Dubfire will be proudly supported by UnMute artists, Arjun Vagale & Kohra (In Bangalore) and M.Mat (In Mumbai) among others.

UnMute and the blueFROG partnered to bring down house and techno legend and all-round nice guy, CHRISTIAN SMITH for his ‘Omakase’ Album India Tour. Arjun Vagale had a little chat with the man himself about his legendary record label, TRONIC among other things.

FYI, the first 5 people to share this post on facebook will win a signed Christian Smith India tour poster.

You can get yourself a copy of the fantastic album by clicking on the link below:

A brief video of CS @ blueFROG Delhi  

We are happy to announce that KOHRA aka Madhav Shorey is the only electronic independent artist nominated for his EP, Dust Particle (OUT ON Qilla Records) in the category ’Best Indie Artist’ 2013,  where he competes with other major commercial acts.

TO Vote for him , simply visit 
http://mtv.in.com/vmai/nominee.php?catid=8
or TWEET #ivote4kohra as many times as possible!

We wish him all the best!

UnMute CREW!

The name is synonymous with Techno and arguably, dance music.

We at UnMute have always followed Hawtin and some of our artists (Arjun Vagale, Anil Chawla) have been supported by him too.

Now it’s time to experience the Minus head-honcho live on our own shores and Richie will be supported by UnMute artists on this tour.

Check out the flyer for details.

WATCH the wicked 60 minute Boiler Room Set below!

WATCH Video of Richie Hawtin playing Arjun Vagale’s She Said

WATCH Video of Richie Hawtin playing Anil Chawla’s Silver Digger

For the uninitiated, if you don’t know who Richie Hawtin is .. watch THIS.

BIG UP to submerge crew and Nikhil Chinapa for making this happen.

All evenings are free entry, the bar is affordable and the venue (Zorba, MG Road, New Delhi) is great!

Feb 07 – Unbox Festival Opening, 7-10.30pm
The festival kicks off with Sounds of Bengal – a collaborative project between the inventor of electro-acoustic sarod, Soumik Datta (UK) and Arif Khan (Kolkata).

Followed by Unbox’s signature experimental session – New Culture Mash Up featuring festival curators, BLOT! + Nucleya stirring things up in an audiovisual mash-up supported by Pinksoda aka Smriti Chowdhary, who’s the mad brain behind some of the videos and Busride or the artist formerly known as Ayaz Basrai, who will be doing live sketching.

Feb 08 – Unbox Day 2, 7-11pm

Another innovative evening with a host of quirky performers from around the world and closer home:
7-8pm >> Bhajans, Blues and Bob Dylan (IND)
8-9pm >> Saskia Rao and Gwyneth Wentink (HOL)
9-10pm >> Peter Cat Recording Co (IND)
10-11pm >> Child (AUS)

Feb 09 – Unbox Day 3 – Puma Loves Vinyl, 8-11pm

Puma Loves Vinyl is a concept that presents a return to an older state of sonic happiness with electronica stalwarts from the Indian scene joining forces with Ron Schneider (Germany) – a hardware genius with a penchant for analog synthesizers.

Music by
Kohra – rated no. 3 DJ in India last year, he returns to his vinyl roots with a medley befitting UnBox. Expect good old Shpongle with spattering breaks and downtempo grooves.

+

Vinayaka – the understated yet influential producer from the south showcases a progressive and sometimes unpredictable process of field recordings and sampling.

Feb 10 – Unbox Closing – SoundCamp, 9-11pm

UnBox ends with a double header. While Indian Ocean will play for a fundraiser from 7-9pm with a donation based ticket at the gate, SoundCamp – one of the labs at UnBox will present an ensemble of artists from 9-11pm.

SoundCamp is a Border Movement project that has its origins in a 3-week residency in Sri Lanka in 2012. At UnBox it invites Indian and South Asian musicians to create and experience a temporary, collaborative music creation space. Participants:

Asvajit (SL)

One Of Sri Lanka’s leading DJs and composers, Asvajit’s sets are intense and fast paced, blending funky grooves with techno.

Gaurav Malaker (IND)

Gaurav Malaker is a musician, DJ and producer and one half of BLOT!’s live audiovisual act.

Raumagent Alpha (DE)

Ron Schneider is a self-taught artist based in Berlin exploring the correlation between sound and technology.

Sandunes (IND)

Bouncing between 2-step, future garage, post dub step and experimental electronica, Sandunes live set includes a range of controllers and instruments.

TL Mazumdar (IND)

A singer-songwriter, keyboardist, producer and composer who has toured several international jazz festivals in Asia and Europe.

As well as Vinayak, Nucleya and Suryakant Sawhney (IND)

+ the Unbox Instrumentalists

- Gwyneth (Harp) – Netherlands

- Saksia Rao (Indian Cello) -Netherlands

- Soumik Dutta (Electric Sarod) – UK / India

- Aditya Kumar (Tabla) – India

If you need any more information hit up 
http://www.unboxfestival.com/

See you there!

UnMute Crew!

We caught up with the man himself along with Pig & Dan (Cocoon / Soma) for a quick chat just before their respective shows in Delhi!

Snippet of what went down at Kitty Su, Delhi

Listen\Download Kohra Link 1

Listen\Download Kohra Link 2  ]]> http://pz10music.wordpress.com/2012/10/26/kohra-hindi-movie-1964-2/ Fri, 26 Oct 2012 09:02:00 +0000 punjabhost http://pz10music.wordpress.com/2012/10/26/kohra-hindi-movie-1964-2/    
Artist : Asha Bhosle, Lata Mangeshkar, Mahendra Kapoor, Hemant Kumar
Album : Kohra
Tracks : 5
Released : 1964
Label : Unknown
Tag : Hindi Movies

Listen\Download Kohra Link 1

Listen\Download Kohra Link 2 

Listen\Download Kohra Link 1

Listen\Download Kohra Link 2 

Listen\Download Kohra Link 1

Listen\Download Kohra Link 2  ]]> http://mrandmrs55.com/2012/02/13/defining-film-noir-in-hindi-cinema/ Mon, 13 Feb 2012 12:51:27 +0000 mrandmrs55 http://mrandmrs55.com/2012/02/13/defining-film-noir-in-hindi-cinema/

Sadhana enters a graveyard as the femme fatale of Woh Kaun Thi? (1964)

In the U.S. historians and film theorists have debated for decades about the meaning of the elusive term: “film noir.” Although many of us conjure an image of a hard-boiled detective and a mystery made more mysterious by the femme fatale, few “film noirs” actually contain these elements. This so-called genre had its roots in German Expressionism with films like Fritz Lang’s M (1931) and in depression-era crime novels. But what does the term “film noir” mean as it applies to Hindi cinema? What are the hallmarks of this genre as it played out in Bollywood and how did it begin?

I will present five films that I propose to be in the genre of Indian film noir. This is no easy task. Just as the term is vague in the American lexicon, so too does it only hazily engulf a variety of Hindi films with low-key lighting. And so I shall begin with an illustrative example. We can debate the precise definition of the genre until the end of time, but I think I can safely say that whatever Indian film noir is, Woh Kaun Thi? (1964) is Indian film noir.

Woh Kaun Thi? has 4 main basic elements. The first is in its distinct cinematographic style and setting—low-key lighting throughout a mysterious mansion and slow unhurried shots with a somber film score to match. The film gives a sense of the world being trapped in a fatalistic dream, whether alone by a graveyard or in a crowd of dancing people.

The second is the film’s overall tone and pacing—there is an uncomfortable sense of being pursued, of an impending doom unless a mystery is solved in time by the hero. Unlike in American film noir, the hero is no cynic and there is no quick sardonic dialogue to off-set the dreary mood. The hero is instead a righteous and innocent man of affairs, an heir to a fortune who becomes a victim. Though mingled with occasional musical highs, the film spirals from a slow and deliberate set-up to a climax closer and closer to complete ruin.

An interesting element of many American film noirs is the flash-back structure, which takes on an interesting form in their Indian counterparts. Woh Kaun Thi? centers around a mysterious background that occurred in the protagonist’s past life. Because the audience of Hindi films was largely composed of practicing Hindus, the world of reincarnation narrative is able to begin on a new and creatively extremely fertile ground. The hero must revisit through song, hearsay, and secrets events that took place in a past life, but whose consequences (whether karma or otherwise) now haunt him. This is the third element.

Fourthly, the film does indeed revolve around the appearance and (mis)guidance of the femme fatale, who is heard singing alluring, tragic songs. The hero is never able to wholly communicate with her, but her intentions are clearly marked with a deadly undertone. The femme fatale remains an elusive character–sometimes he chases after her, sometimes she chases after him—when her story is fully told, only then can the mystery be solved.

The films below can be placed into the category of Indian film noir along with Who Kaun Thi?:

Mahal (1949): Perhaps the grandfather of this genre, Mahal tells of a man tortured and madly in love with an apparition who haunts his mansion and claims a connection from an earlier life. The film also features the haunting vocals of Lata Mangeshkar’s all-time hit Aayegaa Aanewaalaa.

Madhubala mesmerizes Ashok Kumar in Mahal (1949)

Madhumati (1958): This classic Vijayantimala-Dilip Kumar blockbuster is told in flashback to a previous lifetime of the murder of the woman the hero still loves. The gently alluring Aajaa Re Pardesi encompasses the film’s themes of love and debts spanning several lifetimes.

Vijayantimala is reincarnated to find her lover once more in Madhumati (1958)

Bees Saal Baad (1961): A rich man comes to live in his new mansion and must solve a tragedy and murder that occurred 20 years earlier. The film contains a brilliant surprise ending, and Lata Mangeshkar scores once again with the beautiful Kahin Deep Jale, Kahin Dil.

Biswajeet follows a mysterious voice in Bees Saal Baad (1961)

Kohra (1964): This twist on Hitchcock’s Rebecca is told through the eyes of a female protagonist, living in a large, unexplored mansion that is haunted by the apparition of her husband’s first wife. Waheeda Rehman must discover the true circumstances surrounding the first wife’s death before she is driven insane. The song of the femme fatale (Jhoom Jhoom Dhalti Raat) is an absolutely genius and rare example of symbolic imagery in montage to create a feeling of horror from the song.

Waheeda Rehman sees a ghostly vision atop her mansion roof in Kohra (1964)

There are some films that contain one or more of the above elements that I have not classified as Indian film noir. These include Mera Saaya, Gumnaam, and Karz, for different reasons–often overall tone or cinematographic style. Additionally, others might argue that these films should not be categorized at all as Indian film noir, but rather as Indian gothic horror films or other such genres. Watch some of these classics and let us know your take on this chapter in cinematic history!

- Mrs. 55

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Him se ghiri Chotiyan aur
Dhundhlaate hue Wadiyon ko,
Hai chaaya Kohra ghanaa.

Yaad aaya phir – Thand se woh Thithurna,
Aur sukun rahat bhari deta –
Haathon ko angithi par sekna.

Lupt hoti Bahaarein, laayi samaa Patjhar ka,
Hai intezaar ab to, Kohre ke is chatne ka,
Nazar jo aa jaye phir, Mausam Basant Bahar ka.

हर साल दिसम्बर के महीने
में वो यहाँ आती है
जैसे सर्दियाँ अपनी
मुट्ठी में भरकर लाती है

सुबह की चाय तब और अच्छी लगती है
जब हलके हलके कोहरे से
उसकी प्यारी सी मुस्कुराहट
झलकती है

दूर खड़े मुझे एक टक
देखती है वो
और मैं यहाँ चाय की दुकान से
उसे हर दिसम्बर की सुबह निहारता हूँ

एक अलग सी ख़ूबसूरती है उसके चेहरे में
जो मेरी हर सुबह को और खुशनुमा बना देती है
और इस खोये हुए से सर्द मौसम को
थोडा और दिलचस्प बना देती है

न जाने कहाँ से आती है
और एक महीने बाद
इस कोहरे की तरह
फिर कहाँ छुप जाती है

कभी नाम नहीं पूछा उसका
पर उसके किस्से हर किसी को सुनाता हूँ
और बातों बातों में कोई उसका नाम पूछले
तो उससे मैं अपनी,
सर्दियों वाली दोस्त कह कर बुलाता हूँ

Har saal December ke mahine
Mein woh yahan aati hai
Jaise sardiyan apni
Mutthi mein bharkar laati hai

Duur khade mujhe ek tak
Dekhti hai woh
Aur main yahan chai ki dukaan se
Usse har December ki subah nihaarta hun

Ek alag si khoobsurti hai uske chehre mein
Jo meri har subah ko aur khushnuma bana deti hai
Aur iss khoye hue se sard mausam ko
Thoda aur dilchasp bana deti hai

Na jaane kahaan se aati hai
Aur ek mahine baad
Iss kohre ki tarah
Fir kahaan chhup jaati hai

Kabhi naam nahin poocha uska
Par uske kisse har kissi ko sunaata hun
Aur baaton baaton mein koi uska naam poochle
Toh usse main apni,
Sardiyon waali dost keh kar bulaata hun
Photograph by: Sarika Gangwal
Written by: Abhinav Chandel

Let me not get into abstract philosophy. Since, am feeling somewhat musical today –  thought of getting a music countdown discussion for you.

While we were at school and before the age of computer games, graphics, and computer-based assignments began, there was a great love for music albums, countdown shows, and Top Tens on Television.  A famous countdown show named “Philips Top Ten”  was aired on Friday evenings at 9.00 pm on Zee Tv.  We were given permission to watch this particular show after completing rolls of the extra notes and home-works. Sometimes celebrities and famous stars were invited to present their list of Top 10 songs and that would be the gala episode. By the time the countdown ended we would be sleepy.  I had imagined that one day I’ll present my own Top-10 songs of all time in Philips Top-10 if I become a celebrity or star . In fact, made a list of songs. Thought should share the list today and also spell out reasons I like those songs. Bollywood is so melodious and musical and we breathe so much of music that it is tough to create a countdown actually.

Am just sharing the countdown of my favourite old timers, and not including the new songs here. The range is from the black and white era only. This article is a tribute to the era when the charms of just two colours encapsulated the canvas of Indian cinema.

TEN: From the movie Teesri Kasam (1966): Ae Duniya Banane Wale Kya Tere Man Mein Samayee, tune Kaheko Duniya Banayee??  ….Kahe banaye tune mati ke putle, dharti yeh pyari pyari, mukhde yeh ujle, kahe baneye tune duniya ka maela…gupchup tamashe dekhe wah teri khudayee…sapne jaga ke tune kahe ko de di judayee (Teesri Kasam). (Rough transl: Oh Maker of this world! What struck you that you decided to make such a complex world where there are no human but only statues made of clay? Why did you make the lovely earth, and lovely faces? Why did you make dreams and give those dreams in eyes only to lead us to separation…why do you watch the game of the world silently? ) The song beautifully scored by Shankar Jaikishen and written by Shailendra reflects the simplicity and innocence of a rural setup. The voice of Mukesh is interspersed with dialogues by Raj Kapoor to create an eternal feeling of awe and beauty.  Hiraman  (Raj Kapoor), a poor cart driver narrates the legend of the beautiful and innocent Mahua who was sold off by her step-mother to a Saudagar (merchant), to Hirabai (Waheeda Rehman) the local nautch girl. As the story unfolds, we  come to know that Mahua’s story ironically is the story of Hirabai herself. I have always liked the song because it seems to project all those questions to the maker that we ourselves ask in our innocence.

NINE: Movie Kohra (1964): Yeh Nayan Dare Dare, yeh jaam bhare bhare, zara peene do…kal ki kisko khabar, ek raat hoke nidar mujhe jeene do…. Pyar mein jeevan ki khushi, deti hai khushi kayee gham bhi, main maan bhi loon kabhi haar…tu manena (Rough transl: These deep dark eyes full of fear… let me drink from your eyes…Who knows what lies hidden for tomorrow?) One of my all time favourite singers is Hemant Kumar. His voice reflects a soft baritone, a complete calmness and harmony with rhythm, and rhyme. A very unconventional tone. This particular song from Kohra shows a deep  existential dilemma, a love that is bound to a moment, he keeps saying who knows what will happen tomorrow? Based on the novel Rebecca, the song  itself gives a lilting, haunting effect. I find it one of the most sensuous songs of Hindi Cinema with Waheeda Rehman and Biswajit playing the role of a gorgeous newly wedded couple.

Clipping of the song

EIGHT: Movie Sujata (1959): Jalte Hain Jiske Liye Teri Ankhon ke Deeye Dhoond Laya Hoon Wohi Geet Main Tere Liye…Dard Banke Jo Mere Dil Raha Dhal Na Saka…Jadoo Banke Teri Ankhon Mein Ruka Jal Na Saka…Aaj laya hoon wohi geet main tere liye…. (Rough Transl: That for which the deeyas of your eyes get lit up, I have searched out and brought such songs for you) . You should watch the song for the beauty of the bygone era and the charm of the land-line phone. Expressions were the greatest factors of cinema of that age and Sunil Dutt sitting on a glass showcase singing the lines to Nutan over the phone is a moment to cherish. Personally, I have grown up hearing this song being hummed by grandma — it’s her favourite song. The story between a high caste Brahmin boy (Sunil Dutt) and a low caste girl (Nutan) is one of the greatest cinematic commentaries on marriage across castes — a problem still persisting in twenty-first century India.

SEVEN: Movie Madhumati (1958): Zulmi Sang Ankh Ladi re…Sakhi Kaa Se Kahoon,Jane Kaise Yeh Baat Badhi…ek din chhota raat badi…Zulmi sang ankh ladi. Mera pagal pana toh koi dekho,  pukaroon main chanda ko sajan ke naam se, manke jadoo ki chhadi se… Zulmi sang ankh ladi re…. (Transl: Need help in translating these lines. Completely at a loss for words) When it comes to Madhumati, I am always stuck with which song to choose? All the songs are equally delightful and unique. Salil Chaudhury‘s music and Shailendra’s lyrics combine to create an eternal musical. This song is less known than Bichhua or Ghadi Ghadi Mora Dil Dhadke or Aaaja re — but the beauty of the song is concealed  in its  rustic language full of mock anger at the object of love who is addressed as ‘ruthless‘ . Lataji’s timeless voice adds to the haunting effect of the song. The charms of a suave Dilip Kumar from the city coolly watching the gorgeous Vaijayanthi Mala dancing unrestrained on the village streets,  something that you can only feel if you observe and perceive. Watch the expressions of Johnny Lever in the song and you will get an idea of what subtle comedy is.

SIX: Movie Khamoshi (1969): Woh Shaam Kuchh Ajeeb Thi, Yeh Shaam Bhi Ajeeb, Woh Kal Bhi Paas Paas Thi, Woh Aaj Kareeb Hai…Jhooki Hui Nigahon Mein Kahin Mera Khayal Tha… Dabee Dabee Hansi Mein Ek Haseen Sa Gulal Tha…Main Soch ta tha mera naam gunguna rahi hai woh, najane kyon laga mujhe muskura rahi hai woh (Rough Transl: There was something starnge about that evening and there is something strange in this evening…). The song is one of my favourite Kishore Kumar renditions. The effect of a Ghazal combined with modern instruments is simply outstanding — the feel of the water rippling across the boat makes the song a delight to the ears.  Watch the expressions of Waheeda Rehman when she sits like a wooden doll on the boat.

FIVE: Movie Pyaasa (1957). Jaane Kya Tune Kahi Jaane Kya Maine Suni, Baat Kuchh Ban Hi Gayee….Sansanahat si hui, Thartharahat si hui, jaag uthe khwab kayee baat kucch ban hi gayee… (Rough Transl: Who knows what you said? Who knows what I heard? Something changed and something just snapped….There was some stirring and my soul rose from its deep slumber….). There is something called melody and there is something called performance — Guru Dutt was a master of both. The pursued playfully inviting the pursuer to pursue her — a combination of beauty, grace, wit, charm, and love.  This is one of those lighter songs of Waheeda Rehman and Guru Dutt that stand out in the history of Dutt’s cinematic style. Combining the charms of folk lilt and the mischief in the voice of Geeta Dutt, this song shall remain a core favourite. Moreover, observe the song for its Light and Shadow cinematic technique — simply magnificent.

FOUR: Movie Dil Hi Toh Hai (1963): Laaga Chunri Mein Daag Chhupaaoon Kaise,  Chunari Main Daag Chupaaoon Kaise, Ghar Jaoon Kaise.  Hogayee Mailee Moree Chunariya, Kore Badan Si Kori Chunariya… Jaake Babul Se Nazrein Milaoon Kaise Ghar Jaaoon Kaise? …Kori chunariya atma mori maill hai maya jaal, woh duniya more babul ka ghar yeh duniya sasural…jaake baabul se nazarein milaoon kaise ghar jaoon kaise? (Rough Trans: My veil has been stained, how do I hide it? Oh, How do I face my father, Oh How do I go home?) This song by Mannadey can be easily branded as the most philosophical song of Hindi cinema. Only Mannadey could have handled such a composition where the soul is compared to a veil and the world to the in-laws place, and God’s abode is thought of as the father’s house. The song speaks of the strife of the world staining the soul. Just listen to the melody, the pure chhandas and aalaaps in Manna Dey’s unparalleled classical rendering. The classical dance by Padmini is so completely in sync with the spirit of the song. The combination of the carnal with the spiritual makes the song a masterpiece of Indian cinema.

THREE: Movie Sahib, Biwi, aur Ghulam (1962): Piya Aiso Jeeya Main Samaye Geyo Re, ke Main taan-maan ki suddh-buddh gawa baithi, har ahat pe samjhe woh aaye gayo re, jhat ghunghat mein mukhda chhupa baithi . The melodious voice of Geeta Dutt somehow deserves much more accolades than has been given to her. Geeta Dutt brings out the raw beauty in melody whether it is Piya Aiso or it is Babujee Dhire Chalna. She remains my favourite voice for all times. Added to the charm of her song, Meena Kumari’s performance in the song brings out the best that Indian cinema could aspire. Especially, observe the two girls helping her out in dressing up — it seems Guru Dutt brings  a painting out of a canvas and places it on the canvas of the camera.

TWO: Movie Kala Pani (1958): Accha Jee Main Haree, Chalo Maan Jao Na, Dekhi Sabki Yaree Mera Dil Jalao Na…Chhote Se Kasoor pe Aise Ho Khafa? Roothe Toh Huzoor The Meri Kya Khataa…. S.D.Burman’s music, Asha Bhonsle and Rafi Saab’s voices combined with out of the world expressions by Madhubala and Dev Saab –  what is called great cinema . There is a moment in the song where Dev Saab sings : “Ho lena kisike” to Madhuabala’s question “Kya Karna Hai Jeeke?” Unforgettable is the only word that I can think of. The playfulness and charm  of the singers flow into the playfulness of the protagonists. I fell in love with Dev Saab instantly when I saw him in this song and in Har Fikr ko Dhuyein Mein Udata Chala Gaya,  Khoya Khoya Chand which are my all time favourites.

A clipping

ONE: Movie Howrah Bridge (1958): “Aaiye meherbaan baithyie jaane jaaan, shauk se lijiye jee ishq ke imtihiyaan…” . Shakti Samanta’s movie Howrah Bridge marked the turning point of Hindi cinema. Watch this song as one of the best examples of the earliest forms of Club music and of course my biases for Madhubala is self-evident. Her easy charm, effortless beauty, and extremely expressive eyes add to the beauty of the song. Asha Bhonsle’s voice combines an easy melody and feather-like delicacy in the song. Especially remarkable is K.N.Singh’s glances and expressions — lechery and desire completely overt in expressions. Ashok Kumar’s sophistication acts as the crowning glory.

Let me add that this list is completely incomplete . The Black and White era is so rich in Indian cinema that it would be an injustice to say that you have accomplished a countdown with a handful of songs. I have deliberately left out some of my all time favourites like Abhi Na Jao Chhod Kar;  Lag Jaa Gale Ke Phir Yeh Haseen Raat Ho Na Ho; Ajeeb Dastaan Hai Yeh; Main Zindagi Ka Saath Nibhata Chala Gaya; Kuchh Dil Ne Kaha, Kuchh Bhi Nahin; Chalo Ek Baar Phir Se Ajnabee Ban Jaye Hum Dono; Jane Woh Kaise Log The; Hum Bekhoodi Mein Tumko; Aaaja Piya tohe Pyar Doon….. Simply because time and space do not permit me to discuss all these songs on Iris.

Hope you enjoyed the selections here….Do write back with your favourites. Signing off…. Goodnight and take care!

Synopsis of Sorry Madam Maaf Karo :

The film begins with a ‘WILL’ drawn by Richa’s father before his death, when she was a minor. She only comes to kno after becoming a major that a pecular condition of the ‘WILL’ may deprive her by owning any asset by birth if she doesn’t marry the candidate already chosen by her father. But the sub-clause of the said ‘WILL’ also maintains that divorce either for the fault or groom or for completion of one year may neutralise the mandatory condition of the ‘WILL’. In that circumstances, she may enjoy the properties in future. Her uncle and Munimji ‘Baanke Bihari’ (Paintal) ultimately discovers Raju, the candidate as per ‘WILL’, in a jail. He agrees to marry her against Rs.10 Lac only. Accordingly, first instalment is paid before marriage and the balance is to be paid after one year at the time of his signature on mutual divorce papers. But simultaneously Raju is found and denies to sign the paper in order to enjoy her properties. The real candidate Rajesh for the marriage as per ‘WILL’ is surprisingly discovered later by Richa and surrenders him for supporting her and get rid of Raju the fraud. Rajesh then plans out with her and instructs Munimji to do as per his plan. Meanwhile, a child (Master Aman)is found in the park and claims Raju as his father, which ultimately restrains him and retains marital relationship with Richa and his dream comes to an end. But he communicates with his friend Bhupen and plans to kill the child to wipe out such dangerous evidence which could harm the marital relationship with Richa.

What happens next… check

Cast : Sambhavi as Richa, Ranjeet Jog as Raju, Rajesh Kapoor as Manoj, Master Aman as Chickoo (Atom Bomb), Upasna Singh as Munimji’s wife, Paintal as Munimji, Viju Khote as Cook, Dinesh Hingoo as Richa’s uncle and Nirmal as Bhupi.

PRO : Mohan Iyer
Pics : Bhanwer Mali & Ravi Mali

Actress Sambhavi
Legendary actor Biswajeet introduces Sambhavi in SORRY MADAM MAAF KARO Legendary actor Biswajeet addressing media Mrs. Medha Jalota & Anup JalotaQamaal Mustafa Sikander, PRO Mohan Iyer, Biswajeet and Sambhavi

Song- Jhoom jhoom jalti raat (Kohra) (1964) Singer-Lata, Lyrics-Kaifi Azmi, MD-Hemant Kumar

Lyrics

aa aa aa
aaa aaa aaa
jhoom jhoom dhalti raat
jhoom jhoom dhalti raat
leke chali mujhe apne saath
jhoom jhoom dhalti raat …

jaane kahaan le jaaye dard bharaa ye dil
jaise sadaa deti hai khoyi huyi manzil
jaane kahaan le jaaye
chhodo piyaa meraa chhodo haath
jhoom jhoom dhalti raat
jhoom jhoom dhalti raat …

haal ye hai masti ka,
saans lagi thamne
utne rahe pyaase ham jitni bhi pi hamne
utne rahe pyaase ham
gham ko badhaa gayi gham ki raat
jhoom jhoom dhalti raat
leke chali mujhe apne saath
jhoom jhoom dhalti raat
jhoom jhoom dhalti raat

The same could be said about the lyricists. Genuine poets and shayars of the highest class used to write lyrics for the bollywood songs. And the heady mixture of quality singing, lyrics and music was for all to see and listen to.

Here is an outstanding song from a suspense movie called “Kohra”. The song can be described as one of the best songs of its genre.

Song- O beqarar dil (Kohraa) (1964) Singer-Lata, Lyrics-Kaifi Azmi, MD-Hemant Kumar

Lyrics

ahaa haa haa …
ahaa haa haa

ahaa haa haa
ahaa haa haa

o beqaraar dil
o beqaraar dil
ho chukaa hai mujhko aansuuon se pyaar
mujhe tu Khushii na de
nayi zindagi na de
o beqaraar dil
ho chukaa hai mujhko aansuuon se pyaar
mujhe tu khushi na de
nayi zindagi na de
o beqaraar dil

aaa aaa aaa
aaa aaa aaa
mili chaman ko bahaar
hansi phool ko mili
mili chaman ko bahaar
hansi phool ko mili
geet koyal ko mile
aur main ne paayi khaamoshi
mujhe baansuri na de koyi raagini na de
o beqaraar dil
ho chukaa hai mujhko aansuuon se pyaar
mujhe tu khushi na de
nayi zindagi na de
o beqaraar dil

aha haa aa
aha haa aa

kaali ghataa ghir ke ghataa chhaaye
aur pyaasi kali gham ki jali taras taras jaaye
kaali ghataa ghir ke ghataa chhaaye
aur pyaasi kali gham ki jali taras taras jaaye

rahe sadaa jo meraa
wahi meri zindagi
rahe sadaa jo meraa
wahi meri zindagi
hai roz andheraa
aur chaar din kii chaandnii
mujhe chaandni na de mujhe raushni na de
o beqaraar dil
ho chukaa hai mujhko aansuuon se pyaar
mujhe tu khushii na de
nayi zindagii na de
o beqaraar dil