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


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 :

5777 Post No. : 18304

“Baaje Ghunghroo”(1962) was directed by Shivraj Shrivastava for Ram Raj Films, Bombay. The movie had Manhar Desai, Nalini Chonkar, Sheela Kashmiri, Leela Misra, Manju, Jagdish Kanwal, Nazir Kashmiri, Jugal Kishore, Keshri, Baby Farida, Baby Kokila, BA, Khan etc in it.

The movie had eight songs in it. Two song from the movie have been covered in the past.

Here is the third song from “Baaje Ghunghroo”(1962) to appear in the blog. This song is sung by Savita Bannerji. Shivraj Shrivastava is the lyricist. Music is composed by Dhaniram.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song which sounds like a Meera bhajan.


Song-Zara murli baja de mere Shyam (Baaje Ghunghroo)(1962) Singer-Sabita Bannerjee, Lyrics-Shivraj Srivastav, MD-Dhaniram

Lyrics

zara murli baja de mere shyam re
zara murli baja de mere shyam re
zara murli baja de mere shyam
padoon baar baar tori painyya re
zara murli baja de mere shyam re
zara murli baja de mere shyam

main hoon deewaani teri kasam
teri murli ki
ho murali ki
aag lagee tan man mein
kasam tere murali ki
ho tere murali ki
koi laakh kare badnaam re
zara murli baja de mere shyam re
zara murali baja de mere shyam

taan sunoon murli ki sajan
main rah na sakoon ji
main rah na sakoon
peed uthhe tan man mein
sajan main rah na sakoon ji
main rah na sakoon
aayi paas tere jiya thhaam re
zara murli baja de mere shyam re
zara murli baja de mere shyam


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 :

5776 Post No. : 18303

“Dilli Darbaar”(1956) was directed by Chandrakant for Gandhi and Choksi, Bombay. The movie had Sumitra Devi, Rehana, Veena, Prem adeeb, Sapru, S N Tripathi, babu Raje, Uma Devi, Radha Rani, Minu, Helen, kammo, R s Dubey, Radheshyam, Rajesh Sharma, Raj Sood, Raj Kaushal, Arjun singh, Neerja, Noorjahan, Sarla Kapoor, Kanta, Ulhas etc in it.

The movie had five songs in it. One song from the movie has been covered in the past.

Here is the second song from “Dilli Darbaar”(1956) to appear in the blog. The song is sung by Asha Bhonsle and female chorus. Shailendra is the lyricist. Music is composed by S N Tripathi.

Only the audio of this song is available. The song sounds like a dance song. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Jaam e mohabbat laayee hoon (Dilli Darbaar)(1956) Singer-Asha Bhonsle, Lyrics-Shailendra, MD-S N Tripathi
Chorus

Lyrics

jaam e mohabbat laayi hoon
masti ban kar chhaai hoon
itna kehne aayi hoon
kya
dil le le aur dil de de
koi dil le le aur dil de de
dil le le aur dil de de
koi dil le le aur dil de de
(aa aa aa)
dil le le aur dil de de
koi dil le le aur dil de de
(aa aa aa)

aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa

ek nazar par ae dil waalon
dil ka sauda karti hoon
ho ho ho ho
ek nazar par ae dil waalon
dil ka sauda karti hoon
jo mera deewaana ho
main bhi us par marti hoon
ho ho ho ho
main bhi us par marti hoon
mujhko sab se ulfat hai
pyaar khushi ki daulat hai
aankhon ki ye chaahat hai
kya
dil le le aur dil de de
koi dil le le aur dil de de
dil le le aur dil de de
koi dil le le aur dil de de
(aa aa aa aa)
dil le le aur dil de de
koi dil le le aur dil de de
(aa aa aa aa)

aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa

saari duniya jhoom uthhi hai
mehfil hai armaanon ki
ho ho ho ho
saari duniya jhoom uthhi hai
mehfil hai armaanon ki
pyaar ki shamma lehraayi
bheed lagi parwaanon ki
ho ho ho ho
bheed lagi parwaanon ki
chanda jaisi soorat hai
phoolon jaisi rangat hai
lekin dil mein hasrat hai
kya
dil le le aur dil de de
koi dil le le aur dil de de
dil le le aur dil de de
koi dil le le aur dil de de
dil le le aur dil de de
koi dil le le aur dil de de


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 :

5775 Post No. : 18302

Songs Repeated in Hindi Films – 31
– – – – – – – – – – – – – – – – – –

Reuse phenomena is quite a prevalent feature in Hindi cinema. We are already at the 31st episode of this series, and I must say we have just scratched the surface. There are reuse songs, there are partial reuse songs, there are medleys of songs, and even in some cases, there is a wholesale reuse in the entire film. A great example is the 2002 film ‘Dil Vil Pyaar Vyaar’. Bharat Shah, the producer of this film is an out and out die hard fan of Pancham Da, and this film showcases a dozen earlier hit songs of RD Burman.

Another such set of reuse albeit in snippets only, also happened in the 1982 film ‘Adhaarshila’. The producer director Ashok Ahuja has accommodated half a dozen or so songs from the golden era in the film, which is a film about making a film.

A more recent happening is the weather beaten but still fresh, Romeo and Juliet based love story – the 2023 film by Karan Johar – ‘Rocky Aur Rani Ki Prem Kahani’. This film has a very interesting twist to the original tale – two people in love are not able to join forces in life, and are forced to lead separate life stories. Quite an interesting twist happens when their respective grand children fall in love with each other, initially blessed with the ignorance of the family’s histories and the unsuccessful involvement of their grand parents two generations earlier. Karan Johar seems to be quite smitten with the music of the 50s, 60s and 70s – he has weaved into the film’s story no less than a dozen songs of yesteryear. All songs are snippets one to two minutes long. But a very interesting reuse nonetheless, that makes the film more enjoyable.

However, the difficult part is that the reuse songs are not credited in the information about the film. One has to dig for them, and if lucky, one comes across these reuse gems. There is a very interesting episode behind this find also, and I must thank Nalini ji for it. Recently, she shared with me part of a discussion happening on the ASAD WhatsApp group. The film under discussion was the 1975 ‘Prem Kahani’. And the discussion was on a song being played on the radio in this film, which does not seem to be from a Hindi film. The song, sounding strikingly familiar, is “Kuchh Bhi Na Kaha Aur Keh Bhi Gaye”. The original song is from the 1962 Pakistani film ‘Azra’. The song is written by Tanvir Naqvi and the music is composed by Master Inayat. The singing voice is that of the legendrary Noorjehaan, picturised on actress Neelo. Certainly a song to be treasured. So on the group, the discussion was resolved with a little bit of research, and it was declared that this is song from a Pakistani film.

Nalini ji shared this discussion on the side with me. And surely, it prompted me to take a look. So pulling out the film ‘Prem Kahani’ from my hard disk, I started to scan the film slowly to locate this Pakistani song being played on the radio. But then another discovery was sitting on the way. Before I reached the song I was looking for, I bumped into this song snippet – a replay of the iconic Manna Dey song from the 1961 film ‘Kabuliwaala’. Vinod Khanna, playing the role of Sher Khan, a pathaan truck driver, sings this song on screen, and in his own voice, while driving his vehicle.

‘Prem Kahani’ (of 1975) is a period film that is set in pre-independence years, when the freedom struggle was at its peak. Rajesh (role played by Rajesh Khanna) is a fugitive from the British law, for having assassinated a British police officer. He is on the run with the police hot on his heels. He takes refuge in the truck of Sher Khan who saves his life, and delivers him to safety at the home of Dheeraj (role played by Shashi Kapoor), a very dear friend of Rajesh. I will not delve into the story before and after this episode, but will surely add that Sher Khan gets caught, and the police torture him to find out the whereabouts of Rajesh. Sher Khan dies in police custody but does not reveal the location where he dropped Rajesh.

When Rajesh is riding in Sher Khan’s truck, there is a bit of dialogue between them. Rajesh asks Sher Khan why is he helping him, even though they do not even know each other. Sher Khan replies – yes he does not know Rajesh, but surely he understands the meaning of freedom, and so he is helping Rajesh.

At this point, he starts to sing this song. Interestingly, the rendition is in Vinod Khanna’s own voice. Only one stanza from the original song is presented. But still, a lively rendition by him.

So another reuse of an iconic song, which remains uncredited. And for this discovery, I must thank Nalini ji.

Song – Ae Mere Pyaare Watan  (Prem Kahaani) (1975) Singer – Vinod Khanna, Lyrics – Prem Dhawan, MD – Salil Chaudhry

Lyrics

ae mere pyaare watan
ae mere bichhde chaman
tujh pe dil qurbaan

tu hi meri aarzoo
tu hi meri aabroo
tu hi meri jaan

maa ka dil banke kabhi seene se lag jaata hai tu
aur kabhi nanhi si beti ban ke yaad aata hai tu
jitna yaad aata hai tu
utana tadpaata hai tu
jitna yaad aata hai tu
utana tadpaata hai tu
tujh pe dil qurbaan

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

ए मेरे प्यारे वतन
ए मेरे बिछड़े चमन
तुझ पे दिल क़ुर्बान

तू ही मेरी आरज़ू
तू ही मेरी आबरू
तू ही मेरी जाँ

माँ का दिल बन के कभी सीने से लग जाता है तू
और कभी नन्ही सी बेटी बन के याद आता है तू
जितना याद आता है मुझको
उतना तड़पाता है तू
जितना याद आता है मुझको
उतना तड़पाता है तू
तुझ पे दिल क़ुर्बान

 


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 :

5775 Post No. : 18301

‘Lehren’ (1953) was produced by C Ramchandra and directed by HS Rawail for New Sai Productions, Bombay. The movie had Kishore Kumar, Shyama, Shakuntala, Bipin Gupta, Om Prakash, Sunder, Leela Mishra, Iftikhar etc. in it.  Raj Kapoor made a guest apperance in the movie.

The film ‘Lehren’ had ten songs in it. Two songs have been covered in the past.

Here is the third song from the movie to appear in the blog. This song is sung by Lata Mangeshkar. Rajinder Krishan is the l;yricist. Music is composed by C Ramchandra.

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

Song-Aaja rasiya o man basiya kaahe ko der lagaai (Lehren)(1953) Singer-Lata, Lyrics-Rajinder Krishan, MD-C Ramchandra

Lyrics

aaja rasiya
o mann basiya
aaja rasiya
o mann basiya
kaahe ko der lagaai
lagaai raama
kaahe ko der lagaai
kaahe ko der lagaai
lagaai raama
kaahe ko der lagai
raama
kaahe ko der lagai
lagaai raama
kaahe ko der lagaai

baat tihaaree tak tak haare
preet ke maare nain hamaare
baat tihaaree tak tak hare
preet ke maare nain hamaare
yaad hamari na aayi
na aayi rama
yaad hamaari na aayi
rama kaahe ko der lagaai
lagaai raama
kaahe ko der lagai
aaja rasiya
o mann basiya
aaja rasiya
o mann basiya
kaahe ko der lagaai
lagaai raama
kaahe ko der lagaai

ro ro jeevan ho gaya sapna
ab to dikha ja daras apna
ro ro jeevan ho gaya sapna
ab to dikha ja daras apna
manwa det duhaai
duhaai rama
manwa det duhaai
raama
kaahe ko der lagaai
lagaai raama
kaahe ko der lagaai
aaja rasiya
o mann basiya
aaja rasiya
o mann basiya
kaahe ko der lagaai
lagaai raama
kaahe ko der lagaai

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

आजा रसिया
ओ मन बसिया
आजा रसिया
ओ मन बसिया
काहे को देर लगाई
लगाई रामा
काहे को देर लगाई
काहे को देर लगाई
लगाई रामा
काहे को देर लगाई
रामा
काहे को देर लगाई
लगाई रामा
काहे को देर लगाई

बाट तिहारी तक तक हारे
प्रीत के मारे नयन हमारे
बाट तिहारी तक तक हारे
प्रीत के मारे नयन हमारे
याद हमारी ना आई
ना आई रामा
याद हमारी ना आई
रामा काहे को देर लगाई
लगाई रामा
काहे को देर लगाई
आजा रसिया
ओ मन बसिया
आजा रसिया
ओ मन बसिया
काहे को देर लगाई
लगाई रामा
काहे को देर लगाई

रो रो जीवन हो गया सपना
अब तो दिखा जा दरस अपना
रो रो जीवन हो गया सपना
अब तो दिखा जा दरस अपना
मनवा देत दुहाई
दुहाई रामा
मनवा देत दुहाई
रामा
काहे को देर लगाई
लगाई रामा
काहे को देर लगाई
आजा रसिया
ओ मन बसिया
आजा रसिया
ओ मन बसिया
काहे को देर लगाई
लगाई रामा
काहे को देर लगाई


This article is written by Mahesh Mamadapur, 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.

This article is the 18300th post in the blog.

Blog Day :

5774 Post No. : 18300

chhed kar taaron pe dil ke
ek adhoori ragini
aur deewaane ko deewaana bana jaate ho tum

24 February 2024 marked the birth centenary of legendary singer and actor Talat Mahmood. Born on 24 Feb 1924, he passed away on 09 May 1998 at the age of 74. This write up was planned to coincide with the Birth centenary, but the article got delayed. The remembrance day today (9 May 1998) offers us another opportunity to pay our tributes to Talat Mehmood (24 Feb 1924-9 May 1998).

I have inordinately delayed paying tributes to one of my favorite singers on his birth centenary and express sincere regrets for this lapse.

I did not see much fanfare or homage on his centenary day on social media and news items in laudation of one of the most popular voices HFM has ever seen. Or maybe, I must have missed them.

His biography by his relative Sahar Zaman, was also unveiled and launched just a couple of months before his 100th birthday. One would have expected it to be released on his centenary date which was just about two months away from the launch date, but I suppose, the biographer found it more prudent to release the biography at the 16th Global Film Festival held in December 2023 at Marwah Studiosm (at Noida, close to Delhi).

His son Khalid Mahmood maintains his father’s website ‘A Golden Voice – Talat Mahmood‘. It’s a well-maintained website containing ample information and pictures on the life and career of Talat Saab. Of particular interest to self and readers would be the page on Talat Saab’s song list wherein most of the details are provided barring the names of the respective lyricists and the year of release of the films. However, the list is of immense help particularly in tracing his unheard and hitherto unavailable songs. The list also has details on songs from unreleased films. For example, a solo and a duet with Lata Mangeshkar have been listed from an unreleased film ‘Preet Na Jaane Reet’. What caught my attention was the composer’s name. Sajjad Husain. Wow. The combo will inevitably remind fans of ‘Sangdil’ (1952). I understand from our Sudhir ji that the lyrics are also mentioned in the Talat Geet Kosh. He is also on the job of tracing the audio of the songs.

Coming to his songs it is easy to sum up his career as a singer of less than 750 odd songs, about a dozen films as an actor, multiple state and club awards, pioneer of foreign concerts and a Padma Bhushan in 1992.

But then, Talat Mahmood’s career is not about numbers. In fact, it is more than mere class or quality also. His voice is about a phenomenon and the legendary cult that continues to enthrall listeners all over the world to this day.

Talat Saab has sung for himself as well as provided playback. However, hardly 450 odd songs are on record, compared to few thousands by his notable contemporaries. Of these, 400 plus songs are already showcased on the blog. That’s a good 90% coverage and I am sure it will not be long before all available HF songs of his are represented here. There are around 167 geet, ghazal, bhajans etc. according to this website. Hardly 14 of these NFSs have been represented on our blog. So, we still have a lot of ground to cover as far as his NFSs are concerned.

Of all the singers of the golden era, his was the distinct voice which has its own aura and has stood the test of time. When a Talat song comes on radio / TV programs or our own collection of songs, it’s always about the voice that the mind steps back and ponders about the rare element in his renderings. He neither has the numbers nor the range, but whatever has been exhibited continues to glow in gold.

I was under the impression that I have written only one post on Talat Saab, but then, I was pleasantly surprised to trace 3 of my posts on Talat Saab wherein I seem to have covered quite a few aspects on his songs, his voice and his special association with Mukesh. Of special mention are the two songs from ‘Yahudi’ (1958) and ‘Sujata’ (1959) associated with his good friend Mukesh. I would request readers to visit the following 3 posts for these mentions and the stories behind the two songs.

Song Post Number Song Title Movie (Year) Date of post
11658 Mitne de meri zindagi Meharbani (1950) 15 December 2015
12724 Mujhko mohabbat ho gayi hai Biwi aur makaan (1966) 22 December 2016 Sung by Mukesh, Manna Dey, Hemant Kumar, Talat Mehmood and Joginder
14996 Aao baadal chain re royen Aawaara Ladki (1967) 19 April 2019

On reading the above posts once again, it seems I had a better flair for writing, a decade back than what I possess now. Again, on discovering the contents of the above posts, my efforts in this post have been cut to size. I have even listed 15 of his best songs (my selection) in one of the posts; something which I normally avoid because great songs of legends cannot be short-listed.

‘King of Ghazals’, ‘India’s Frank Sinatra’, ‘Velvet voiced’ and many other sobriquets have been rightly used and reused for him. So instead of writing on his voice, I will try to emphasize on a few songs, especially for the lyrics and the flawless rendition and the empathy conveyed by him.

a. abhi zinda hoon lekin sochata rehta hoon ye dil mein
ki ab tak kis tamannaa ke sahaare jee liyaa maine

These lines from the song “Muhabbat Tarq Ki Maine, Gharebaan See Liya Maine” of film ‘Doraaha’ (1952) are like a sharp knife cutting through the heart so much so that you tend to sympathize with the feelings. Each stanza in this song written by Sahir Saab and composed by Anil Da is a textbook case of composing songs of melancholy genre.

b. jab kisi ke rukh pe zulfen, aa ke lehraane lagin
hasraten uthh uthh ke, armaanon se takraane lagin

Talat Saab has his own inimitable style in rendering romance. Listen to the complete song penned by DN Madhok and tuned by Vinod, from ‘Anmol Ratan’ (1950).

c. har baat bane afsaana jahaan
har naam pe tohmat aati ho
uthte hi koi masoom nazar
bas ruswaayi ho jaati ho
ae dil aisi mehfil se to
behtar tanhaayi hai

These lines are from the song “Ye Kya Hai Dhang Zamaane Ka” Prem Dhawan in ‘Daak Babu’ (1954) came up with these beautiful verses.

d. koi jab yeh geet sunega
pyaar ka phir woh naam na lega
pyaar kiya to yoonhi jalega
tadpega aur royega

hum to hain pathhar ke insaan
hum to yeh dukh seh gaye

The song “Aise Toote Taar Ke Mere Geet Adhure Reh Gaye” by Shewan Rizvi in Ram Ganguly’s ‘Gawaiyya’ (1954)

e. aane se tere pahle aata hai ek ishaaraa
sooraj se pahle jaise ek roshni ki dhaaraa
hamne wahi ishaaraa dil mein basaa liyaa hai

Rajinder Krishan wrote these lines in the song “Tere Raaste Pe Hamne Ek Ghar Banaa Liya Hai” in the 1954 film ‘Kavi’. Fast paced romantic numbers were not exactly his forte, but Talat Saab comes up with excellent rendition in his indelible voice for this duet with Lata.

f. duniya mujhe dhoondhe,
magar mera nishaan koyi na ho

and

chalna hai sab se door-door
ab caravan koyi na ho

Majrooh Saab’s lyrics for the song “Ae Dil Mujhe Aisi Jagah Le Chal” in the film Aarzoo (1950).

I have taken just a small sample of a few lines of only five lyricists just to showcase the amazing blend of the voice and the thoughts of the poets. Such couplets and verses from various songs of Talat Mahmood are my personal favourites.

Coming to today’s song and celebrating the centenary yearr of the silken voice, I have selected this solo from the film ‘Bindiya’ (1955).

The film has ten songs in all, and two solos in the voice of Talat Saab. One solo – “Hai Dil Mein Milan Ki Aas” is already posted on the blog. The music is composed by Snehal Bhatkar, The ten songs are written by Arsh Haideri, Bharat Vyas and SH Bihari. Both solos of Talat Saab are from the pen of SH Bihari.

On our blog, 401 songs carrying the voice of Talat Sb are showcased. This song is 402th offering of his rendition in the blog.

Talat Mahmood Saab, a hundred years and a perpetual legacy of a voice that is distinctive and a class apart.

Editor’s Note: This Talat Mehmood tribute article post on his birth centenary year is the 18300th post in the blog. With this post, the blog achieves yet another century milestone. We take this opportunity to thank one and all for their continuous support and encouragement. Here is hoping that this musical bandwagon will keep rolling on and on and we will keep reaching many more milestones in the days to come.


Song – Meri Duniya Hai Tu Mera Aarmaan Tu Hai (Bindiyaa) (1955) Singer – Talat Mehmood, Lyrics – SH Bihari, MD – Snehal Bhatkar

Lyrics

aa aa aa
aa aa aa
aa aa aa
meri duniya hai tu
mera armaan tu hai
mere jeevan mein
khushiyon ka saamaan tu hai
meri duniya hai tu
mera armaan tu hai
mere jeevan mein
khushiyon ka saamaan tu hai

mere dil ko hai pyaari teri har ada
mere dil ko hai pyaari teri har ada
ye ada mujhko pyaari rahegi sada
ye ada mujhko pyaari rahegi sada
main hoon bejaan aur meri jaan tu hai
meri duniya hai tu
mera armaan tu hai
mere jeevan mein
khushiyon ka saamaan tu hai

mujhe har ghadi
tujh pe aata hai pyaar
mujhe har ghadi
tujh pe aata hai pyaar
meri zindagi mein hai
tujh se bahaar
meri zindagi mein hai
tujh se bahaar
bahaaron mein kaliyon ki muskaan tu hai
meri duniya hai tu
mera armaan tu hai
mere jeevan mein
khushiyon ka saamaan tu hai

tu nahin to meri daastaan kuchh nahin
tu nahin to meri daastaan kuchh nahin
ye zameen kuchh nahin
aasmaan kuchh nahin
ye zameen kuchh nahin
aasmaan kuchh nahin
main hoon anjaan
meri pehchaan tu hai
meri duniya hai tu
mera armaan tu hai
mere jeevan mein
khushiyon ka saamaan tu hai
meri duniya hai tu
mera armaan tu hai
mere jeevan mein
khushiyon ka saamaan tu hai

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

आ आ आ
आ आ आ
आ आ आ

मेरी दुनिया है तू
मेरा अरमां है तू
मेरे जीवन में खुशियों का सामान तू है
मेरी दुनिया है तू
मेरा अरमां है तू
मेरे जीवन में खुशियों का सामान तू है

मेरे दिल को है प्यारी तेरी हर अदा
मेरे दिल को है प्यारी तेरी हर अदा
ये अदा मुझको प्यारी रहेगी सदा
ये अदा मुझको प्यारी रहेगी सदा
मैं हूँ बेजान और मेरी जान तू है
मेरी दुनिया है तू
मेरा अरमां है तू
मेरे जीवन में खुशियों का सामान तू है

मुझे हर घड़ी तुझपे आता है प्यार
मुझे हर घड़ी तुझपे आता है प्यार
मेरी ज़िंदगी में है तुझ से बहार
मेरी ज़िंदगी में है तुझ से बहार
बहारों में कलियों की मुस्कान तू है
मेरी दुनिया है तू
मेरा अरमां है तू
मेरे जीवन में खुशियों का सामान तू है

तू नहीं तो मेरी दास्ताँ कुछ नहीं
तू नहीं तो मेरी दास्ताँ कुछ नहीं
ये ज़मीन कुछ नहीं
आसमां कुछ नहीं
ये ज़मीन कुछ नहीं
आसमां कुछ नहीं
मैं हूँ अंजान मेरी पहचान तू है
मेरी दुनिया है तू
मेरा अरमां है तू
मेरे जीवन में खुशियों का सामान तू है

मेरी दुनिया है तू
मेरा अरमां है तू
मेरे जीवन में खुशियों का सामान तू है


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 :

5773 Post No. : 18299

Yesterday 7th may 2024 was the third phase of General elections 2024 of India. I was looking forward to it for quite some time. The electoral process had started from march end itself and the process will go on till 4 June 2024. A very long drawn, a very elaborate, and at the same time a tedious and tiring process for all. Nevertheless, a very important process for India, and by that token, for the world, because it is the biggest polling exrcise evver undertaken in the history of mankind.

Under normal circumstances, polls should take place unnoticeably and be done with it. But that is hardly the case. It is a very loud, noisy, ugly process lasting nearly three months or so. Normal people, who do not apply their mind and are easily swayed by media, may be having a tough time whenever they read newspapers or switch on the TV. I, who consider myself as someone who applied my mind instead of blindly believing what I read or listen from others, have managed to keep by and large aloof from all this madness. I am eagerly waiting for all the seven phases of polling to get over and the results announced on 4 June 2024, so that we can all go back to our normal routines for the next five years.

I did not notice much poll related activities in Bhopal. That was because I do not watch TV, and secondly we do not get any newspapers. So the little I came to know about these activities was shrill campaigning on TV channels whenever my wife would open TV. On checking out news on my mobile, I was given to understand that voters are rather indifferent and voting percentages are down vis a vis 2019 elections. It was pointed out that a few parties do not have party workers to carry out election related activities. Other parties with resources have got complacent or disheartened, as the case may be, we were told. People are not even doing door to door canvassing this time, we were told.

After I settled down in Bhopal from July 2022, I first voted in local municipal election, and subsequently Assembly election. This time I was goping to vote in Parliamentary election. Every time, my centre is the same, namely St Xavier’s school, which is located nearly one km from my residence and is within walking distance. Based on past two elections, I knew that one gets a slip where polling details-viz centre, voter serial number, location of centre etc are mentioned. Typically one party or the other with resources would hand over these details at your household. This time I came to know that the election commission had taken this work on itself. But election commission failed to send slips to our locality. On friday, 3 may 2024, we did get our slips, alongwith pamphlet of a party that had the required resources and enthusiasm for the elections.

Out of the four slips for four voters of our household, only I and my wife were around to vote. The vote time was 7 AM to 6 PM. I suggested to my wife that we should go to vote early in the morning when there was less crowd at the polling station.

Next morning, we left for the polling booth at 7:30. I found that two couples from neighbouring houses were returning back after voting. So we were not really that early to the polling station. We found that there was a very long line of voters for our polling booth. That school had some half a dozen polling booths, each with a different number and serving different localities. Our polling booth had the longest queue. Perhaps the voters of our locality were the most enlightened !

There were separate queues for men and women. It took me about one hour to enter the polling booth room. My wife too entered at the same time. Inside the room, it did not take more than a couple of minutes. First one had to show the slip, and the staff would match the slip with his record and then cross the name on his list, indicating that the person had arrived to vote. Voter ID would be shown, and after that you would have to sign on a register, that would mean you have marked your attendance. Then a slip would be generated and given to you. The person ahead of you would go to the enclosure with EVM. A few seconds later a beep would be heard. The person would indicate that the vote was recorded. Then he would collect the slip from the next voter and ask him to go to the voting enclosure. The EVM voting is so easy these days. Just locate your desired symbol and press the button on its right. Look inside the small looking glass. This is VVPAT. It displays the symbol that you pressed. A few seconds later, beep sound is heard. Congratulations, your polling is done !

I and my wife left the booth at a few minutes apart. We arrived at the car, where I had kept my mobile (as carrying mobiles are not allowed inside polling booth). The time mentioned on the mobile was 8:36. So I guessd that I had voted at around 8:33 after standing in the queue for one hour.

We arrived back home a few minutes later.

I felt that I had accomplished an enormous task. I felt good and satisfied about it. The fact that our voting was over at about 8:30 meant we had defeated the sun and we were back at home by our breakfast time.

People feel tired after accomplishing a big task. I too felt tired. 🙂 It was a bit like how I feel when I fill up my IT return and it successfully gets submitted online. A few days later, IT department processes it I receive the message that my IT return has been accepted.

There is one difference though. IT return is filed every year. Voting takes place once in five year. If you add assembly election and municipality elections as well, then one needs to vote thrice in five years.

My case was unique. It was the very first time in my life that I had voted in a parliamentary election. Voting for a parliamentary election for the first time at an age of 60 plus ! It must be a strange kind of record. But that is not all. Though I had not voted in Parliamentary elections, I had figured in the parliament election process as a patrolling magistrate, as far back as in 1984 ! Imagine serving as an election official even before voting in the elections, seeing that I was not eligible for voting during the previous elections of 1980.

40 years ago was like a different era altogether, much different from what it is today. The Indian PM Mrs Indira Gandhi was assassinated by her own bodyguards in her official residence on 31 october 1984. Those were very difficult days for India as a nation.

I like my hostel mates in Jamalpur (Bihar) followed all these developments on the newly acquired colour TV in the hostel, just after a low power relay TV station was set up in Munger, the district HQ located 10 km from Jamalpur.
Elections were announced to be held late in december 1984 (in three phases). Nowadays people complain that elections are held in severe heat. That election, by contrast had taken place when winter season was in full swing in most parts of India, including the part where I was.

We needed to appear and pass external examinations that were held twice in an year- once in Summer, once in winter. Many of us (excluding some like me) were busy preparing for winter examinations. People like us laughed that they would be slogging hard while the rest of us would enjoy ourselves watching TV. Our happiness was wiped out from our faces when it turned out that those who did not have examinations would be sent to election duty.

So, we left for Munger. We had to serve as patrolling magistrates. Our job was to collect the election material, viz ballot boxes, ballot papers and other materials for the polling booths allotted to us. I was allotted three polling booths located in a village some 70 KM away. The district administration had seized all the vehicles they could seize and had kept them in a ground. These vehicles were to serve as the transport vehicles for the patrolling parties. Each patrolling party had one patrolling magistrate and he had four security personnel. My four security personnel were as young and raw as I was. They were trainee homeguard staff, and they were led by one trainee ASI.

In the briefing area, we all located our security personnel. Then we located the vehicle allotted to us. The vehicle allotted to us turned out to be a fully loaded truck. The truck was on its way to deliver its consignment when elections were declared and it, as well as other vehicles were “requisitioned” for election duty, along with its driver and cleaner. We collected our election materials, loaded them on the truck, got the directions to reach our destination and left. I, alongwith the ASI sat in drivers cabin whereas the sipaahis happily settled themselves over the roof of the driver’s cabin.

We had started in the afternoon. We were required to reach our destination by evening, when we had to go to the three allotted polling booths and hand over the polling material to them, so that they could prepare for the polling that was to start next morning.

When we arrived at the village, I found that the three polling stations were three village schools. These schools barely had any roof over them, and had just a few chairs and desks that were sufficient to hold the election. We handed over the election materials to the three polling booths, each located a few kilometers from the other. The polling booth staff had to stay in the polling booth etc at night. As for I and my staff, one building a few kilometers away was requisitioned in a nearby town. This building basically had a hall. Those were the days when Indians used to travel with their hold-all while travelling by train. I, as well as everyone else had brought their hold-alls, that contained razaai inside it, which was so important in that winter season. We laid out our hold-alls on the floor of the hall and slept, while the vehicles were kept outside in a ground. The security personnel and drivers fended for themselves.

Next day, as the polling began, I as patrolling magistrate was supposed to keep patrolling the three polling booths to ensure that polling was taking place peacefully.

While watching the polling process, I realised how actual polling takes place in Bihar and what is the role of administration. One realises that polling staff in the polling booth as well as the partoling party are outsiders who are working in interior places which are far away from towns and cities away from media glare. The voting these did not take as is shown on TV or movies. We also realised that the local administration, viz local police, worked according to the instructions of their bosses, viz ruling party at state level. We realised that no matter how much one tried, voting in interior areas was nothing but a case of peaceful booth capturing. The influential communities, in collusion with local police, would come to mutual understanding and they would “vote” certain number of votes on behalf of their community. Voters of weaker section (viz SC community voters) were not allowed to vote. Their quota of vote too was cast by the influential communities as agreed among themselves. They also made sure that the total number of votes cast by them was 89.9%. That was because polling above 90 % is considered suspicious and in that case repoll is ordered.

After the polling was over in the evening, all the polling materials, viz ballot boxes, unused polling material etc were collected by the patrolling magistrate and his team from the three booths. The polling booth staff requested that they too should be given lift to go out of the village. I let them, seeing that they, unlike the patrolling team were not provided with any vehicles.

We arrived back to district HQ at Munger where every team had to deposit all the polling materials. It was late at night when we deposited all the polling items and we were given our relieving letter.

When I checked up with fellow hostel mates, it turned out that I was not alone. Everyone had similar experiences. That made me feel better. We had gained first hand experience of how democratic institutions functioned in Bihar. Subsequently on TV, we heard knowledgeable poll related discussions by Prannoy Roy about vote swing, voter sentiments, voting trends etc. Those discussions were very convincing and erudite for armchair TV watchers, but those discussions failed to impress us.

By the way, state assembly elections took place a few months later in 1985. Same people who had served during Parliament elections were summoned again. Some of us backed out giving valid or not so reasons. Like for example, some South Indians gave the reason of language problem, which was a real problem for them. Personally understanding the “Bihari” language was no problem for me. I participated in the assembly election as well. This time my vehicle was a tractor ! Riding this tractor, with polling material and security staff on the trailer, we made such slow progress that we arrived at the polling booths just hours before the polling was to take place. On the positive side, this time I had a veteran police ASI, who had the necessary dabangai to ensure that polling malpractices were not allowed to take place in the polling booths. That made me feel much better.

So I had served as patrolling magistrate in one of the most important Parliamentary election in Indian history. 40 years later, I got to vote in a parliamentary election for the first time. These days voting takes place on EVM, which is a big improvement over ballot paper. Ballot paper voting was very expensive and very cumbersome. One voter typically took ten minutes to locate the desired symbol on a newspaper sized ballot paper, marked it, and then it had to be folded properly so that it could be shoved inside the ballot box. Booth capturers had expertise in “polling”. They could carry out 89.9% polling within a couple of hours, which was impossible if polling took place in a lawful manner, where typically unskilled and illiterate voters were made to vote.

Today, EVM has made it so easy. One can easily locate the desired symbol on the EVM. All one has to do is press the button adjacent to the symbol. One can see the symbol flashing in the VPAT box, and a beeping sound comes out, indicating that the voting in done. Voting takes a few seconds. It is standing in the queue and then showing up one’s documents for verification, and getting indelible ink on your finger that takes bulk of your time.

I hope that in future we will have the option of online voting as well, just as we can nowadays have the option of online banking and online commercial transactions. If financial transactions can take place online without glitch that I do not see any reason why online voting should not be implemented in future. That would be far more economical and convenient. Hopefully I will see online voting at least as an option in future elections.

Different people vote for different reasons. Likewise different people/ parties have different motives/ agendas while contesting the elections. It is the voters who have to decide what they consider is the suitable candidate for their vote.

On this occasion, here is a vote related song. This song is from “Aansoo Ban Gaye Phool”(1969). Kisore Kumar is the singer. Lyrics are pennede by Taj Bhopali. Music is composed by Laxmikant Pyarelal.

“Aansoo Ban Gaye Phool”(1969) was produced by S.M. Sagar and Anoop Kumar and directed by Satyen Bose for Anoop Kumar Productions. The movie had Ashok Kumar, Deb Mukherjee, Alka, Nirupa Roy, Raj Mehra, Anoop Kumar, Rakesh, with Helen and Pran. They were supported by Kumud Tripathi, Manik Dutt, Kumari Uma, Mughni Abbasi, Shekhar Purohit, Janki Das, Tarun Ghosh, Bazid Khan, Radhey Shyam, Gautam Mukherjee, Pardesi, Uma Dutt, Madhup Sharma, Prakash Misra, Behari, M.A. Latif, Vinod Sharma, Lalit Kapoor, Genius, Ramlal, Amrit Rana, Nadir, Deepak, Aziz Siddiqui, Habib etc in it.

Kisore Kumar is the singer. Lyrics are penned by Taj Bhopali. Music is composed by Laxmikant Pyarelal. This is one of those few songs where Kishore Kumar sings for his bhaanja (nephew) Deb Mukherjee. This is a song about a college election where Deb Mukherjee is seen heckling the candidate who is a product of nepotism, viz he is the son of the owner of the college.

This is the fifth and final song from “Aansoo Ban Gaye Phool”(1969). The movie thus joins the list of movies that have all their songs getting covered in the blog. The movie thus gets YIPPEED in the blog. The movie had made its debut in the blog on 8 may 2009. The movie gets yippeed on the same date fifteen years later on 8 may 2024 !

Audio

Video

Song-Election mein maalik ke ladke khade hain (Aansoo Ban Gaye Phool)(1969) Singer-Kishore Kumar, Lyrics-Taj Bhopali, MD-Laxmikant Pyarelal
Chorus
Unknown male voice 1
Unknown male voice 2

Lyrics

election mein maalik ke ladke khade hain
hahahaha
arre inhen kam na samjho
ye khud bhi bade hain
hahaha
haan
haan haan
inke siwa vote ka ka ka
haqdaar kaun hai
inse lade chunaav wo
gaddar kaun hai
jiyo raaja jiyo

ab chaahe kisi se pyaar karo
inko vote do
ab chaahe kisi se pyaar karo
inko vote do
waadon ka aitbaar karo
inko vote do
ab chaahe kisi se pyaar karo
inko vote do
ab chaahe kisi se pyaar karo
inko vote do
vote for
baap ka laal
arre vote for
baap ka laal

is shehar bhar mein jitne hain
akhbaar inke hain
daily dabba roz aamcha peela parcha
is shehar bhar mein jitne hain
akhbaar inke hain
kaale safed saikdon vyopaar inke hain
sab aspatal inke hain
beemar inke hain
parnaam laakh baar karo
inko vote do
waadon ka aitbaar karo
inko vote do
haan haan
ab chaahe kisi se pyaar karo
inko vote do

aise sapoot ab hain kahaan
apne desh mein
ek yahi pe hain

aise sapoot ab hain kahaan
apne desh mein
bhagwaan aa gaye hain
insaan ke bhes mein
chanda diya inhone
freedam ke case mein
sab inki jaijaikaar karo
inko vote do
waadon ka aitbaar karo
inko vote do
haan haan
ab chaahe kisi se pyaar karo
inko vote do

arre bolo re bappa dhingar bappa
de ghuma ke
ghuma ko
dhing phataafat dingdi popo
de ghuma ke
ghuma ke
hey
ghuma ke
hey
ghuma ke
hey

haay
haay haay
haay haay
haay
brmm
haay haay
haay haay

har cheez inki daas hai
har shai ghulaam hai
ajee chaandi ka joota inke paas hai
har cheez inki daas hai
har shai ghulaam hai
zinda inhin ke dam se
sharaafat ka naam hai
logon ke dil khareedna
bas inka kaam hai
arre kuchh to khayaal e yaar karo
inko vote do
waadon ka aitbaar karo
arre waadon waadon waadon ka
bhai pain pain
bhai bhai pain
waadon ka
aitbaar

waadon ka aitbaar karo
arre inko vote do
haan haan
ab chaahe kisi se pyaar karo
inko vote do

ho ho
ab chaahe kisi se pyaar karo
inko vote do

vote for
baap ka laal
baap ka laal
arre vote for
baap ka laal


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 :

5772 Post No. : 18298

“Asiai Sitaara”(1937) was directed by Haribhai Desai for Harshad and Jagtap, Bombay. The movie was distributed by Wadia Movietone.

“Asiai Sitaara”(1937) had master Vithal, Jenabai Pawar, Ibrahim, Veenadevi, Krishnaswami,Minoo the Mystique, Vasant Pehelwan, Master Dhulia etc in it.

This costume drama movie had eight songs in it that have become extremely rare to find. One song has been covered in the past.

Here is the second song from “Asiai Sitaara”(1937) to appear in the blog. This song is sung by Jenabai Pawar. Pt Anuj is the lyricist. Music is composed by Master Mohammad.

Only audio of this rare song is available. It is clear from the starcast that this song was picturised on Jenabai Pawar herself.

From her powerful voice, it appears that Jenabai Pawar was a trained singer. With this song, she makes her debut in the blog as a singer.


Song-Nit leke prem ki maala (Asiai Sitaara)(1937) Singer-Jenabai Pawar, Lyrics-Pt Anuj, MD-Master Mohammad

Lyrics

taat bichhure
hriday ke
dhannath bichhure
humse bichhudo des

hey ae aao aao
nit leke prem ki maalaa
japti priy naam tumhaaraa
nit leke prem ki maalaa
japti priy naam tumhaaraa
ro ro din haay bitaaye
per bhuwannaath na aaye
ro ro din haay bitaaye
per bhuwannaath na aaye

jharat nayan se ansuwan kee dhaaraa
jharat nayan se ansuwan kee dhaaraa
aao
aao
aaao


This article is written by Avinash Scrapwala, 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 :

5771 Post No. : 18297

#the Decade of Seventies – 1971 – 1980 #
————————————————————————
# R.D. Burman – Music from ‘The 1970s’# (Darling Darling-1977)
——————————————-———————————

With this post we go back to the ‘decade of ‘seventies’. Of late very few songs from the ‘seventies’ have been posted on the blog. We are still a long way off from the estimated eight thousand songs that were created in this decade, so far, only 2834 songs from 1970s have been posted on the blog. On personal front,I also have many songs from this decade lined up to be present here. All these days I was listening to and enjoying songs on ‘radio’ every morning and evening while travelling to workplace and returning back to home.

Today’s song is from the movie ‘Darling Darling-1977’. I have presented a song from this movie in the past where I had mentioned that this movie had a few good songs that were played frequently on loud-speakers on those years.

Title song of this movie was heard more than other songs. I have mentioned that I did not like this ‘title song’ ‘hello darling bolo hello darling’ as I found it very irritating. As growing children the word ‘darling’ was taboo for us growing up in conservative surroundings. It was an ‘ultra-modern’ word for children like us who were studying in ‘small village school’:). This song is yet to appear on this blog and it will be coming here soon 🙂

Today another song from this movie is being presented with this post.

“Darling Darling-1977” was directed by Gogi Anand for ‘Fortune Films International, Bombay’. It was produced by Kishore Doshi. ‘Darling Darling-1977’ is mentioned as a movie from ‘genre’ of ‘social movies’ in HFGK Vol-V (1971-1980). It had Dev Anand, Zeenat Aman, Mahmood, Jeevan, Nadira, Dheeraj Kumar, Poonam, Sajjan, Durga Khote, Helen, Ranjan, Raj Verma, Shivraj, Shefali, V. Gopal, Hercules, Baby Goody, Baby Padmini, Janki Das, Zankhana, Pushpanjali, Birbal, Roopa, Dev Raj, Julian, Hira, Geeta Khanna, Monto, Pushpa Nepali, Bhushan Sawhny, Dhanna, Shahid Bijnori, Shaikh, and others.

Story and screenplay of this movie was written by Gulshan Nanda. Dialogues of this movie were written by Bhushan Banmali. Editing of this film was done by Ashok Ghai.

This movie has six songs that were written by Anand Bakshi and composed by R.D. Burman. Kishore Kumar, Asha Bhonsle and R.D. Burman had given their voices to the songs in this movie.

Following is the brief about the story of this movie taken from filmiclub.com

‘Darling Darling’ is a 1977 Indian Bollywood social film released in 1977. The film is directed by Gogi Anand.
It is the story of a young man and woman brought together by circumstances. In a bid to solve their own individual problems, they strike a bargain with each other, pass through various vicissitudes and ultimately fall in love and are united. – “Darling Darling” is the story of two lovers who are caught in the cob-web of crime and conspiracy. The story takes unexpected turns almost in every reel and keeps the audience engrossed throughout the film. . Kumar (Dev Anand) is the grandson of a wealthy widow (Durga Khote). Having been jilted in love by Seema (Poonam), Kumar resolves never to marry. His grandmother wants a good wife in the house and threatens Kumar to disinherit him of the money if he did not marry soon. . On the other hand, there is Madhu (Zeenat Aman) who has been brought up by her step-mother (Nadira) and tortured by step-sister Seema. To inherit the entire property of Madhu, left to her by her father Rai Bahadur Dinanath (Sajjan) Jeevan, Nadira, Seema and Jeevan’s son, Dheeraj conspire to marry Madhu with Dheeraj and kill her after marriage. . Madhu is saved from the pursuing thugs of Mrs. Rai Bahadur by Kumar, who on the adivce of his friend Debu (Mahmood) brings her to his house with Debu posing as her father and makes her acceptable to his grandmother. Kumar thinks that he will get the entire property by having a “hired wife while the grandmother reveals to Madhu that they are actually very poor and the entire property has been mortgaged. . . The story takes a sudden twist when, in the absence of his grandmother, Kumar is unable to pay off the creditors. Madhu then offers to take him out of trouble if he became her “hired husband” and brought the conspirators to book. Where this all leads to is to be watched in the movie. 🙂

This movie ‘Darling Darling-1977’ which has good music by Pancham featured in the top twenty ‘Bollywood movies’ of ‘1977’ (as per IMDB). None of the songs from this movie appeared in the annual list of ‘Binaca Geetmala’ of ‘1977’. Though this annual Binaca Geetmala list of 1977 had as many as eleven other songs composed by Pancham there.

‘Radio listeners’ know that the song ‘aise naa mujhe tum dekho’ is the top favorite of almost all FM channels on radio nowadays and it gets frequently played on radio in between. Four songs out of the six songs from this movie have already been posted on the blog.

Today I am presenting the fifth song from this movie which is a nice entertaining hummable song with the special ‘Pancham’ beats. There is an interesting story behind the ‘fast paced’ clap-sound in this song which are part of the interlude of this song. It is mentioned in the biography of Pancham – ‘R.D. Burman – The Man, The Music’ – by Anirudha Bhattacharjee & Balaji Vittal that Pancham asked his musician Amrutrao Katkar to take off his shirt and sit in the recording room where Pancham played these ‘series of beats’ by his hands like a ‘tabla’ on the shirtless back of Amrutrao (listen in video of this song from 05:27 to 05:40 & 03:00 to 03:15 in the audio of this song). Now we all know that there are many such stories when Pancham created music by using unconventional ways and achieve new heights in his musical journey making him a ‘genius’ and ‘unique’ the history of music of Hindi Cinema. The story of Pancham songs will keep continuing further.

Today’s song happens when Kumar (Dev Anand) takes Madhu (Zeenat Aman) to a club party where the club dancer (Helen) teases Kumar after Kumar tells her that he has been engaged to Madhu and is going to marry her. While the club dancer sings the song to Kumar, Madhu being a simple girl watches her but provoked by the club dancer’s singing and dancing she joins the performance with her ultra-modern get-up.

We have Dev Anand lip-syncing for Kishore Kumar and Helen and Zeenat Aman lip-syncing for Asha Bhonsle in this foot tapping song. There are many other artists present in the picturization of this song. Lyrics for the song are by Anand Bakshi and music is composed by R.D. Burman.

Enjoy the song!!!
Audio

Video (video, with dialogues)

Song-Bhool gaye tum ham ko(Darling Darling)(1977) Singers – Asha Bhonsle, Kishore Kumar,LYRICS – Anand Bakshi, MUSIC – R.D. Burman
chorus

Lyrics

Ha ha ha ha aa ha
hey ae
bhool gaye tum ham ko
yaad nahin kya tum ko
arey re re re re re
kal miley thhe
ham tum

aaj phir milnaa thhaa aa
arey ek mulaaqaat
ek raat ki baat
raat gayee
baat gayee

haa haa
ha haa haa
ha haa haa
bhool gaye tum ham ko
yaad nahin kya tum ko
kal miley thhe ham tum
aaj phir milnaa thhaa aa aa
hey ae ek mulaaqaat
ek raat ki baat
raat gayee
baat gayee

ho ho
o ho ho
o ho ho
bhool gaye tum ham ko
yaad nahin kya tum ko
ho o kal miley thhe
ham tum
aaj phir milnaa thhaa aa aa
haan haan ek mulaaqaat
ek raat ki baat
raat gayee
baat gayee samjhe

aa ssssssssss
samjhe ae
aa aa aa

wow wow
wow wow
wow wow

roz shuroo karte hain
ham ek kahaani nayee ee

paa paa paa paa
maaf karnaa aa
maaf karnaa aa
dost naye pyaar nayaa
aur zindagaani nayee ee

paa paa paa paa
maaf karnaa aa aa
beqadar tum nikley
bewafaa harjaayee ee
kal miley thhe
ham tum
aaj phir milnaa thhaa aa aa
arey sab jazbaat
ek raat ki baat
raat gayee
baat gayee
samjhe

aa aa aa

paa paa pa ra paa
paa pa ra paa
paa paa paa
paa paa paa

paa paa paa
paa paa paa
paa aa
paa paa paa
paa aa
paa paa paa

aap ka hamaaraa bhi
pyaar puraanaa huaa
ru ru ru ru oo
maaf karnaa aa
maaf karnaa aa
ek hi soorat dekhte
zamaanaa huaa
ru ru ru ru oo
maaf karnaa aa
bewafaai tum se hi
seekh li
kal miley thhe
ham tum
aaj phir milnaa thhaa aa aa
pyaar ki baaraat
ik raat ki baat
raat gayee
baat gayee
haa haa
ha haa haa
ha haa haa
bhool gaye tum ham ko
yaad nahin kya tum ko
ho o kal miley thhe ham tum
aaj phir milnaa thhaa aa aa aa ssssssssss


This article is written by Arunkumar Deshmukh, 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 :

5771 Post No. : 18296

Today’s song is from the social film Paayal-1957.

The film was made by Madras films, Madras. The producer and the director was the owner of this banner – T. Joseph. Music was by Hemant Kumar and the cast of the film was Padmini, Sunil Dutt, Ragini, David, Baby Naaz, Bipin Gupta, Achala Sachdev, Minoo Mumtaz, Shivraj, Agha etc. Raj mehra was the Guest artiste.

The combination of the actors in the cast easily indicates that it was a love cum family drama. The lead pair of Padmini and Sunil Dutt were comparatively new entrants to the Hindi films. While it was only the 6th film of Sunil Dutt, it was the 7th film of Padmini in Hindi language. ( she had, by now, worked as a dancer/actress in 90 films in southern languages). Compared to these two main artistes, Baby Naaz had acted in 27 films by now. Even in this film, her role was very important.

When we talk of Child Artistes, stories of the Irani sisters – Daisy, Honey and Menaka, and Baby Naaz, touch our hearts and open up a chapter of child abuse for money by parents, especially the mothers. Working in films from childhood deprives them from good education and normal childhood as they played the role of ” hens that laid Golden eggs) for their parents. The story of Baby Naaz is heart-shaking too !

Naaz (20 August 1944 – 19 October 1995) was an actress, known for Boot Polish (1954), Kaagaz Ke Phool (1959) and Bidesiya (1963). We know her better by her stage name Baby Naaz.

So impressive and spontaneous was Baby Naaz’s performance in Raj Kapoor’s “Boot Polish” that, even after she grew up, got married and became a mother, she was still known as Baby Naaz. Her role in Boot Polish, released in the early 1950s, won several international awards and brought fresh acclaim to R. K. banner. Even in 1995, she won a special jury mention at the Cannes Film Festival for her role in the film. Naaz had a good thing in Boot Polish, a credible storyline, excellent technical effects, wonderful performances by veteran David, Master Rattan, catchy music & John chacha, tum kitne ache, Nanhe munhe bacche teri mutti mein kya…. & Lapak jhapak.. and then, ofcourse, her own performance.

Boot Polish was Naaz’s 10th or 12th film. No one knows how she got the role. According to her actor-husband, Subbi Raj, Nargis once spotted Naaz doing a show & was highly impressed. She recommended the child to Raj Kapoor, who was equally impressed and cast her in Boot Polish. The rest is history.

Baby Naaz was born on 20 August 1944 in Bombay, Bombay Presidency, India as Salma Baig. Naaz was born into a family obsessed with showbiz. Her father tried his luck in the film industry, but was not much of a success. Her mother pushed her into films and, very soon, Naaz was the family’s sole earning member.

The young girl debuted on stage when she was four, and in films when she was eight. Her father, Mirza Dawood Baig, was an unsuccessful story writer and somehow over time, Naaz became the only earning member of the family. At the age of six or eight, she was taken to the studios daily where her mother coaxed producers and directors to give her a chance and however she got the role, it was with Boot Polish that she became a celebrity, even beyond Indian borders, and the first choice as child artiste.

“I wanted to study, but unfortunately I had no time to breathe and had to forget about school. I left studies, for my mother didn’t stop accepting films on my behalf and my father stopped working. My mother was too used to making money out of me and didn’t want to forgo this easy life. She wanted me to work for her comforts and I was both too young and in awe of my parents to refuse.” She had said in an interview.

With a troubled family life, Kumari Naaz could never graduate to the big league. There was no one to manage her career and her mother accepted any and every role that came by. Raj Kapoor wanted to send Kumari Naaz to a Swiss finishing school for five years, intending to launch her under his banner after she returned. But Kumari Naaz recalled that her mother had wanted to go along with her to Switzerland too, and turned down the offer when she realised that would not be possible.

Naaz became the highest paid child artiste and worked in around 120 films. But her reality was that she was being neglected by her parents who were constantly fighting with each other. Sometimes, after coming home from the day’s shoot, she would fall asleep without having dinner. By the time she turned 12, her parents separated and Kumari Naaz had to stay with her mother, who remarried when Naaz was 16 years old.

Like Tabassum, Daisy Irani & other famous child artistes, Naaz did not make it as a heroine. It could be because there was no one to advise her on how to pick roles. And her mother was excessively eager to make Naaz a heroine. She dressed her daughter in loose, grown-up garments, cake her face with heavy makeup and tried to pass her off as a woman. The ploy worked with some producers, but Naaz was the ultimate sufferer.

But that Naaz was excellent as a child artiste there is no doubt. She worked with leading directors in outstanding films including Hrishikesh Mukherjee’s Musafir, Bimal Roy’s Devdas, K. A. Abbas’ Munna and the Nargis-Balraj Sahni starrer, Lajwanti.

(Baby) Naaz played the heroine in about 30 eminently forgettable films. But her roles, in Nadir Shah with Feroz Khan, Lambe Haath with Mehmood, Rocket Girl with Sudesh Kumar & Gangu with Chandrashekhar did not challenge her undoubted talent, only her drawing power. She also starred in Mera Ghar Mere Bachche and Dekha Pyar Tumhara opposite Raj Kapoor’s cousin, up-and-coming hero Subbi Raj Kumar. They fell in love and, after a five-year courtship, were married in 1965, despite some initial opposition from their families and the industry.

Naaz continued to work after marriage but family came first. She was never pushy and, in an industry known for its cut-throat competition, never sought favours from producers and directors. Soon, she matured into a character actress and bagged good roles in films like Bahu Begum, Kati Patang and Sachcha Joota (where she played Rajesh Khanna’s crippled sister).

Occasionally, Naaz did feel her talent had been ill-used by the industry. As a result, she became more family-oriented. Naaz had an exquisite voice & spoke beautifully. Not many are aware that she transitioned into a second career as a dubbing artiste. Before Sridevi started using her own voice, Kumari Naaz dubbed for her in the early Hindi hits of the 1980s. It was a far cry from the status she enjoyed during her early years in Hindi cinema.

And then, one day, Naaz complained of stomach pain and slight difficulty in swallowing. Sonography revealed tumours, which had spread all over the liver. Surgery and chemotherapy were ruled out and she tried Japanese therapy to reduce the pain. On October 16, 1995, Baby Naaz began slipping. Subbi Raj, who was shooting in Jammu, rushed back to Bombay. But she quietly drifted away in her sleep three days later, on October 19.

Film Paayal-1957 was a remake of the Tamil film Mallika-1957, made by the same banner, producer and director-T. Joseph. The wave of remakes of south films into Hindi started mainly from S.S.Vasan’s “Chandralekha”-1948. The extraordinary success of his film showed the road to “Alibaba’s Cave” to other filmmakers and it started the Roller Coaster of remakes of Hit and Successful films into Hindi. Vasan himself brought out Mangala, Nishan, Mr. Sampat, Bahut din hue, Sansar, Raj Tilak, Insaniyat, Paigham, Gharana, Aurat, Teen bahuiraniyan and Shatranj. It is not that the remakes were only from southern languages. Bangla, Marathi and Gujarati films too were remade or dubbed. However, the south films in this category outnumbered all other languages. Just see these lists (these lists are not exhaustive, but only indicative)….

Remakes in the 50’s…..Bahar, Sharda, Miss Mary, Chhoti behan, Insaniyat, Azaad, Paayal, Amardeep etc.

In 1960s we had major movies as remakes like Barkha, Hum Hindustani, Prem Patra, Dil Ek Mandir, Dil Tera Diwana, Doli, Gharana, Sahib Bibi Aur Ghulam, Mera Saaya, Nazrana, Farz, Milan, Mamta, Majhli Didi, Mehrbaan, Aadmi, Teen Bahuraniyan, Khandan, Do Dooni Chaar, Padosan, Pyar Kiye Ja, Saathi, Sadhu Aur Shaitan, Ram Aur Shyam, Main Sunder Hoon and more.

1970s witnessed remakes as Gopi, Pyar Ki Kahani, Do Phool, Lakhon Mein Ek, Safar, Jeevan Mrityu, Khamoshi, Dharti, Mere Apne, Naya Zamana, Aaina, Sanjog, Prem Nagar, Apna Desh, Humjoli, Chhoti Bahu, Lal Pathhar, Bawarchi, Naya Din Nayi Raat, Piya Ka Ghar, Amar Prem, Balika Badhu, Charitraheen, Chupke Chupke, Kora Kagaz, Khilona, Julie, Khushboo, Lok Parlok, Sargam, Bombay To Goa, Aap Ki Kasam and more.

The trend reached its peak in 1980s when many already established directors in south joined in creating Hindi remakes of their hit regional-language movies. As a result, there was a remake releasing regularly featuring stars of Hindi cinema, such as Jeetendra, Dharmendra, Rajesh Khanna and Amitabh Bachchan, along with stars from the south as Kamal Hasan, Rajinikanth, Sridevi, Jaya Prada and more. The key remakes releasing in this decade were Sau Din Saas Ke, Ek Duje Ke Liye, Sadma, Zara Si Zindagi, Bemisal, Red Rose, Hum Paanch, Angoor, Meri Aawaz Suno, Woh Saat Din, Anubhav, Aaj Ka Daur, Ghazab, Kaamchor, Tohfa, Eeshwar, Hatya, New Delhi, Pataal Bhairavi, Saheb, Mahaan, Inquilaab, Aaj Ka MLA Ram Avtar, Aakhiri Raasta, Andha Kanoon, Dayavan, Satyamev Jayate and many more. On the other end, remakes of hit Hindi films also started being made in the South featuring names like Kamal Hassan and Rajinikanth.

In 1990s the pattern continued with young known stars of Hindi films as well as from South like Chiranjeevi, Nagarjuna, Venkatesh and Revathi featuring in remakes such as Pratibandh, Aaj Ka Goondaraj, Love, Shiva, Taqdeerwala, Pratikaar, Abhimanyu, Pratighaat, 100 Days, Chachi 420, Gopi Kishan, Viraasat, Muskurahat, Judaai, Police Public, Beta, Biwi No. 1, Bol Radha Bol, Sailaab, Sajan Chale Sasural, Judwaa, Coolie No.1, Raja Babu, Andaz, Aankhen, Gardish, Sooryavansham and more.

In the new millennium, Rehna Hai Tere Dil Mein, Tere Naam, Nayak, Hera Pheri, Kyon Ki…., kept the tradition alive till social networks came in and films like Ghajini and Wanted became the center of attraction as remakes of their South originals. Unfortunately since then, it has become one of the most (blindly) followed pattern by Hindi filmmakers to go for a remake that gives them ready material to work upon and adapt as per the tastes of Hindi film viewers taking much less time in comparison to an original project.” (based on an extract from an article in Free Press Journal dt.7-12-2020,by Bobby Singh ji ).

Artists from South tried their hand with Hindi films, either by Remade or dubbed films. Thus the greatest south actors like Sivaji Ganeshan, M G Ramchandran, N T Rama Rao, A.Nageshwar Rao, Jailalita, Janaki, Susheela, Prem Nazir of the older gen and Rajanikanth, Kamal Hasan and Chiranjeevi from the next Gen were seen in Hindi films. In the music department also, many composers like K.Narayan rao, C.Balaji, S.Rajeshwar rao, C R Subramanyam, E Shankar, R Sudershanam, Ramesh Naidu, Adi Narayanrao, Vishwanath-Rammurthy, Lingappa etc worked in Hindi films.( Only Dr.Rajkumar, the Kannada Superstar never worked in Hindi films. In fact, except for just 1 Telugu film, Shri Kalhasti Mahatmyam, Dr.Rajkumar never worked in any other language film.)

Here is the story of today’s film Paayal-1957……..

Two sisters, Kamla and Padma, lose their parents in an air crash. The eldest daughter, Kamla, takes up the responsibility of upbringing her younger sister, who is deprived of her eyesight. In order to earn a livelihood, Kamla is forced to become a stage dancer. One day while returning home after work, she comes across a young man who lies unconscious on the road. She takes him to her home, upon which he reveals his name as Mohan (Sunil Dutt), and as the son of a rich landlord (Bipin Gupta). Mohan runs a hotel business in the city much against the will of his father.

A dejected Mohan finds solace in Kamla, and they fall in love with each other. But when he gets to know that Kamla is a stage dancer, he calls her as a prostitute. Earlier Padma had told him that Kamla was a teacher in a night school. Later, when he gets to know that Kamla has been doing this only to save money for Padma’s eye operation, he reconciles with her. Mohan’s father meets Kamla and extorts a promise from her that she will give up all claims on Mohan. Later, the landlord gets murdered by Shankar, his manager. Mohan is charged with the murder. In order to rescue Mohan, Kamla takes up the blame of the murder. Padma, a prime witness of the murder, undergoes an operation and regains her eye sight. She reveals the truth that Shankar was the real murderer. Shankar kills himself with a gun. Mohan’s mother (Achla Sachdev) and sister (Ragini) become happy and accept Kamla.

With today’s song, the film is YIPPEED, with all its songs covered here. This is my 25th post on YIPPEE films, in last one month. Enjoy the song which is picturised on Naaz and Padmini….


Song- Maa O Devi maa sachchi raah dikhaao (Paayal)(1957) Singer- Lata Mangeshkar, Lyricist- Rajendra krishna, MD- Hemant Kumar

Lyrics(Provided by Prakashchandra)

Maa
o devi maa
sachchi raah dikhaao o o
maa
o devi maa
sachchi raah dikhaao
ghor andheri raat hai meri
ujiyaraa barsaao o o
maa
o devi maa
sachchi raah dikhaao o o o maa

band meri aankhon ke dwaarey
khula huaa hai dwaar teraa
band meri aankhon ke dwaarey
khula huaa hai dwaar teraa
bolo maa
kab muskaayega
dard bharaa sansaar meraa
kab tak hogaa
door andhera
itnaa to batlaao o o
maa
o devi maa
sachchi raah dikhaao o o maa…aaa

iss dharti par mera jeevan bojh naheen to kya hai
iss dharti par mera jeevan bojh naheen to kya hai ae
kya meri
qismat mein Maataa
duniya bhar ka dard likha hai
main bhi to santaan hoon teri
mujhko bhi apnaao o o
maa
o devi maa
sachchi raah dikhaao
ghor andheri raat hai meri
ujiyaraa barsaao o o o
maa
o devi maa
sachchi raah dikhaao o o o maa..aaa


This article is written by Arunkumar Deshmukh, 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 :

5770 Post No. : 18295

Today’s song is a funny video song from the film Police-1958.

The film was produced by Deep and Pradeep productions, Bombay and directed by Kalidas – brother of the Hero of today’s film, pradeep kumar. The Music Director was Hemant Kumar and songs were written by Majrooh Sultanpuri (6 songs) and Neelkanth Tiwari (just one song) who wrote today’s song. The cast of this film was Pradeep Kumar, Madhubala, Raj Mehra, Nadira, Dhumaal, Deep khosla (one of the producers), Omprakash, Tun Tun and others.

Film industry is a field where a strong Luck is required to succeed. Initially it was felt that a handsome man or a beautiful girl can easily get into films, be famous, rich and successful. But in many cases it was found that only a facial beauty was not enough to succeed here, nor was only the histrionic talent. And then, even if one had both, still there was no guarantee of success in films. Then what was the secret ? No secret. Simplu good luck was needed to succeed here. Dev Anand was very handsome and charming, but even his biggest fan would not have called him an expert in acting. Still, he succeeded. Om Puri had extraordinary talent but he was not good looking. He never got glamorous roles.

Another obstacle is Branding an actor (both male and female artiste). Due to the consistency of doing a fixed type of role, the actor got caged in only certain types of roles. Could you ever imagine Keshto Mukherjee as a generous Millionaire in any film ? He was always branded as a drunkard. Remember what happened when Ashok Kumar acted in films like Humayun-1945 or uttara-Abhimanyu-1946. The audience laughed at him when he was shown in war gear on the screen, with a sword held high in the air and then other Gods ran away seeing him in a Mythological film !

In Hindi films, there have been three actors who were very handsome and very lucky but zero in acting – Karan Dewan, Pradeep Kumar and Bharat Bhushan. They all appeared in leading roles opposite all leading actresses of their times. They had the best films, best songs and best roles. Karan Dewan had about 25 Silver Jubilees to his credit and was considered a lucky star. Bharat Bhushan had the most musical films to his credit like ‘Baiju Bawra’ (1952), ‘Shabaab’ (1954) and ‘Mirza Ghalib’ (1954) etc. Pradeep Kumar had ‘Anarkali’ (1953) and ‘Taj Mahal’ (1963).

All three had their brothers producing films for them. Gemini Dewan made films for Karan Dewan, R Chandra made films for Bharat Bhushan and Kalidas for Pradeep Kumar. Unfortunately, in later years, all three lost everything and died in poverty and neglectful anonymity. Karan Dewan was a manager with BR Chopra’s production company. When he died no one came for his funeral except for Chandrashekhar and Manmohan Krishan from the Cine Artists Association. Bharat Bhushan worked as a watchman in a film studio, in his last days. Even he died unsung and only the men from the Association were present at the cremation.

Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful.

Hero Pradeep Kumar was a fortunate actor. He was the first choice to play prince/king in numerous Hindi films. His talwar-cut moustache, broad shoulders, receding-into-his-temples coiffure, peaches-and-honey complexion, and regal bearing made him fit the role of an amorous aristocrat like a made-to-order crown.

Pradeep was the kind who could smoke a hookah with the same élan as while puffing State Express cigarettes when he played the modern lover.

Pradeep Kumar aka Sital Batabyal was born on 4 January 1925. Pradeep bided his time till he was 17 years old before he announced his decision to pursue an acting career. Despite his father’s disapproval, Pradeep began acting on stage. During one of his performances, renowned filmmaker Debaki Bose spotted him and cast him in a Bengali film, Alaknanda (1947).

Encouraged, Pradeep moved to Mumbai and found a job in the bustling Filmistan Studio. He brushed up on his Hindi and learnt Urdu in a bid to make an impression in his first Hindi film, Anand Math (1952). The film, set in the 18th century, had strong nationalistic overtones and co-starred Prithviraj Kapoor and Geeta Bali. The Vande Mataram number from this film became a cult success.

In the next two years, Pradeep’s career escalated to the top with two hugely successful musical hits — the Bina Rai-starrer Anarkali (1953) and the Vyjayanthimala-starrer Nagin (1954). While Anarkali revolved around the eternally popular legend of Mughal prince Salim’s passionate affair with a commoner Anarkali, Nagin was a reed-slim romance between two lovers belonging to rival snake-catching tribes.

The songs of both films (Nagin had as many as 12) had audiences transfixed. Pradeep’s lessons in fencing for Anarkali and his gamble of letting a python play on his wrist for Nagin paid off.

Pradeep’s regal demeanour won him legions of fans. He went on a signing spree (in 1956, he had 10 releases) and inked deals with V Shantaram (Subah Ka Tara) and Raj Kapoor (Jagte Raho).

All the top-notch heroines of the 1950s — Nimmi (Jayshree), Nargis (Adalat), Nutan (Heer), Meena Kumari (Bandhan) — were paired with Pradeep.

After Rajhath (1956), the actor tried desperately to make a hit pair with the beauteous Madhubala. They did as many as five other films together — Yahudi Ki Ladki (1957), Gateway Of India (1957), Police (1958), Mahlon Ke Khwaab (1960) and Passport (1961), but Pradeep’s efforts were in vain.

His films with lucky mascot Vyjayanthimala (including his home production Ek Jhalak) did not enjoy even a fraction of the success of Nagin. But his pairing with Bina Rai seemed to have stilled the wings of time. This teaming salvaged Pradeep’s career from the late-1950s dip, first with Ghunghat (1960) and more decisively with Taj Mahal (1963). Even a decade after Anarkali, Pradeep could evoke a regal aura while playing love-struck Mughal royalty. Roshan’s dulcet duet, Paon chhu lene do toh and Jo vaada kiya from Taj Mahal, like an unforgettable promise, continue to haunt radio listeners even today.

Pradeep’s career got a further fillip with Rajshri’s social, Aarti. Meena Kumari and Pradeep played lovers who bond together because of their common desire to serve the poor. But their love story comes under a cloud when a rich, unscrupulous doctor (played by the late Ashok Kumar) is irretrievably drawn towards Meena Kumari. Aarti’s success ensured that Pradeep and Meena worked unceasingly in a series of films. Pradeep once said, “Meena and I made a fine pair and worked very well together, but her husband did not like our friendship.”

He worked with Meena Kumari in seven films; Adil-E-Jahangir, Bandhan (1956 film), Chitralekha, Bahu Begum, Bheegi Raat, Aarti and Noorjehan; and with Mala Sinha in eight films; Naya Zamana, Hamlet, Baadshah, Detective (1958 movie), Fashion (1959 film), Ek Shola, Duniya Na Maane, and Mitti Mein Sona.

He did not get to act in lead roles with the newer heroines of the 1960s such as Sadhana, Saira Banu, Babita or Sharmila Tagore, though he did work with Asha Parekh in Ghoonghat and Meri Surat Teri Aankhen and with Waheeda Rehman in Raakhi (1963). In 1969, he moved to character roles with Sambandh and Mehboob Ki Mehndi, but did not have many visible roles until Jaanwar and Razia Sultan in 1983.

The first Meena-Pradeep film to release on the heels of Aarti was Kidar Sharma’s Chitralekha (1964). Pradeep played the hedonistic Samanta Beejgupta in this period film set in the Gupta period. Despite lavish production values, the stolid support of veteran Ashok Kumar and exquisite penmanship by Sharma and Sahir, the film collapsed at the box office. Kalidas’s love triangle Bheegi Raat, which featured the tried triangle of Ashok Kumar, Meena Kumari and Pradeep once again, was an average success. But M Sadiq’s Muslim socials Bahu Begum (Ashok Kumar again) and Noorjehan, both released in the same year, spelt the death knell for the team.

Pradeep, who had not signed a single film with the new breed of successful heroines of the 1960s like Sadhana, Saira Banu and Sharmila Tagore, suddenly found himself without a rudder.

In 1969, Pradeep saw a glimpse of success once again with Sambandh, albeit in a character role. Ironically, Ajoy Biswas, the director of Sambandh, who had provided him with a short burst of fame, caused him a lot of heartburn too. Biswas had a short-lived and unhappy marriage with Pradeep Kumar’s actress daughter, Bina.

Pradeep’s princely persona and impeccable Urdu was relegated to the pages of history for the next decade and more. But the onscreen prince was destined to play an emperor in Kamal Amrohi’s Razia Sultan (1983). Pradeep Kumar acted in 144 Hindi films. He directed one film-Do dilon ki dastan-1966. He won the Kalakar Award-Lifetime Achievement Award (1999).

The semi-retired Pradeep played the emperor as only he could — forcefully. After all, he had played blue-blooded characters all his life. He lived a life removed from the spotlight for the next 18 years. His end was pathetic. Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging him, unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days,on 28-10-2001, at the age of 76 years.. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful, and even close relatives desert you in bad times.

He is survived by his daughters Reena, Meena and Beena Banerjee who plays character roles in movies and TV serials including Uttaran, son Debiprasad and granddaughters Tanisha, Suparna, Riya and Hrishita. Beena Banerjee’s son Siddharth Banerjee worked as assistant director in Sajid Khan’s Housefull 2 (2012) and Himmatwala (2013). (Ack: adapted from an article ” Ever the Royal” by Dinesh Raheja in Rediff.com dt 2-6-2003 and my notes, HFGK and muVyz. Thanks to all).

The story of this film…..

A big police officer is murdered during an investigation. The department suspects famous gangster Rangooni to be behind it. However, news from Singapore says Rangooni had died in an accident.

The police are shocked to know that Rangooni was coming to Bombay. They stop him at the airport and warn not to indulge in any crime. However, during one function in a big hotel, where Rangooni as well as another gangster Ramesh and his gang is present, a costly Necklace was stolen, when the lights went off for a few minutes. Police suspect Rangooni and then learn that he is actually a secret agent Amar – a look alike of Rangooni – who is trying to capture Ramesh.

Meanwhile Amar meets Manju, love starts and the mandatory songs are sung. Ramesh tries to kidnap Manju to extract a heavy ransom from her rich father. Amar enters the boat in disguise and tries to free Manju. There is a fight between Ramesh and Amar and Ramesh is killed. Manju is free. They get united. Mission accomplished and the happy audience goes home with relief !

Today’s song is the last and final song of this film, making it a YIPPEE film. Enjoy the song video….


Song- Dil ko lagela muhabbat ka chaska(Police)(1958) Singer- Mohd. Rafi, Lyricist-Neelkanth Tiwari, MD- Hemant Kumar
unknown female voice

Lyrics

haay haay haay haay
haay haay haay haay haay haay
dil ko lagela mohabbat ka chaska
dil ko lagela mohabbat ka chaska
teri nazar ne
ho meri nazar ko
lagaaya hota mashka re
maska ho maska
haay
haay haay
dil ko lagela mohabbat ka chaska
dil ko lagela mohabbat ka chaska

meri aankhi se apna aankhi
kaai ko ladaaya
kaai ko ladaaya bhai
apna kya nistake
sachchi ham bolta
ham bhi ladaaya
ham bhai ladaaya
kaai ko re
hamko maza aaya
ho maza ho maza aaya
ganne ke ras ka ras ka ras ka
haay
haay haay
dil ko lagela mohabbat ka chaska
dil ko lagela mohabbat ka chaska bhai

kabhi ham kholi mein
sota hai raat ku
per dil mera yaad
karta teri is baat ku
hum jabi sunta hai
ik achchaa ghazal
dil ka darad hota double double
ho dil ka darad hota double double
dil ka darad hota double double
hota double double
ek ek laakh lagta
kya
are waah
ek ek laakh lagta
laakhon baras ka
laakhon baras ka
haay
haay haay
dil ko lagela mohabbat ka chaska
dil ko lagela mohabbat ka chaska

sapne mein nazar aata unko tera aankda
phephde mein phootataa hai
kya
phephde mein phootataa hai
haatim phataakda (??)

haathhi(??) hota gili gili
phokat mein khaalee peelee
phokat mein khaalee peelee
haathhi hota gili gili
phokat mein khaalee peelee
khaalee peelee gili gili
gili gili gili gili
khaalee peelee
gili gili
gili gili gili gili
khaalee peelee
gili gili
khaali pili gili gili
gili gili
gili gili gili gili
gili gili gili gili

aaja zaalim kaai ku
ho ho ho
aaja zaalim kaai ko
bataata hai thhaska
thhaska
thhaska
haay
haay haay
dil ko lagela mohabbat ka chaska
dil ko lagela mohabbat ka chaska

tum nahin aayenga
hum maarenga bomb
bahut bura hota hai
aashiq ka kaum
ek baat bolta kheesa garam hai
hamko kya samjha
hum bhi nahin kam hai
kya samjha
are aayenga to bhaada denga
taxi ka bus ka ho
ho bus ka
ho bus ka
haay
haay haay
dil ko lagela mohabbat ka chaska
dil ko lagela mohabbat ka chaska
ho dil ko lagela mohabbat ka chaska
chaska bhai
yeah haah

What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over FIFTEEN years. This blog has over 18300 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2024) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

18304

Number of movies covered in the blog

Movies with all their songs covered =1411
Total Number of movies covered=4951

Total visits so far

  • 16,469,198 hits

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Blog Start date: 19 july 2008

Active for more than 5000 days.

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