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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5782 | Post No. : | 18312 |
Tu Chhupi Hai Kahaan
Main Tadapta Yahaan. . .
The anguished voice of Diwakar, the poet, that begins as a whisper from a famished throat, rises up to the heavens, as the poet is so painfully trying to search for his creativity – his muse, his love of life, a fantasy woman whom he has woven into his writings.
Mohini, whom he meets often at many a turn of the passages of life, is the romance that is rooted in his imagination, the power of creativity that propels his pen to create music and songs which are not understood, not accepted by his family and dear ones.
Mohini, the fanciful beauty that haunts him in his dreams, who captures the moonlight for him in earthen pots of water, who stops him in his practical endeavors of life, and then disappears like an imaginary filament.
Mohini, who is the ethereal manifestation of his love for Jamuna, his wife in real life, whose face is always covered under the veil of social customs and the mundane needs of life.
Mohini, the forceful emotions of tender adoration that he struggles with, as he tries to fruitlessly convey his love to Jamuna.
The song is arguably one of most poignantly picturised songs in India’s cinematic history, as Diwakar, completely oblivious of the crowded Royal Court, is calling out to the source of his creative powers. And only he can listen to the earth shaking powerful response that Mohini seems to giving from the skies higher than heavens. And when Jamuna, his wife, enters the darbaar, the visible transformation of the poet’s persona from anguish to pleasure is so overwhelmingly expressed in the poet’s body language, as he is roused to a beaming smile and a lively sentience just by the sound of the footfalls, and the aroma of a long lost companion.
That Diwakar of screen – is the role played by Mahipal in the iconic V Shantaram production of ‘Navrang’ (1959), opposite to Sandhya, who transitions between the role of Jamuna, his wife, and Mohini, his muse.
Remembering Mahipal on his 19th remembrance day, this just passed 15th May.
Mahipal, full name Mahipal Chandra Bhandari, was born on 24th November, 1919 at Jodhpur in Rajasthan. A studied man of letters, he graduated in literature from Jaswant Government College, Jodhpur.
Mahipal became known as a poet from his school days itself. In college, he also started participating in stage dramas. He became a well known stage actor and poet in his college days. In the 1930s and 40s, his poetry found a place of honor at Kavi Sammelans, rubbing shoulders on the dias with the likes of Dinkar, Nirala, Bachchan, Narendra Sharma and Mahadevi Verma. His poem ‘Kisan’ (‘Farmer’) became famous and popular in those years. His poems would be regularly published in popular magazines like ‘Navneet’ monthly. He also published two collections of poems – ‘Phool Aapke Liye’ (‘Flowers For Youo’) and ‘Dil Chun Le Apni Saugaat’ (O Heart, Choose Your Own Gift’).
In the early 1940s, producer-director-music director GP Kapoor was in Rajasthan, scouting for talent for his planned bi-lingual film ‘Nazrana’. This film was made simultaneously in Hindi and Marwari. He visited Jodhpur and a chance introduction with the young poet happened. Mahipal was invited to play the lead role in this film. Mahipal move to Bombay. ‘Nazrana’ was released in 1942, and was an instant flop. The young poet became another struggling artist in the tinsel town.
He appeared in side roles in a few occasional films – ‘Shanker Parvati’ in 1943, ‘Mali’ in 1944 and ‘Andhon Ki Duniya’ in 1947. However, in parallel another development happened in his filmi career. In 1943, he was introduced to V Shantaram, who recognized the talent in the young man, and took him on board in his company Rajkamal Kala Mandir, as a songwriter. He wrote songs for some films, like ‘Mali’ in 1944. However, no great success came his way in this manifestation either. He wrote songs for the 1947 film ‘Aap Ki Sewa Mein’, and holds the distinction of having penned “Paa Laagu Kar Jori Re”, the first Hindi playback song sung by Lata Mangeshkar.
Post independence his career graph began to rise. He wrote songs for ‘Adalat’ and ‘Mere Lal’ (both 1948). But more importantly, he started receiving offers for lead roles once again from big banners like Minerva Movietone, and Wadia Brothers. V Shantaram gave him another break in Rajkamal productions ‘Banwasi’ in 1948. In 1949, Sohrab Modi cast him as hero opposite to Madhubala in his film ‘Daulat’ and also in ‘Narsinh Avtar’. He soon got typecast as a hero in mythological, fantasy and stunt film, and became a successful actor with a popular following in these genres. His films gained him a prominent position in the industry – ‘Shri Ganesh Mahima’ (1950), ‘Hanuman Pataal Vijay’ (1951), ‘Aladdin And Wonderful Lamp’ (1952), ‘Alibaba And Forty Thieves’ (1954), ‘Tulsidas’ (also 1954), ‘Al Hilal’ (1958), ‘Teerth Yatra’ (also 1958).
By the time 1960s came around, he was in the prime of his career with films like the hugely successful ’Navrang’ (1959) ‘Sampooran Ramayan’ (1961), ‘Zabak’ (also 1961), ‘Parasmani’, ‘Kan Kan Mein Bhagwan’ and ‘Sunehri Nagin’ (all 1963), ‘Sati Savitri’ (1964) and ‘Ram Bharat Milan’ (1965). All these films were very successful at the box office.
His tally of screen appearances is about 140 films in Hindi and many regional languages. The 1969 period film ‘Pathar Ke Khwab’ was his last film in a lead role in which he played the role of Shirazi, the sculptor and architect of Taj Mahal. After that he transitioned into character roles. The notable and successful films of this phase of his career are ‘Jai Santoshi Maa’ (1975), ‘Shyam Tere Kitne Naam’ (1977), ‘Ganga Sagar’ (1978), ‘Gopal Krishna’ (1979), ‘Badrinath Dhaam’ (1980) and ‘Jai Baba Amarnath’ (1981). His last exhibited film is ‘Amar Jyoti’ (1984). The Rajasthani film ‘Baba Ramev’ (1963) is a film that devotees have seen multiple times, and continues to be popular in Rajasthan till today.
In 1990, Mahipal was diagnosed with a heart condition, and underwent bypass surgery twice. He breathed his last on 15th May 2005, in Bombay.
The song that I present today is from the 1962 film ‘Rooplekha’. As I was searching for a song for this post, I was quite surprised that this wonderful duet of Mohammed Rafi and Suman Kalyanpur has not yet been showcased on our blog. A very lovely love song that has remained in memory from the radio listening days. The words of the song are penned by Farooque Qaiser and the music is from the mind of Nashaad. The films comes from the banner of Prithvi Pictures, Bombay and is directed by Mohammed Husain. On screen, we see the lead pair of Mahipal and Vijaya Chaudhary perform this enchanting duet of chhaayageet genre.
Mahipal will be remembered for a multitude of roles he played, especially in the mythological and religious films. His portrayal of Sant Tulsidas on screen is one of his most memorable roles, as is his performance in the film ‘Baba Ramdev’. But for me, he is the dreamer poet Diwakar of ‘Navarang’, and his eternal search for his muse, of whom he continues to dream even when he is a bedraggled old man, a distant memory of his yesteryears. A dream that continues forever in the last scene of the film, with the poet’s unending search –
“Tere Bin Pheeka Pheeka Hai Dil Ka Jahaan. . .”
And the voice of the muse echoing back from beyond the heavens –
“Ek Praan Do Tan Hain Hamaare”
“Yug Yug Ke Hum Saathi. . .”
. . .
. . .
Video
Audio
Song – Chaand Hai Taare Bhi Hain Aur Ye Tanhaai Hai (Rooplekha) (1962) Singers – Mohammed Rafi, Suman Kalyanpur, Lyrics – Farooque Qaiser, MD – Nashaad
Lyrics
o o o o o o
aa aa aa aa
aaaa aaaaa o o
sambhal ke baitho zara
chhaon mein bahaaron ki
aaa aaa aaa
kahin nazar na lagey
tumko chaand taaron ki
chaand hai taare bhi hain
aur ye tanhaai hai
chaand hai taare bhi hain
aur ye tanhaai hai
tum ne kya dil ke jalaane ki qasam khaai hai
chaand hai taare bhi hain
aur ye tanhaai hai
is tarah dard e mohabbat ka na iqraar karo
o o o
is tarah dard e mohabbat ka na iqraar karo
ye to sarkaar mere pyaar ki rusvaai hai
tum ne kya dil ke jalaane ki qasam khaai hai
chaand hai taare bhi hain
aur ye tanhaai hai
dhal chuki raat ye aanchal to hata do rukh se. . .
dhal chuki raat ye aanchal to hata do rukh se
kisliye chaand se chehre pe ghata chhai hai
ye to sarkaar mere pyaar ki rusvaai hai
chaand hai taare bhi hain
aur ye tanhaai hai
pyaar bhi karta hai shiqwe bhi kiya karta hai
o o o
pyaar bhi karta hai shiqwe bhi kiya karta hai
saari duniya se niraala mera saudaai hai
tum ne kya dil ke jalaane ki qasam khaai hai
chaand hai taare bhi hain
aur ye tanhaai hai
tum ne kya dil ke jalaane ki qasam khaai hai
chaand hai taare bhi hain
aur ye tanhaai hai
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
ओ ओ ओ ओ ओ ओ
आ आ आ आ आ
आssss आssss ओ ओ
संभल के बैठो ज़रा
छाँव में बहारों की
आss आss आss
कहीं नज़र ना लगे तुमको चाँद तारों की
चाँद है तारे भी हैं’
और ये तन्हाई है
चाँद है तारे भी हैं’
और ये तन्हाई है
तुम ने क्या दिल के जलाने की क़सम खाई है
चाँद है तारे भी हैं’
और ये तन्हाई है
इस तरह दर्द ए मोहब्बत का ना इक़रार करो
ओ ओ ओ
इस तरह दर्द ए मोहब्बत का ना इक़रार करो
ये तो सरकार मेरे प्यार की रुसवाई है
तुम ने क्या दिल के जलाने की क़सम खाई है
चाँद है तारे भी हैं
और ये तन्हाई है
ढल चुकी रात ये आँचल तो हटा दो रुख से
ढल चुकी रात ये आँचल तो हटा दो रुख से
किसलिए चाँद से चेहरे पे घटा छाई है
ये तो सरकार मेरे प्यार की रुसवाई है
चाँद है तारे भी हैं’
और ये तन्हाई है
प्यार भी करता है शिक़वे भी किया करता है
ओ ओ ओ
प्यार भी करता है शिक़वे भी किया करता है
सारी दुनिया से निराला मेरा सौदाई है
तुम ने क्या दिल के जलाने की क़सम खाई है
चाँद है तारे भी हैं’
और ये तन्हाई है
तुम ने क्या दिल के जलाने की क़सम खाई है
चाँद है तारे भी हैं’
और ये तन्हाई है