Size Zero craze, bikinis, six pack abs, flexible dancing skills,Fast bikes chasing one another, cars being blown up for fight sequences (even songs) , actors doing theie own stunts, getting tattoo’s… Bollywood sure has come a long way from the days of what one would call – Simple Cinema.Gone are the days when we hummed the tunes of movies like Chupke Chupke, Choti Si Baat, Khatta Meetha, or what Kishore Da or Rafi saab popularized during those days, copied hairstyles of actors/actresses, paying 2 rupee for a ticket for a balcony seat,…etc.

I Still remember Vidya Sinha’s Girl Next Door looks from Rajni Gandha and Choti si baat and Jaya Bachchan’s perkiness from films like Guddi and Mili, Rekha’s beauty Sharmila Tagore’s dimples, Amitabh Bachchan and Dharmendra’s all round skills in comedy,drama,action and romance, Sanjeev Kapoor mesmerizing acting skills, comic skills of Mehmood Saab, Rajndenaath,Johnny Walker, directorial classics by Raj Kapoor, Hrishikesh Mukherjee, Manmohan Desai, etc.

The 80’s and 90’s were still bearable with Madhuri Dixit, Sridevi, Anil Kapoor, Sanjay Dutt, Shah Rukh Khan,Salman Khan providing good entertainment to the masses but today seeing actors above 40 years of age romancing girls the age of their daughter or running to the gym for a dreamy body with six pack abs is sheer stupidity.

Comparing it with todays Filmy World of Kareena Kapoor’s size zero fetish, Lara Dutta’s Bikini, Hrithik Roshan’s six pack, Aamir Khan’s changing hairstyles in Dil Chata Hai or Ghajini, Rajpal Yadav’s cheap comedy and undigestable directorial skills of some of todays directors makes me SICK TO THE STOMACH!

Andaz (misunderstanding) is the story of Dilip’s (Dilip Kumar) ill-fated love for Neena (Nargis) and the uncontrollable jealousy of Rajan (Raj Kapoor), her finance and then husband.

Director Mehboob Khan, places two misunderstandings at the heart of Andaz, neither of which is resolved happily, both leading to heartache for Nina.

That there’s no neat conclusion for any of the protagonists was one of the things I liked about the film. The tensions created along the way give the film a very watchable momentum. Looking over to Hollywood for a minute, there is something very relaxing about watching certain black and white films from the 1940s/50s. Andaz, released in 1949, with its stylish, graceful picture of monied upper-class Indian society reminded me of a certain type of Hollywood film, pictures like Philadelphia Story.

Perhaps it’s the less frenetic direction, or the appeal of black and white over colour. It’s obviously not in characters, attitudes, society etc, so perhaps it’s more down to feel. Whatever it is, Andaz shares this aspect thanks in part to Dilip Kumar’s matinee idol looks and the carefree world of mansions and afternoon horse riding Nargis’ Nina inhabits.

But there’s some irony in making this comparison. One of the film’s themes is the importance of halting the encroachment of western values on Indian society, given voice through dialogue like: “You can’t play a western song on Indian strings,” and “Indian flowers won’t bloom in western soil”.

Perhaps as such it shows Indian cinema, pre-Mother India and still just two years after independence, grasping towards its own identity.

Andaz was one of the films in a recent run of Bollywood classics shown on television. I recorded most of them and will probably have a few words on each eventually.

I have posted a few songs from ‘Baabul” (1950) already. Al these songs were (and still are) very popular. But one of the most popular (and as yet unposted) song from this movie is the iconic song “chhod baabul ka ghar mohe pi ke nagar aaj jaana padaa”.

The reason why I did not post this song earlier is that this song seems to have too many versions and it is played in the movie in small segments at various times, and I thought that it was too time consuming to post all of them. However, I have now located two video links where many of these parts have been combined together to form two versions of the song, viz the female version (sung by Shamshad Begam and the chorus) and the male version (sung by Talat Mehmood and Rafi). I think that some more version (s) of this song are still left, but I think these two versions should suffice for our purpose.

This song is written by Shakeel Badayuni and its music is composed by Naushad. The song was picturised on Nargis, Dilip Kumar etc.

Female(Shamshad Begam)version

Male(Talat/Rafi )version

Song-Chhod babul ka ghar mohe pi ke nagar aaj jaana padaa(Baabul ) (1950) Singers-Shamshad Begam/Talat Mehmood,Rafi, Lyrics-Shakeel Badayuni, MD-Naushad

Lyrics

——————————————————-
Female (Shamshad Begam) version

chhod baabul kaa ghar, mohe pi ke nagar
aaj jaanaa padaa
o
aaj jaanaa padaa
chhod baabul kaa ghar, mohe pi ke nagar
aaj jaanaa padaa

sang sakhiyon ke bachpan bitaati thi main
ho bitaati thi main
byaah gudiyon ka hans hans rachaati thi main
haan rachaati thi main
sabse munh mod kar kya bataaun kidhar
piya gaana pada
ho aaj jaana padaa
chhod baabul kaa ghar, mohe pi ke nagar
aaj jaanaa padaa

chhod baabul kaa ghar, mohe pi ke nagar
aaj jaanaa padaa
chhod baabul kaa ghar, mohe pi ke nagar
aaj jaanaa padaa

yaad maike ki dil se bhulaaye chali
haan bhulaaye chali
preet saajan ki man mein basaaye chali
haan basaaye chali
yaad kar ke ye ghar, royin aankhen magar
muskuraanaa padaa
o aaj jaanaa padaa

chhod baabul kaa ghar, mohe pi ke nagar
aaj jaanaa padaa
chhod baabul kaa ghar, mohe pi ke nagar
aaj jaanaa padaa
chhod baabul kaa ghar, mohe pi ke nagar
aaj jaanaa padaa

——————————————–
Male(Talat Mehmood/Rafi )version

chhod baabul kaa ghar, mohe pi ke nagar
aaj jaanaa padaa
ho o aaj jaanaa padaa
pahan ulfat ka gahna
dola aaya piyaa kaa
sakhi main chali
ye chhoota nagar
is liye chhod kar
mohe jaana padaa
o aaj jaana padaa

aaa aaa
aaa aaa
aao saajan khade hai duaar
lene ko aaye kahaar
doli mein ho jaa sawaar

Shree 420 is one of the Bollywood classic movie starring Raj Kapoor and Nargis in lead roles. Raj Kapoor has directed and produced this film. Raj Kapoor heavily inspired by Charles Chaplin’s Little Tramp .

Raj (Raj Kapoor) walks to Mumbai from Allahabad to earn and live some good life. There he meets a poor girl called Vidya (Nargis). Both of them falls in love with each other.

After few days, Raj attracts towards the short cut ways to earn money like card gambler. Vidya tries to change him but fails. Later he realises himself and starts working hard.

Nadira and Nemo were played the other lead roles.

Triumph of a Tramp! –‘ SHRI 420’  

The vagabond of ‘Awara’ is back – this time donning the hat of a tramp. Wearing a ragged old coat and ankle-deep trouser and a cloth bundle tied to a stick, he is on his way towards Bombay to try his luck at some gold-digging. He is rustic and naive. He stands at the high-way and tries for a lift. The cars whiz past him unmindful of his presence. He mutters, ‘Ek car—Do car—Teen car—Sab Bekaar!’. – With that little pot-shot at urban insensitivity, Writer K.A.Abbas kick-starts the tale of a tramp who is going to be caught in the web of a big city, that would soon force the ‘Shri’ in him turn into a ‘420’ (cheat!).

Raj, the tramp, as he stands on the high-way perhaps already has a whiff of the ‘chalu’ (street-smart) air blowing from Bombay. He feigns a faint and immediately is taken into a paunchy Seth’s car. But when the Seth is determined to take the ‘unconscious’ fellow to hospital, Raj panics and blurts out his ‘deceptive’ tactic! He is thrown out of the car by the Seth promptly! Raj gets his first lesson to go a bit easy on ‘truth’ in the city, if he has to survive! He looks wistfully at the mile-stone which says symbolically ‘Bombay- 420 miles’. He musters himself and starts merrily walking again on the convoluted road to prosperity.

—At this point, he picks up his little ‘baaja’ and sets off a little prelude tune that would instantly herald one of the most iconic songs of modern India:

‘Mera joota hai Japani, Yeh patloon Englisthani, Sar-pe lal topi Roosi, Phir bhi dil hai Hindustani!’.

With four simple lines, Shailendra stirs up the entire nation! The song even travels effortlessly to Russia and echoes all over the globe. It inspires ad jingles and movie titles. It also finds a mention in Salman Rushdie’s ‘Satanic verses’.

Shailendra-ji had this ‘bad’ habit of putting your head into a spin of complex thoughts with his clever configuration of few simple words!

One wonders often what exactly he implied by those legendary opening lines.

Was it an expression of post-independent nationalism, or was it plain self-righteous jingoism?

 Then— ‘Honge raaje raajkunvar, Hum bigade dil shahzade—Hum sinhaasan par ja baite jab jab karein iraade!’

Now was this brimming optimism at the Nehru brand of socialism prevailing at that time or was it sheer complacency setting in, after freedom from the British ‘Raj’ ?

‘Naadan hain jo bait kinaare poochhe raah vatan ki’!

We know Shailendra-ji’s communist slant, but was this a prophetical dig at rigid ideologists who would distance themselves from the main-stream path towards globalization?

Well, my brain is too small to fathom Shailendra-ji vast expanse of mind. So I choose not to dwell in complexities. Neither so does Raj Kapoor in his films! RK likes to keep things simple—and grand! So the film just targets your heart and the senses, and often hits the bull’s eye, like this opening song!

(Visit http://www.youtube.com/watch?v=ysSS4RgP8TE&feature=related for the song-sequence) 

We watch Raj arriving at the big bad city. His first encounter, of all the persons, is with a beggar, who gives his wise counsel to the tramp to keep his bundle of ‘padhai-likhai’, ‘sachhai’, ‘imaandaari’ ‘’mehnat’ etc. etc.aside, if he really wants a job! With that little piece of advice, the beggar brushes him aside as he is a bit busy – It is ‘dhandhe-ka time’ even for a ‘bhikari’ in Bombay, you see! Poor Raj seems to be a bit weak on arithmetic as well. He bargains with the ‘Kele-wali’ (Lalita Pawar) for 2 bananas for 3 annas when she is offering 3 bananas for 2 annas! The old lady is charmed by his innocence and offers him the bananas free. It shows there are little pieces of ‘dil’ left, even in the metropolis! Raj takes the beggar’s advice seriously and pawns his gold-medal that he had got for his honesty and sincerity. Chalo, sachhai aur Imaandari kuch to kaam aaye!

Vidya (Nargis), the sad-eyed daughter of an impoverished school-master happens to be in the same shop to pawn her bangles. She looks at Raj and gets disgusted by his lack of morals. But at first sight of her, Raj loses the only possession that he has – ‘dil’.

Lekin pyar-vyar later, pehle accommodatation! 

Raj lands up at a ‘basti’, which is open-air under-the-sky. The inhabitants are hostile to him. They say it is not free. It is premium location and the rent is very costly. Why? Because the aroma of halwa-puri and the yummies from the adjacent mansion of the Seth drifts towards the basti! Anyway ‘Kele-wali’ who happens to stay in the ‘basti’ intervenes and secures a place for Raj. Once accepted inside the flock, Raj lifts a ‘dholak’ and regales the gathering.

Manna Dey’s opening call is like a war-cry to the Seths and the richie-richs.

Shailendra’s simple complex lines start flowing:

‘Dilka haal sune dilwala, Seedhisi baat na mirch masala,Kehta rahega kehnewala!’

The tramp gives his ‘parichay’ – ‘Chhote-se ghar-mein garib-ka beta, Main bhi hoon maa-ke naseeb-ka beta!’!

Now Shailendra can be tricky. He can start with tickling your ribs and pulling your ears, but he could suddenly jab at your chest with his clever set of four simple words –

‘Bhook-ne hai bade pyar-se paala!’. Lalita Pawar clucks sympathetically, but your conscience takes a prick as you there, settled on a plush seat and munching your pop-corn, suddenly choke at the thought of millions of children of India being brought up ‘lovingly’ by hunger! But even as Raj sings ‘Bin mausam malhaar na gaana!’, the ‘basti’-dwellers dance in gaiety and have a ball, much to the consternation of the Seth.

(Visit http://www.youtube.com/watch?v=6ExnLPexYLE’ for the song-sequence)

Raj bumps into Vidya again at the sea-shore. She can’t stand him. She tells him to go jump into the sea. So he goes and jumps into the sea. After the rescue mission, Raj follows her to her house, manages to impress her father and stays on to watch Vidya teach the school-children in the make-shift tree-shade school in the court-yard.

 It is quiz-time now – ‘Ichak dana beechak dana, daane upar dana, ichak dana—‘

The child in Hasrat Saab comes out wondering at a red chillie with cute charming lines ‘Chhoti-si chokri, Lalbai naam hai, Pehne woh ghagra, Ek paisa dam hai!’. Nargis is gentleness personified. Lata’s voice is tender – as if lovingly stroking the children. Raj amuses the kids and Mukesh butts in mischievously and cautions the kids not to get into the ‘chakkar’ of the world ! The composition is liltingly sweet! The song is so endearingly innocent, that it prompts the makers to give another quiz program as ‘Teetar-ke do aage teetar’ for MNJ.

(Visit http://www.youtube.com/watch?v=V2FBlZlC8C4 for the song-sequence)

 Romance strikes along with lightning at the way-side road-stall over some chana and ‘cutting’ tea. Sudden rain and the solitary umbrella help the lovers come together in a fleeting moment of proximity and passion and then,— a time-less duet is born!

 ‘Pyar hua ikraar hua hai, Pyar-se phir kyun darta hai dil!’ –  Manna Dey, Lata, Raj, Nargis, thunder-showers, misty fog, moon-lit rain-washed streets, glittering buildings in the back-drop—those neat flowery lines, those swinging flourishes, those expressions of first love – the heady mix is just hypnotizing! They show three kids in rain-coats (RK’s off-springs) trudging along the rain –   ‘Hum na rahenge, tum na rahoge, phir bhi rahengi nishhaniyan!’.

-That can be said more about the song itself and its creators!

( Visit http://www.youtube.com/watch?v=IyMHuNTJfbk for the song-sequence)

 Raj joins a laundry called ‘Jai Bharat’ and during one of his delivery visits catches the sharp evil eyes of a sharper-nosed Maya (Nadira) when he casually flits through a pack of cards, while waiting for her to settle the bill. She exploits his skill to make a quick buck at the casino and then discards him ruthlessly. But Raj is picked up by the Seth for more lucratively ‘shady’ ventures. Raj, now a dandy nattily dressed in a suit visits Vidya and takes her out to ‘temple’ for ‘Laxmi-pooja’ on the Diwali night. The ‘temple’ turns out to be the same Casino! A shocked and distraught Vidya flees from the opulent club of depravity and as Raj rushes to the door to cajole her back, Maya entices him back with ‘Mud mudke na dekh mudke—‘. A lovely rhythmic waltz envelops Asha Bhosle’s silky voice to perfection. Like us, Raj cannot resist the pull of the song and he retreats back announcing his ‘arrival’ at the ‘elite club’ with a trumpet in close-up. The song paces up seamlessly to Manna Dey’s rollickingly exuberant version and you see a transformed elegant Raj Kapoor swinging to the tune gracefully. You also spot in the crowd, another young luxuriously-haired handsome gentleman in suit (Jaikishen) joining the revelry and you feel a pang at the memory of a genius who gave so much to the world of Hindi music in such a short span of time, and then left the mortal world in such a hurry!

(Visit http://www.youtube.com/watch?v=5EBrkEyCJ5Q&feature=related for the song-sequence)

 A tipsy Raj visits his conscience-keeper Vidya  to show off the note-bundles he has started making out of his 420 formulae. Vidya scorns his waywardness but an adamant Raj totters back to his dark alley. A dignified Vidya watches impassively but her ghost image follows him pleading him to turn back –

‘O jaanewale mudke zara dekhke jaana’. ( a contrast to the earlier song ‘Mud mudke na dekh). The song is just touchingly beautiful, to put it mildly! Lata’s honey-voice and the exquisite fusion of piano and violins creates a dream-like aura making you drift into that old-world charm! Unfortunately truncated pre-maturely after first ‘antara’ and perhaps the most under-rated song of the film, it makes you wonder how many such gems of songs did not attain the popularity that they deserved, because of getting over-shadowed by other equally brilliant compositions from the same film!

 http://www.youtube.com/watch?v=vy6jtwxvS_c&feature=related

Raj is promoted as a partner by Seth in his business of conning the rich. Seth then eyes the poor for his loot and floats a housing scheme. He involves Raj for marketing the 100 Rs. worth dream-home to the ‘basti-walas’. Meanwhile Maya has more grandiose plans to collaborate with Raj and cheat the Seth off all his money. Raj has attacks of conscience and he oscillates between the two worlds. Was it a symbolic portrayal of a ‘Raj’ (nation) being torn between two conflicting values – one of ‘Maya’ (materialistic delusion) and  ‘Vidya’ (spiritual enlightenment)?! Anyway I don’t let my small brain trouble itself with allegories and just wait for another masterpiece of a song. It begins as a haunting echo of Rafi following Raj to the ‘basti’ and then bursts into a folk-dance while Raj watches from a corner with a heavy heart. Rafi’s voice is a rare treat in an RK film and he enlivens the mood when he begins with gusto ‘Ramaiyya Vastavaiyya—‘. Words that could have inspired a comedy song caricaturing a southern language, become an inspiration for a  short but profoundly poetic  treatise on love! Lata fills in as the sweet creamy layer. The song is clearly a labour of love by some of the best talents and the sincerity in their work shows all over.

 ‘Us desh-mein tere pardes-mein sone chandi-ke badle-mein bhikte hain dil

Is gaon-mein dard-ki chaon-mein pyar-ke naam-pe hi tadapte hain dil!’

You lose yourself in the lovely repartee between Rafi and Lata , till  Mukesh makes a late entry into the song and gives you the goose-bumps! (He did the same later in ‘O mere sanam’ in ‘Sangam’!).

 ‘Rasta wohi musafir wohi, ek taara na jaane kahn chup gaya

Duniya wohi duniyawale wohi, koi kya jaane kiska jahan lut gaya’!

Shailendra, the wily wizard of words, squeezes the heart and conjures up a tear!

The chorus captures the soul and Rafi gives the reverie a consummate finish that lingers on in the ears even after the song stops. The song is beautifully structured like a tasty triple-decker dessert, flavoured by a ‘Sangam’ of three great voices!

(Visit http://www.youtube.com/watch?v=8Y67ZkA9nf0 for the song-sequence)

Raj regains the pawned gold-medal and his conscience as well. Keeping his heart at the right place, he smartly turns the table on the Seth, Maya and also the greedy dishonest devil within himself. Finally he emerges triumphant in the trial of truth, puts on his tramp’s garb again and walks back the same way that he had come towards the horizon, only to be pulled back by Vidya’s love to a new world of  happy honest living.

‘Shri 420’ is undoubtedly a classic to remember, but it is not without its flaws. Raj Kapoor does the ‘Chaplinesque’ act a bit far in the first half indulging in slapstick stuff straight out of ‘Modern Times’ etc. Actually he is brilliant when he under-plays in the second half of the film! Then the characterizations are far too simplistic. All the characters are neatly divided into two groups- Good Poor and the Bad Rich!

  Ah! Now I remember something in the film that is both rich and good, which I missed to write about – that is S-J’s music! In fact, it is so good and so rich in content that it raises your ‘musichloresterol’ level and elevates your ‘blood pleasure’! What more can I say on it? I am an ‘Anari’ when it comes to ‘Raaga’s and other technicalities. So I cannot dive deep into the S-J Ocean to pick the pearls. I can just sit at the shore and enjoy the waves! BTW they say that the duo almost came to fist-cuffs over the ‘antara’ of a song in the film. I say, all the songs were worth such fights!

Mera Joota Hai Japani

Epilogue :

The tramp in real life as well was indeed triumphant, but he could have very well lost his way to glory, had he not hitch-hiked on this fantastic Caravan that he himself had assembled by the name ‘Shankar-Jaikishen’! The tramp was hailed as ‘Show-Man’ and the Caravan too rode on merrily delighting the millions. But Times do change through ‘Yesterday, Today and Tomorrow’, and so do personal equations! So the show-man got off at one point terminating his ‘Scintillating Journey’ of the Caravan and chose to walk along the ‘Long Path’ and eventually crossed over at another ‘Road Junction’. But in spite of a ‘Bobbing’ start at the detour, the ‘Show-Man’ sadly missed the bus to greater glories! The path and the junction were by no means undistinguished, but the colour and chemistry that he could pull off when he was part of the Caravan, was grossly missing! As a result, Raj Kapoor’s travelogue beyond the mid-seventies was eminently forgettable! His sons also could not resurrect the man with violin on one arm and the bent lady on other, who had posed so awe-inspiringly with the golden sky glowing in the background and an accompanying grand piece of tune gifted by the Caravan! The time soon came when you still checked out an RK movie, but you no longer exactly waited with bated breath for the ‘show’ to start while Prithiviraj-ji was doing the ‘Shiv-Ling Pooja’! The RK banner had sadly lost its golden glow!

As for the Caravan, with all his soul-mates gone one after the other, Shankar-ji valiantly drove on alone towards the golden sunset, as magnificently as during the good old times.

‘Kaarwan gujar gaya, Ghubbaar dekhte rahe’!  - As you watched, the Caravan had slowly disappeared from sight in the distant horizon. But You, the die-hard S-J fan still re-visit daily the same spot and stand there engulfed by the golden dust of memories left by the Caravan’s spectacular trail, and as you return to your daily grind, you sigh deeply —‘Jaane kahan gaye woh din—–‘! 

Musically Yours,

S.V.Nathan (subramaniamviswanathan@yahoo.com)

caravan of RK

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I have posted a few songs from “Deedaar” (1951) but the most well known song from the movie is not one of them.

Yes, the most popular song from this movie is the iconic “bachpan ke din bhula na dena aaj hanse kal rula na denaa”. This song is so popular that everyone who is into Bollywood music has definitely heard it, even if he/she may not be aware about the movie this song is from. In fact, even I did not know till yesterday that this song was from “Deedaar” (1951).

Now that I am aware, I need to post this song and so here I am.

I have not watched the movie, and I suspect that the VCD of this movie is lying there somewhere with me, but I am too lazy to search for it. My curiosity is aroused after watching the picturisation of the song. This song has at least two , or perhaps more parts. The most well known part is the one sung by Lata and Shamshad Begam. I found that this part was picturised on two kids- a boy and a girl- playing the childhood roles of Nargis and Dilip Kumar, who are seen riding on a horse and singing this song. Now, one does not expect kids to sing songs of love, life, future, etc, but then this is a song written from the perspective of grown ups, and grown ups making Bollywood movies tended to treat kids like grown ups. The fact that small kids do no think of matters like love, future, separation and reunion etc like grown ups has been disregarded while framing the story as well as the song.

All these discrepancies aside, the song is indeed a timeless classic. It is written by Shakeel Badayuni (with a grown ups’ perspective, as mentioned above, and with the benefit of hindsight, since he knew that it was a separation and reunion story). Naushad is the music director. Lata sings for the girl while Shamshad Behgam sings for the boy. Shamshad Begam has obviously done a good job singing for a boy, and in future she would be asked to sing for grown up heroes too ( viz Shammi Kapoor and Vishwajeet).

While watching the picturisation, it is interesting to note that the girl playing the young Nargis is none other than Tabassum, who later made her mark as a radio presenter in radio Ceylon. I have no idea who the boy playing Dilip Kumar’s childhood is or whether he did anything of note after growing up.

The happy songs ends up on a tragic note as the hosre goes out of control and the girl is thrown out of the horse. I have no idea what happens next, but I suspect that the girl loses her memory and is subsequently separated from the boy.

But as per Bollywood traditions, even an amnesiac remembers a song sung in childhood and it is this song resung in adult life that reunites people.

In another clip, we see Nargis driving a victoria (ie Tonga). Ashok Kumar is seated beside her and Dilp Kumar is seated in the rear seat. It is a small word, as the audience can see, but the actors cannot yet see it, since the movie still needs to run for two hopurs more. Dilip Kumar watches a horse going by with a kid riding it. This scene has a trigger effect on him and he starts singing the song “Bachpan ke din bhula na dena” in right earnest. This song, as expected , triggers a reaction in Nargis. She gets disturbed, as she can recall this song from her past, but she cannot put a finger to it. She begins to lose control over her tonga, and Dilip Kumar keeps adding fuel to fire by upping the ante and singing “bachpan ke din bhula na dena, bachpan ke din bhula na dena” at an higer and higher crescendo, till Ashok Kumar decides to take charge. With his left hand, he takes hold of the reins of the horse, and with his right hand, he shuts the mouth of Dilip Kumar. This is the most assertive action by Ashok Kumar in a Bollywood movie that I have ever seen.

Lata and Shamshad Begam version

Rafi version

song-Bachpan ke din bhulaa na denaa (Deedaar) (1951) Singers-Lata,Shamshad Begam,Lyrics- Shakeel Badayuni, MD-Naushad

Lyrics

Lata and Shamshad Begam version
————————–

o bachapan ke din bhulaa na denaa
o bachapan ke din bhulaa na denaa
aaj hanse kal rulaa na denaa
aaj hanse kal rulaa na denaa
bachpan ke din bhulaa na denaa

lambe hain jeewan ke raste
aao chalen ham gaate-hanste
lambe hain jeewan ke raste
aao chalen ham gaate-hanste
gaate-hanste
aaa
door desh ek mahal banaayen
pyaar kaa jismen deep jalaayen
door desh ek mahal banaayen
pyaar kaa jismen deep jalaayen
deep jalaayen
deep jalaakar bujhaa na denaa
aaj hanse kal rulaa na denaa
o bachapan ke din bhulaa na denaa

rut badle yaa jeewan beete
dil ke taraane hon na puraane
rut badle yaa jeewan beete
dil ke taraane hon na puraane
haa haa
nainon mein ban kar sapan suhaane
aayenge ek din yahi zamaane
haaa
nainon mein ban kar sapan suhaane
aayenge ek din yahi zamaane
yahi zamaane
yaad hamaari mitaa na denaa
aaj hanse kal rulaa na denaa
o bachpan ke din bhulaa na denaa

————————————
Rafi version

o bachpan ke din bhulaa na denaa
o bachpan ke din bhulaa na denaa
aaj hanse kal rulaa na denaa
aaj hanse kal rulaa na denaa
o bachpan ke din bhulaa na denaa

rut badle yaa jeewan beete
dil ke taraane hon na puraane
rut badle yaa jeewan beete
dil ke taraane hon na puraane
ho ho
nainon mein ban kar sapan suhaane
aayenge ik din yahi zamaane
yahi zamaane
yaad hamaari mitaa na denaa
aaj hanse kal rulaa na denaa
o bachpan ke din bhulaa na denaa

bachpan ke din bhulaa na denaa
aaj hanse kal rulaa na denaa
rulaa na denaa
rulaa na denaa

Many people may have noticed that the picturised versions of many songs are often different from their audio versions. One reason could be that the picturised version is often curtailed while editing the movie. But the main reason for the difference between picturised version and audio version is more technical. In olden days, it was technically not possible to record a song once and use it for audio as well as picturised versions. So those days the same song used to be recorded twice- once for the picturisation and once for the audio recording. So one could find some slight, and sometimes, more than slight differences in the two versions of the same song.

Song may be slightly different in the two versions, but the same artists were used for both version and they were paid twice. And that was a big help for people who sang in chorus. They got paid twice for the two recordings of the same song.

In some exceptional cases, the artists singing the recorded version were different from those singing it in the movie version !

Take this song from “Anokha Pyaar” (1948) for example. Most people, who have heard the audio version of the songs in Lata’s voice, will be taken aback while watching the picturised version of the same songs. On the movie version, these songs are sung by Meena Kapoor.

One can only guess the reasons. Perhaps Meena Kapoor after recording the movie version of the song had fallen sick or something and so this song had to be recorded for the record company in Lata’s voice.

Shams Azimabadi is the lyricist and Anil Biswas (later to be Meena Kapoor’s husband) is the music director.

This song is picturised on a very young looking Nargis.

Song-Ek dil ka lagaana baaki thaa (Anokha Pyaar) (1948)Singer-Meena Kapoor, Lyrics-Shams Azimabadi, MD-Anil Biswas

Lyrics

Ek dil ka lagaana baaki thaa
so dil bhi lagaa ke dekh liya
ek dil ka lagaana baaki thaa
so dil bhi lagaa ke dekh liya
tadqeer ka rona kam na huaa
aansoo bhi bahaa ke dekh liyaa
tadqeer ka rona kam na huaa
aansoo bhi bahaa ke dekh liyaa
ek dil ka lagaana

ek baar bhulaana chaaha tha
sau baar wo hamko yaad aaya
ek baar bhulaana chaaha tha
sau baar wo hamko yaad aaya
ek bhoolne waale ko hamne
sau baar bhulaa ke dekh liyaa
ek bhoolne waale ko hamne
sau baar bhulaa ke dekh liyaa
ek dil kaa lagaana

ab tak to samajh mein aa na saka
is dil ki tamannayen kya hain
ab tak to samajh mein aa na saka
is dil ki tamannayen kya hain
sau baar
sau baar hansaa ke dekh liya
sau baar rulaa ke dekh liya
sau baar hansaa ke dekh liya
sau baar rulaa ke dekh liya
ek dil ka lagaana baaki tha
so dil bhi lagaa ke dekh liyaa
ek dil ka lagaana

Mukesh is traditionally regarded as the voice of Raj Kapoor, but that was not always the case. In his earlier movies, it was Rafi who often sang for Raj Kapoor.And we all recall that Manna Dey had famously sung for Raj Kapoor in “Chori Chori”.

Here is a song where Talat Mehmood sings for Raj Kapoor.

This song is a phone song which is picturised on Raj Kapoor and Nargis. This song is written by Shailendra and Roshan is the music director.

This movie is “Anhonee” (1952) . In this movie Talat Mehmood sang all songs for Raj Kapoor whereas Lata sang for Nargis.

Song-Mere dil ki dhadkan kyaa bole (Anhonee) (1952) Singers-Talat Mehmood, Lata,Lyrics-Shailendra, MD-Roshan

Lyrics

mere dil ki dhadaan kyaa bole?
kyaa bole?
mere dil ki dhadaan kyaa bole?
kyaa bole?
main jaanoon aur tu jaane
main jaanoon aur tu jaane
meraa pyaar bharaa man kyun dole?
kyun dole?
meraa pyaar bharaa man kyun dole?
kyun dole?
main jaanoon aur tu jaane
main jaanoon aur tu jaane

chali gayi raat madbhari
hawaaon ke dole pe ho ke sawaar
de gayi chaand ki pari
nigaahon ko sapnon kaa paagal khumaar
hamen kis ne diye ye nazraane
kaun jaane
main jaanoon aur tu jaane
main jaanoon aur tu jaane
mere dil ki dhadaan kyaa bole?
kyaa bole?
main jaanoon aur tu jaane
main jaanoon aur tu jaane

mahki thi raat ki raani
khile the gagan mein chameli ke phool
poochhaa main ne kaan mein tum se
muhabbat hai kaisi mazedaar bhool
main sun ke lagi kyun sharmaane?
kaun jaane
main jaanoon aur tu jaane
main jaanoon aur tu jaane
mere dil ki dhadaan kyaa bole?
kyaa bole?
main jaanoon aur tu jaane
main jaanoon aur tu jaane

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In late 1940s and early 1950s, actors were shown seated at the piano and singing a song. Now singing a song and playing a piano simultaneously is a superhuman job, but Bollywood actors would be shown doing that routinely.

Then there are some cases where the actors ( mostly ladies) who would only have to sit on the chair kept near the piano. They need not even face the piano.

This particular song is one such piano song. Of course, this song falls under other categories too, viz it is a feel good song, feelings of herat song. In simple words, it is a happy song. In fact, I wonder why I did not think of this category, when I had the opposite category viz sad songs in place. Beter late than never.

This song is sung by Lata and picturised on Nargis. This song is written by Hasrat Jaipuri and music is composed by Shankar Jaikishan.

It is a fabulous song. This song still sounds as fresh as it has always sounded. The joy and excitement that the lady feels on the arrival of her “balam” is conveyed wonderfully well in this song.

Song-Jabse balam ghar aaye (Aawaara) (1951) Singer-Lata, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan

Lyrics

jabse balam ghar aaye
jiyaraa machal-machal jaaye
jabse balam ghar aaye
jiyaraa machal-machal jaaye

o
dil ne dil se kahaa thaa fasaanaa
dil ne dil se kahaa thaa fasaanaa
laut aayaa hai guzraa zamaanaa
ho laut aayaa hai guzraa zamaanaa
khushiyaan saath-saath laaye
jiyaraa machal-machal jaaye
jabse balam ghar aaye
jiyaraa machal-machal jaaye

o
laa ke aankhon se dil mein bithaaun
laa ke aankhon se dil mein bithaaun
muskuraa ke sitaare lutaaun
ho muskuraa ke sitaare lutaaun
aashaa jhoom-jhoom gaaye
jiyaraa machal-machal jaaye
jabse balam ghar aaye
jiyaraa machal-machal jaaye

o
din hain apne muhabbat jawaan hai
din hain apne muhabbat jawaan hai
unse aabaad meraa jahaan hai
ho unse aabaad meraa jahaan hai
man ke chor chale aaye
jiyaraa machal-machal jaaye
jabse balam ghar aaye
jiyaraa machal-machal jaaye
jabse balam ghar aaye
jiyaraa machal-machal jaaye

The more songs I post, the more I realise how small is the collection of songs in this blog vis a vis the sheer volume of quality songs that are not yet covered. I am approaching 2000 songs in this blog, but I feel that I have only scratched the surface so far.

Here is this song from “Aawaara” (1951) which was just one of those countless songs that had not yet been posted here.

This song is sung wonderfully well by Lata , and that too seemingly effortlessly. Hasrat Jaipuri’s lyrics are superb, and the understated music of this song creates a perfect backdrop for this song. This is a quintessential chaayaageet song.

The song is picturised on Nargis. It begins as a piano song, but soon the piano is forgotten. Bein separated from ones beloved and missing him- this feeling is conveyed wonderfully well in this song. The listener can feel it even today, some six decades after this song was created. This song is a result of sheer genius. No wonder, this song has gone on to become a timeless classic.

Song-Aa jaao tadapte hain armaan (Aawaara) (1951) Singer-Lata, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan

Lyrics

aa jaao tadapte hain armaan
aa jaao tadapte hain armaan
ab raat guzarne waali hai
ab raat guzarne waali hai
main roun yahaan tum chup ho wahaan
ab rat guzarne waali hai
ab raat guzarne waali hai

ho
chaand ki rangat udne lagi
lo taaron ke dil ab doob gaye
doob gaye
hai dard bhara bechain samaan
ab raat guzarne waali hai
ab raat guzarne waali hai

Ik chaand ke dole mein aayi nazar
Ik chaand ke dole mein aayi nazar
ye raat ki dulhan chal di kidhar
chal di kidhar
aawaaz to do khoye ho kahaan
ab raat guzarne waali hai
ab raat guzarne waali hai

ghabraa ke nazar bhi haar gayi
ghabraa ke nazar bhi haar gayi
taqdeer ko bhi neend aane lagi
neend aane lagi
tum aate nahin main jaaun kahaan
ab raat guzarne waali hai
ab raat guzarne waali hai
ab raat guzarne waali hai
ab raat guzarne waali hai
ab raat guzarne waali hai
ab raat guzarne waali hai