ho ho ho

jaan e ada
oo ho ho ho
jaan e ada
jaan e wafaa
tujh pe main fida
ho ho ho
ho jaan e wafaa
tujh pe main fida

ho oo oo
aa. . . dil kya
mehfil hai tere
kadmon mein

aa. . .

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आ
दिल क्या
महफिल है तेरे
कदमों में

आ॰॰॰ दिल क्या
महफिल है तेरे

दुनिया की बहारें तेरे लिए
चाँद सितारे तेरे लिए

हो हो हो हो

जान ए अदा
ओ हो हो हो
जान ए अदा
जान ए वफा
तुझ पे मैं फिदा
हो हो हो
हो जान ए वफा
तुझ पे मैं फिदा

हो ओ ओ
आ॰॰॰ दिल क्या
महफिल है तेरे
कदमों में

आ॰॰॰ दिल क्या
महफिल है तेरे

दुनिया की बहारें तेरे लिए
चाँद सितारे तेरे लिए

हो हो हो हो

जान ए अदा
ओ हो हो हो
जान ए अदा
जान ए वफा
तुझ पे मैं फिदा
हो हो हो
हो जान ए वफा
तुझ पे मैं फिदा

हो ओ ओ
आ॰॰॰ दिल क्या
महफिल है तेरे
कदमों में

आ॰ ॰ ॰

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.

An interesting observation regarding the Yippeee process for the film that is getting Yippeee’d today. Regular readers would have noticed a pattern in the manner that the films are getting Yippeee’d these days. Generally, in the case of films with just two or three songs remaining to be posted, the last two (or last three) songs kind of appear at a very rapid pace, almost on a daily basis, one right on top of the other. With such films, the penultimate one (or two) songs appear in quick succession followed by the final song of the film, on the next day.

Not in the case of the film being Yippeee’d today. On examining the list of songs of this film as they appear in the table below, the penultimate song of this film came on board on 12^th Jan, 2018. And its Yippeee song today appears after a gap of almost two and a half months. And the reason for this delay – it is yours truly, of course.

When the penultimate song got posted on 12^th Jan earlier this year, I immediately sent a note to Atul ji, requesting for doing the Yippeee honors for this film. The reason is that I wanted to bring on board the video of the song. Apparently the earlier posted songs of the film ‘Bus Conductor’, from 1959, were in video form, as one can make out from the write-ups of the first three songs of this film posted. These first three songs came on board on 2009, 2014 and 2016, and they were earlier available in video form. Now, these songs are no longer available, and the YT account of the erstwhile uploader has been blocked due to “multiple copyright infringements”. So the video clips of these songs are no longer available online. (Once again, the caveat – as far as I can search it online ).

I have been able to acquire the video of this film through one of my good friends. I do not wish to say that we are the only ones having a this video film. Quite possibly, the video version is also in the hands of other friends, known or unknown. So anyway, I wanted to upload the video of this song for this post today. But as I was checking the previous posts for this film, I realized what had happened, Then I decided not to post the video clip of the song on YT. And the link that I am using in this post for now, is the audio upload of this song by Sa Re Ga Ma.
[Ed Note: The video clip of the song is now added on Vimeo, as suggested by Atul ji. The link is added below.]

And so, with this song, today we add the 1959 film ‘Bus Conductor’ to the list of films having all their songs showcased on our blog.

The film is a production from the banner of Sharda Films, Bombay, produced by Ashok Bhambri. It is a social drama, directed by Dwarka Khosla. The cast of actors, as listed in the Geet Kosh, reads like – Shyama, Premnath, Amarnath, Maruti, Satish Batra, Sujata, Umesh Sharma, Ramlal, Khairati, Narbada Shankar, Ameer Bano, Sadhna, Surya Kumari, Helen, Kanchanmala, Sheela Vaz and Cuckoo. An interesting aside here. Maruti, whose name appears in the list actors, plays the role of a dance teacher in the film. He is the friend of the hero, played by Premnath. As I was watching the credits of the film, I discovered that the story of this film is written by Maruti himself.

The film has six songs. All the songs are written by Noor Devasi. And the music has been composed by the duo of Bipin-Babul. The five songs of this film posted earlier, are listed below.

Today’s song is in the voice of Asha Bhosle, and in the film it is presented as a dream sequence. Shyama is sleeping, and she sees a dream in which she is singing this song, as she plays the sitar, and that she is also dancing to this song. The sequence is filmed as alternating shots that show Shyama playing the sitar and singing, and also dancing simultaneously. Surely possible in a dream sequence only.

As I was checking out the earlier posts, I came across the query from Atul ji himself, as to what is the ‘Bus Conductor’ connection in the film. So I checked out the video. The role of the bus conductor in the film is played by Premnath, who is otherwise a rich person, belonging to an affluent family. The reason that he goes underground and becomes a bus conductor, is explained in the beginning of the film.

Premnath belongs to a very rich family of landlords. He is an aspiring writer, albeit an unsuccessful one. He writes short stories, and sends them for publication to different magazines. His stories are always getting rejected. And so he makes a decision that he will leave his home and its luxuries, and live like a common person, search for a job, and work to earn a living – all this for a learning experience of life, so that he is able to genuinely write about life and people, and make his stories more convincing.

There is an emotionally charged scene in the beginning of the film, in which we see him receive some more rejections in mail, and we see an outburst in which he tells his bhabhi (wife of elder brother) that he is leaving home, and will return only when he has achieved success as a writer. He declares that he forgoes all the comforts and luxuries of his rich-person life, will go out into the world to fend for himself, get a firsthand experience of a common man’s life, and write about it. With this loud and emotionally charged declaration, he departs from his home to start a new life incognito. I must add that the performance by Premnath in this scene, did not sound very convincing to me.

So he leaves his luxuries and finds a job as a bus conductor. The rest of the film is about his interactions with people. He makes friends with Maruti, who lives in a chawl and dreams about being a choreographer in films. He meets Shyama who is also from a rich family, but is forced to ride a bus one day when her car breaks down. She forgets her bag on the bus, giving an opportunity to the make-believe bus conductor to play the honest good Samaritan and take the bag to her home. Which of course leads to more things, as expected.

He also witnesses a murder, as one passenger alighting from his bus is pushed under the wheels of the bus itself – he tries to chase the culprit but is unable to apprehend him. The person behind the murder is connected with Shyama’s family, and story gets into the expected filmy complexities.

Of course, all is well in the end, as the rich girl gets a rich husband to be, the murder is solved and the culprit apprehended – rather killed as he runs on to a railway track as he is being chased by the hero and the police. If the writer wrote a new story and it got published; I must have missed that sequence in the quick review that I did of this film. And the rich-boy-masqerading-as-a-poor-boy returns home to his luxuries with his lady love.

On the whole, it is quite an un-convincing plot, with equally un-convincing performances. And as is always the case, it is the songs that draw us.

But nonetheless, one more film to be Yippeee’d on our blog.

Song – Radha Ki Paayal, Kanhaiya Ki Murli  (Bus Conductor) (1959) Singer – Asha Bhosle, Lyrics -Noor Devasi, MD – Bipin Babul

Lyrics

radha ki paayal
kanhaiya ki murli
radha ki paayal
kanhaiya ki murli
sapnon mein sun li maine
sapnon mein sun li
sapnon mein sun li
radha ki paayal
kanhaiya ki murli
radha ki paayal

bholi radha aise naache
bholi radha aise naache
jaise naache mor
jaise naache mor
paayal ki jhankaar mein goontha
saanwla maakhan chor
main bhi apni sudh kho baithi
main bhi apni sudh kho baithi
raat se ho gayi bhor
raat se ho gayi bhor
radha ki paayal
kanhaiya ki murli
radha ki paayal
kanhaiya ki murli
sapnon mein sun li maine
sapnon mein sun li
radha ki paayal
kanhaiya ki murli
radha ki paayal

bhor ki dulhan poochhe mujh se
bhor ki dulhan poochhe mujh se
akhiyaan bhaari bhaari kyon
akhiyaan bhaari bhaari kyon
sakhiyaan chutki le ke boli
sakhiyaan chutki le ke boli
jaagi ratiyaan saari kyon
jaagi ratiyaan saari kyon
krishn deewaani kya batlaaye
krishn deewaani kya batlaaye
jeevan apna haari kyon
jeevan apna haari kyon
radha ki paayal
kanhaiya ki murli
radha ki paayal
kanhaiya ki murli
sapnon mein sun li maine
sapnon mein sun li
radha ki paayal
kanhaiya ki murli
radha ki paayal
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
राधा की पायल
कन्हैया की मुरली
राधा की पायल
कन्हैया की मुरली
सपनों में सुन ली मैंने
सपनों में सुन ली
सपनों में सुन ली
राधा की पायल
कन्हैया की मुरली
राधा की पायल

भोली राधा ऐसे नाचे
भोली राधा ऐसे नाचे
जैसे नाचे मोर
जैसे नाचे मोर
पायल की झंकार में गूँथा
सांवला माखन चोर
मैं भी अपनी सुध खो बैठी
मैं भी अपनी सुध खो बैठी
रात से हो गई भोर
रात से हो गई भोर
राधा की पायल
कन्हैया की मुरली
राधा की पायल
कन्हैया की मुरली
सपनों में सुन ली मैंने
सपनों में सुन ली
सपनों में सुन ली
राधा की पायल
कन्हैया की मुरली
राधा की पायल

भोर की दुल्हन पूछे मुझसे
भोर की दुल्हन पूछे मुझसे
अखियाँ भारी भारी क्यों
अखियाँ भारी भारी क्यों
सखियाँ चुटकी ले के बोलीं
सखियाँ चुटकी ले के बोलीं
जागी रतियाँ सारी क्यों’
जागी रतियाँ सारी क्यों’
कृष्ण दीवानी क्या बतलाए
कृष्ण दीवानी क्या बतलाए
जीवन अपना हारी क्यों
जीवन अपना हारी क्यों

राधा की पायल
कन्हैया की मुरली
सपनों में सुन ली मैंने
सपनों में सुन ली
सपनों में सुन ली
राधा की पायल
कन्हैया की मुरली
राधा की पायल