Jyoti kalash chhalke.
.Lata Mangeshkar_Sudhir Phadke_Pt.Narendra Sharma..a tribute
The indescribable quality here so simply shining in this song, the beauty of simplicity, of purity and bliss and light, was later in HAHK, and too in some other films of the b&w era.
https://www.youtube.com/watch?v=MGgkXgZXJT8
.........................................................................................................................
Lata Mangeshkar - Aye Mere Watan Ke Logo (Live Performance)
Quintessential lyrics that captured the time and encapsulated those months for ever, the song that brings the nation together more than any other!
Aye Mere Watan Ke Logon
Lata Mangeshkar
ऐ मेरे वतन के लोगों
तुम खूब लगा लो नारा
ये शुभ दिन है हम सब का
लहरा लो तिरंगा प्यारा
पर मत भूलो सीमा पर
वीरों ने है प्राण गँवाए
कुछ याद उन्हें भी कर लो
कुछ याद उन्हें भी कर लो
जो लौट के घर ना आये
जो लौट के घर ना आये
ऐ मेरे वतन के लोगों
ज़रा आँख में भर लो पानी
जो शहीद हुए हैं उनकी
ज़रा याद करो क़ुरबानी
ऐ मेरे वतन के लोगों
ज़रा आँख में भर लो पानी
जो शहीद हुए हैं उनकी
ज़रा याद करो क़ुरबानी
तुम भूल ना जाओ उनको
इसलिए सुनो ये कहानी
जो शहीद हुए हैं उनकी
ज़रा याद करो क़ुरबानी
जब घायल हुआ हिमालय
खतरे में पड़ी आज़ादी
जब तक थी साँस लड़े वो
जब तक थी साँस लड़े वो
फिर अपनी लाश बिछा दी
संगीन पे धर कर माथा
सो गये अमर बलिदानी
जो शहीद हुए हैं उनकी
ज़रा याद करो क़ुरबानी
जब देश में थी दीवाली
वो खेल रहे थे होली
जब हम बैठे थे घरों में
जब हम बैठे थे घरों में
वो झेल रहे थे गोली
थे धन्य जवान वो अपने
थी धन्य वो उनकी जवानी
जो शहीद हुए हैं उनकी
ज़रा याद करो क़ुरबानी
कोई सिख कोई जाट मराठा
कोई सिख कोई जाट मराठा
कोई गुरखा कोई मदरासी
कोई गुरखा कोई मदरासी
सरहद पर मरनेवाला
सरहद पर मरनेवाला
हर वीर था भारतवासी
जो खून गिरा पर्वत पर
वो खून था हिंदुस्तानी
जो शहीद हुए हैं उनकी
ज़रा याद करो क़ुरबानी
थी खून से लथ-पथ काया
फिर भी बन्दूक उठाके
दस-दस को एक ने मारा
फिर गिर गये होश गँवा के
जब अन्त-समय आया तो
जब अन्त-समय आया तो
कह गए के अब मरते हैं
खुश रहना देश के प्यारों
खुश रहना देश के प्यारों
अब हम तो सफ़र करते हैं
अब हम तो सफ़र करते हैं
क्या लोग थे वो दीवाने
क्या लोग थे वो अभिमानी
जो शहीद हुए हैं उनकी
ज़रा याद करो क़ुरबानी
तुम भूल न जाओ उनको
इस लिये कही ये कहानी
जो शहीद हुए हैं उनकी
ज़रा याद करो क़ुरबानी
जय हिन्द जय हिन्द
जय हिन्द की सेना
जय हिन्द जय हिन्द
जय हिन्द की सेना
जय हिन्द जय हिन्द जय हिन्द
https://m.youtube.com/watch?v=sdyPozsx_6M
.........................................................................................................................
Jeevan Dor Tumhi Sang Bandhi - Sati Savitri - Lata Mangeshkar
Incredibly beautiful song, old classic, old memories!
https://www.youtube.com/watch?v=ww6BYhEDlrI
.........................................................................................................................
Sakhi Ri Sun Bole Papihaa Us Paar - Classical song from Miss Mary
Incredibly sweet, beautiful! And justly so. As to comparing and going this one better, no that one, that's as silly as standing at Prayaag and quarreling about Gangaa vs Yamunaa, which fits this celestial pair of singers very well!
https://www.youtube.com/watch?v=e4pUsBHbZpQ
.........................................................................................................................
SAAJAN BIN NEEND NA AAVE - LATA MANGESHKAR JI (RARE SONG) - MUNIM JI (1955) - SAHIR - S D BURMAN
Lovely song! Funny, one doesn't remember this one at all, didn't play on radio much then. Several classical songs did, so perhaps this was edited out of the film? Few people then had records, so film watching and listening to radio were the source. And latter depended on people writing to ask the song to be played, so -
https://www.youtube.com/watch?v=wNPgEzr8CwI
.........................................................................................................................
KETAKI GULAB JUHI - MANNA DEY -BHIMSEN JOSHI - SHAILENDRA -SHANKER JAIKISHAN ( BASANT BAHAR 1956)
It was probably about this song that Manna Dey spoke, about how he was apprehensive, and Bhimsen Joshi reassured him, and said - dont worry, we'll have you win!
Or was there more than one song with the two great artists?
https://www.youtube.com/watch?v=FseICrhx-W0
................................................................................................................................
Beauty in it's complete manifestation as understood by India is in this beautiful song, with simplicity at soul, lyrical, musical, and easily understood by heart. Colour and race, makeup and expense are irrelevant, the beauty is of the young woman, in the simplest saree and no other dressing up such as jewellery, hums to herself longing for her mate as rain falls. Love of rains, so natural to India, is at heart of the whole experience of beauty here. And every facet of this is perfectly crafted, too - lyrics, music, picturisation of the simple young woman in the porch of her simple little home!
Anyone dares to claim India has racism, show this and ask, where, exactly? For this much can be a safe bet - anyone understands the total experience of beauty here, has either the capability to rise above racism, or is from India. And when someone has risen above, the vision stays, just as memory of golden sun lighting up the white peaks and ranges of the lofty abode of snow, Himaalaya, sinks deep in psyche forever long past one's return to plains far away.
https://www.youtube.com/watch?v=LTl3-F24thk
.........................................................................................................................
Tumse Hi Ghar Ghar Kahlaya.. Mukesh - Narendra Sharma - Sudhir Phadke..
Incredible remake of an incredibly superb original Marathi film, Vahininchya Bangadya".
As great as artist Meena Kumari was, she didnt have a cakewalk in this film. She had said in an interview that when she signed the film, she watched the original, and was quite daunted at the task of having to match up to the artist who performed the character in the Marathi original film.
Even for this song, the poet probably didn't have an easy task trying to match the original "Tu Nasatis Tar".
https://www.youtube.com/watch?v=LQrSxRzNvFU
.........................................................................................................................
Zindigi Dene Wale... (Dil-e- Nadan)
Bekhata toune mujhse khushi chheen lee,
Zindaa rakhaa magar zindagi chheen lee,
Kar diya dil ka khoon,
Chup kha tak rahoon,
Saaf kyu na kahoon,
Tou khushi se meri dar gayaa!
True about some humans who demand lifelong slavery in exchange for having contributed a moment to giving life.
https://www.youtube.com/watch?v=5F7fUys1qRY
.........................................................................................................................
KAISE KOI JIYE ZAHAR HAI ZINDAGI - BAADBAAN -1954 - BOTH VERSION -GEETA DUTT & HEMANT, TIMIR, S K PAL, INDEEVAR
Nice. Old memories brought back.
https://m.youtube.com/watch?v=SBzvXaEdQWw
Elsewhere, on another YT video of the same song someone has posted,
This video is false, with song from Baadbaan - a very popular one and eduring popularity at that - song imposed on video of another source, and title falsely credits wrong name for the film. Baadbaan starred Ashok Kumar, Dev Anand, Meena Kumari, and Usha Kiran, in the four major roles. This star was no where in the film.
https://m.youtube.com/watch?v=Oe_YFawnfog
.........................................................................................................................
Ja main tose nahi bolu ..Lata Mangeshkar - Shailendra - Anil Biswas..tribute to the melody queen
That era, even what's now derogatorily termed as "item song" had this superlative quality, of both music and dance performance!
https://www.youtube.com/watch?v=WTcXSp2KvNs
......................................................................................................................... That era, even what's now derogatorily termed as "item song" had this superlative quality, of both music and dance performance!
https://www.youtube.com/watch?v=WTcXSp2KvNs
Rahi Matawaale - Talat Mehmood, Suraiya in Waris
Beautiful song and beautiful Suraiya, and memories - of a trek up mountain and coming down along a waterfall - that have little to do with either.
https://m.youtube.com/watch?v=dS4jGtO0lT4
.........................................................................................................................
Main Dil Hoon Ek Armaan Bharaa
Song : Main dil hoon ek armaan bharaa... Movie : Anhonee (1952), Singer-Talat Mehmood, Lyricist : Satyendra Athaiyya, Music Director : Roshanlal
Once in a few blue moons might such impossibly fabulous combination of talents happen to produce so incredibly beautiful a song with such a good artist for it's screen performance - lyrics, composition, voice, and the expressive incomparable Raj Kapoor!
https://www.youtube.com/watch?v=RqpECqkBVzE
.........................................................................................................................
Jab Tum Hi Nahin Apne, with Nayan Deewaane - and the original Shey din dujoney
Lovely hearing original after the adaptation, thanks to this video which doesn't feature the original footage due to unavoidable reasons. The latter version, along with
Jab Tum Hi Nahin Apne
https://m.youtube.com/watch?v=bE5BRpd0Uck
is so quintessentially Suraiya! And yet the original here, Ravindra Sangeet, even the same melody, has very different effect. Some to do with lyrics, some with tempo, but the singer's are both supreme and done justice to lyrics.
https://m.youtube.com/watch?v=JbUprp2Ki3s
Song : nain deewane,nain deewane ek nahi maane..Sheydin Dujoney
Movie :Afsar ,1950,
Singer : Suraiya ,
Lyricists : Pandit Narendra Sharma
Music Director : Sachin Dev Burman
Director : Chetan Anand
Cast : Dev Anand, Suraiya, Kanhaiya Lal, Ruma Devi, Rashid Khan, Zohra Sehgal, Krishan Dhawan, Manmohan Krishan, Anand Pal, Mohan Sehgal,
Production Co: Navketan,
Lyrics :-
nain deewane,nain deewane ek nahi maane
kare man mani, maane naa nain deewane
huye hai paraye, man haar aaye
man ka maram jane naa, maane naa, maane na
nain deewane kare man maani, maane na nain deewane
jana naa jana, man hi naa jana
chitavan saawan, banata nishana
kaisa nishana, kaisa nishana
man hi pahechane naa, mane naa, mane na
nain deewane ek nahin mane
kare man mani, maane naa nain deewane
jeevan beli, kare athakheli
jeevan beli, kare athakheli
maheke man ke bakul
preet phul phule, jhulaa jhule
chaheke man bul-bul, maheke man ke bakul
man kya jaane, kya hoga kal
dhaar samay ki baheti pal pal
jeevan chanchal, jeevan chanchal
din jaake phir aane na, maane na, maane na
nain deewane ek nahi maane
kare man mani, mane naa nain deewane...
Original:-
Sedin dujone dulechhinu bone..
Rabindra Sangeet
Singer : Hemant Kumar (Hemanta Mukhopadhyay)
Original Lyrics:-
সেদিন দুজনে দুলেছিনু বনে, ফুলডোরে বাঁধা ঝুলনা ।
সেই স্মৃতিটুকু কভু খনে খনে যেন জাগে মনে ভুলোনা ।
সেদিন বাতাসে ছিল তুমি জান- আমারি মনের প্রলাপ জড়ানো,
আকাশে আকাশে আছিল ছড়ানো তোমার হাসির তুলনা ।।
যেতে যেতে পথে পূর্ণিমারাতে চাঁদ উঠেছিল গগনে ।
দেখা হয়েছিল তোমাতে আমাতে কি জানি কি মহালগনে ।
এখন আমার বেলা নাহি আর, বহিব একাকী বিরহের ভার-
বাঁধিনু যে রাখী পরানে তোমার সে রাখী খুলো না, খুলো না।
Transcripted Lyrics :-
Sedin dujone dulechinu bone, phulodore baadha jhulona
sei sriti tuku kobhu khone khone, jeno jage mone, bhulo na.
se din batase chhilo tumi jano, amari moner prolap jorano
akashe akashe achhilo chhorano tomar hasir tulona
jete jete pothe purnima rate chand uthechhilo gagane
dekha hoyechhilo tomate amate ki jani ki mohalogone
ekhon amar bela nahi aar, bohibo ekaki biroher bhar
bandhinu je rakhi porane tomar, se rakhi khulo na, khulo na.
Translation
In the woods we swayed together on a flowered swing
The memory perpetually returns
never forget!
That day, the wind was laden by my chatter
Your silver laughter rang the skies.
On our way, the full moon became radiant
A great moment it was, when we met.
No more it is my time
I bear the pain alone.
(But) the rakhi I tied to your heart
don't ever remove -
https://www.youtube.com/watch?v=JbUprp2Ki3s&app=desktop
Responding to a comment below another video of the song:-
You never know if someone could find strength enough in future to break a word sworn and meanwhile the young guy had a life and couldn't be allowed by an elder brother to waste away in heartbreak. It wasn't Chetan Anand in the wrong! Yes, it would have been lovely if only they could have married, if only the others who disapproved hadn't informed the granny, if only the parents were stronger! Would have been good to see a beautiful couple so in love happy and have children beautiful like them. But even as it is, the love story remains unforgettable.
youtube.com - Nain Diwane Ek Nahin Mane-Afsar - Suraiya
.........................................................................................................................
Bekaraar Hai Koi - Shammi Kapoor & Suraiya - Shama Parwana
Wonder who the beautiful companion is.
https://www.youtube.com/watch?v=TSakjIe3e4o
.........................................................................................................................
Aapse Pyaar Hua Jaataa Hai - Suraiya.
Film - Shama
Perfectly described in lyrics and expressed in music the state of being on verge of love and waves that irresistibly draw one deeper, with perfect performance by Suraiya vocally and visually !
https://m.youtube.com/watch?v=sC19dfAtZAA
.........................................................................................................................
Ae Dil Na Mujhse - Badal 1951 Song - Madhubala - Prem Nath - Mukesh - Lata Mangeshkar
Lovely.
https://m.youtube.com/watch?v=saIVAVuIocs
.........................................................................................................................
Exquisite Beauty
Sakhi Ri Sun Bold Papihaa Us Paar
https://m.youtube.com/watch?v=e4pUsBHbZpQ
Shyaamsundara Roop Nayan - Lata Mangeshkar - Malkauns
https://m.youtube.com/watch?v=3IVJQXOhGSQ
Tu Hai Meraa Prem Devataa
https://m.youtube.com/watch?v=ET1BPuO_aG8
Preetam Daras Dikhao..Manna Dey - Lata - Rajendra Krishna - Madan Mohan..
https://m.youtube.com/watch?v=koCcAQKaKzU W
Main Sitaaron Kaa Taranaa | Chalti Ka Naam Gaadi Songs | Kishore Kumar | Madhubala
https://m.youtube.com/watch?v=Ob56hsABMts
.........................................................................................................................
Mazandaraa, Mazandaraa - Talat Mahmood,
RUSTOM SOHRAB - Prithviraj Kapoor, Suraiya
For years, decades, this song's refrain was at back of mind, with no clue that it was from this film seen about half a century ago or so, and it was only recently that much was understood better due to such internet benefits!
https://m.youtube.com/watch?v=qVsC_n_xG2Y
.........................................................................................................................
Dharti Kahe Pukaar Ke (HD) - Do Bigha Zamin Songs - Balraj Sahni - Meena Kumari - Manna Dey
Incredible film, incredibly superior performances. Balraj Sahni above all. He was so real, during break when he gave a Rs. 100 currency note to a paan vendor, the vendor was certain this rickshaw puller had stolen it. He called the policeman who was around.
At 1:45 spot Chitra, major star in Marathi films.
https://www.youtube.com/watch?v=vD-AWCj9Chc
.........................................................................................................................
Funny, when one comprehend RK work, its a steep dose of quinine, which he has people ingesting knowing fully well it is so, because it's so heavily and yet attractively overcoated with honey and spice - which is completely in accord with Naatyashaastra!
Here in the perhaps his best work, and arguably best production only matched by Jaagte Raho, perhaps one of the best films ever, at that, this song and romance is what most people of course remember, and in fact repeatedly watch the film for; and yet, this song, the romance, are just the overstating of honey with spices. The real soul is the story of the mother and son - she abandoned for no fault of hers and striving to bring up a child all by herself in poverty and on brink of starvation, he forever anguished with the realisation he has to look after her and handicapped by first his young age, then his lack of education and being caught in a bad trap. The young woman who is draped in romance angle is in fact the only relief and hope, only support and aspiration for the tortured soul. In this respect her role is not that different from that in Jaagte Raho, only there it is more obvious.
And while there is no denying the romance angle of this song, a much more complex song with matching complex filming is the much less often remembered one before her birthday - the line "Ab Raat Guzaranewaalie Hai", with its overlaying of several completely different meanings, all just as much of anguish to the two characters as the obvious one.
https://www.youtube.com/watch?v=i0J4IE7DkuQ
.........................................................................................................................
(Jaal) Yeh raat yeh chandni phir kahan - .S. D. Burman, Hemant Kumar
Eternal dilemma, between path and the blossoms lining it, distant peaks lit and gardens close, self and pangs of suffering desert. Superb film.
Several ways it's so very different from the then norm, the faultlessly beautiful hero plays an out and out villain who not only cheats the law but women as he goes along - credit to Dev Anand for playing this role without excuses added - and has every intention of cheating the heroine until he realises he's in love, the heroine who isn't shy but a working woman in primitive seafaring fishing and quite rambunctious but innocent until she is caught in the snare of this guy and makes a choice, and the beautiful music of course is cherry on top!
Funny, there seems a dearth of information about production, so it's probably not Navketan, and one name given of producer on internet is T. R. Fatechand, which sounds Gujarati, which makes the crew as pan India as can be.
Hero Dev Anand was from Punjab, as was the heroine Geeta Bali, although the story and location shooting was of southwestern coast, closer to the home region of director and script writer Gurudutt whose family was from Karnataka but his own early years having been in Bengal he was heavily influenced by the culture of Bengal. The music director of the film was S. D. Burman, from as much eastern edge of Bengal as it can get - his own family name being probably about ancestral roots from Burma, although his family was royal family of Tripura - and finally, the singer here is Hemant Kumar.
Hence the inclusion of this in the Bengal series here.
https://www.youtube.com/watch?v=dBw_JSiNF9c
https://m.youtube.com/watch?v=4GfUK9Urb6I
https://m.youtube.com/watch?v=dBw_JSiNF9c
................................................................................................................................
kabhi na kabhi kahin na kahin.. - Rajinder Krishan - Madan Mohan..(Jaal) Yeh raat yeh chandni phir kahan - .S. D. Burman, Hemant Kumar
Eternal dilemma, between path and the blossoms lining it, distant peaks lit and gardens close, self and pangs of suffering desert. Superb film.
Several ways it's so very different from the then norm, the faultlessly beautiful hero plays an out and out villain who not only cheats the law but women as he goes along - credit to Dev Anand for playing this role without excuses added - and has every intention of cheating the heroine until he realises he's in love, the heroine who isn't shy but a working woman in primitive seafaring fishing and quite rambunctious but innocent until she is caught in the snare of this guy and makes a choice, and the beautiful music of course is cherry on top!
Funny, there seems a dearth of information about production, so it's probably not Navketan, and one name given of producer on internet is T. R. Fatechand, which sounds Gujarati, which makes the crew as pan India as can be.
Hero Dev Anand was from Punjab, as was the heroine Geeta Bali, although the story and location shooting was of southwestern coast, closer to the home region of director and script writer Gurudutt whose family was from Karnataka but his own early years having been in Bengal he was heavily influenced by the culture of Bengal. The music director of the film was S. D. Burman, from as much eastern edge of Bengal as it can get - his own family name being probably about ancestral roots from Burma, although his family was royal family of Tripura - and finally, the singer here is Hemant Kumar.
Hence the inclusion of this in the Bengal series here.
https://www.youtube.com/watch?v=dBw_JSiNF9c
https://m.youtube.com/watch?v=4GfUK9Urb6I
https://m.youtube.com/watch?v=dBw_JSiNF9c
................................................................................................................................
Long time since one heard this - those days it was often enough on radio, heard throughout neighbourhoods like fragrance of flowers and incense wafting out on breeze.
https://m.youtube.com/watch?v=T4iOgKMV7HE
.........................................................................................................................
LATPAT LATPAT TUJHA CHAALAN GA … SINGER, LATA MANGESHKAR … FILM, AMAR BHUPALI (1951)
Did nobody else realise how this original gem was copied by the famous film maker in Hindi, with nonsensical lyrics and a few Marathi words thrown about, like sprinkling coconut and kothimbir on a rajma hamburger and calling it Marathi!
https://m.youtube.com/watch?v=L72j6tHdwMk
.........................................................................................................................
Aasman Wale Teri Duniya Se Jee Ghabaraa Gaya..
Lata_Talat_Laila Majnu1953..a tribute
Lyricist: Shakeel Badayuni,
Music Director: Ghulam Mohammad,
Director: K Amar Nath,
Producer: P N Arora,
Cast: Shammi Kapoor, Nutan, Ulhas, Begum Para, Ratan Kumar, Kammo, Vasti,
Production : All india pictures,
Lyrics :-
aasman wale teri duniya se ji ghabra gaya
aasman wale teri duniya se ji ghabra gaya
char din ki chandani me gam ka baadal chha gaya
aasman vaale teri duniya se ji ghabra gaya
aasman vaale teri duniya se ji ghabra gaya
aasman vaale teri duniya se ji ghabra gaya
jal gaya dil soz-e-gam se, jab koi yad aa gaya
aasman vaale teri duniya se ji ghabra gaya
aag me phulo ki duniya ne mera tan rakh diya
aag me phulo ki duniya ne mera tan rakh diya
ek murde ko sajaakar naam dulhan rakh diya
bol maalik ye tamaasha tujhse kyun dekha gaya
aasman vaale teri duniya se ji ghabra gaya
kis qadar naashad hu barbaad hu viran hu
kis qadar naashad hu barbaad hu viran hu
raham kar mujh par khudaya
raham kar mujh par khudaya, mai bhi ek insaan hu
maut hi de de ke ab, shikva zuba par aa gaya
aasman vaale teri duniya se ji ghabra gaya
char din ki chandani me gam ka baadal chha gaya
aasman vaale teri duniya se ji ghabra gaya..
Lesser known gems.
https://www.youtube.com/watch?v=Bb51L-ZXxqA
.........................................................................................................................
HAIN SABSE MADHUR WO GEET -TALAT MEHMOOD -SHAILENDRA-SHANKER JAIKISHAN (PATITA1953)
Her beauty was rarely appreciated as much as deserved, while his has only been as unappreciated officially as his work, by critics.
The verses of course are direct translation of the famous English poem
Our sweetest songs are those
That tell of saddest thoughts
We look before and after
And pine for what is not.
https://m.youtube.com/watch?v=AMJ3yQ54dtE
.........................................................................................................................Her beauty was rarely appreciated as much as deserved, while his has only been as unappreciated officially as his work, by critics.
The verses of course are direct translation of the famous English poem
Our sweetest songs are those
That tell of saddest thoughts
We look before and after
And pine for what is not.
https://m.youtube.com/watch?v=AMJ3yQ54dtE
Hum Kitna Roye... (Shin Shinaki Bubla Boo)
Mixed Visuals.
https://www.youtube.com/watch?v=xqYGk-V9jrE
.........................................................................................................................
Ab Kahan Jaye Hum - Manna Dey - Ujala - Shammi Kapoor - Shankar Jaikishan
Makes one curious about this film, which was hardly ever talked or written about - as do most songs of this film.
Responding to a comment below the original YT video by
R.U.A KATTU?:-
"ये हमारा ख़्याल ही रहता है कि "पहले" का ज़माना "आज" के ज़मान से बेहतर था । महाभारत काल में भी (५००० साल पहले) भाई भाई का भरोसा नहीं कर सकते थे (कौरव-पांडव / कर्ण-अर्जुन / विभीषण-रावण), बच्चे ताया, मामा और चाचा का भरोसा नहीं कर सकते थे (धृतराष्ट्र-पांडव, मामा शकुनि..) , शिष्य गुरु का भरोसा नहीं कर सकता था (एकलव्य-द्रोणाचार्य) । केकैयी जैसी माँ और कंस जैसे मामा भी थे ।
चार में से दो बच्चों का मर जाना आम बात थी, टी.बी. के मरीज़ों को दूर ले जा कर मरने के लिये सैनिटोरियम में छोड़ दिया जाता था, दिव्यांग सिर्फ़ भीख ही माँग सकते थे, मानसिक रोगीियों को पागल घोषित कर के सड़क पर छोड़ दिया जाता था, अकाल आम बात थी ......... आदि आदि ।
आज ज़माना कुछ बेहतर ही हुआ है बदतर नहीं : औरतें उठ खड़ी हुई हैं, लड़कियाँ दबंग हुई हैं, समाज कल्याण की संस्थायें कुछ काम करती हैं ..... आदि आदि ।"
Jaynt Sanjay:-
"kuch bhi ,kuch bhi likh dete ho? pehle☺☺
Ek baar Ramayan or mahabharat padh lo baad me likho.
Ramayan me ravan ke liye uske saare bhai apni jaan de dete hai. or Ram ke bhaiyo ka to aap jaante ho.
mahabharat me duryodhan ke bhai uske liye jaan dete hai or paanch pandav ka pyar aap ko pata hoga."
What is recalled, and written in epics, are legendary conflicts amongst good and bad, civilising process and primal resistance. So past does look golden, when looking at Mahaabhaarata, but not so much post Prithviraj Chauhan until resurgence if India against invaders from time to time, in spirit and more. And yes, evolution is working to bring about better lives for all via greater consciousness, but it's not necessarily aligned with left. Finally, it's not always about brothers loving each other and parents while wives obey spouses regardless of all conscience. So women being wronged isn't to be tolerated silently, is the least one should derive from the great epics of India, before going pontificating about brothers being bad then or on the contrary exemplary.
https://m.youtube.com/watch?v=FwRT_MfsPUY
.........................................................................................................................
Jan-e-bahar husn tera..Shakeel Badayuni - Ravi..
Wonder which Raaga, or is it a mix?
https://m.youtube.com/watch?v=Q6dVti1YVwM
.........................................................................................................................
MANMOHANA ! BADE JHHOTHE -LATA -SHAILENDRA (SEEMA 1955)-SHANKER JAIKISHAN
Lovely song, beautiful film.
https://www.youtube.com/watch?v=z7S_8HlKV40
.........................................................................................................................
sajan sang kahe neha lagaye..Lata_Shailendra_S J..a tribute
Beautiful song! Old favourite, didn't know it was from this film.
Also, there is that sense of deja Vocus again, which one felt like one was having for another song of this film, Nazar Nazar Se. There it was the song. Different words, different tune, bar or restaurant instead of private party, but an attempted copy of Mud Mud Ke Na Dekh, all the same. Here, it's the general situation, the triangle of the simple Indian woman pining for the guy who's dancing and drinking in a bar with the westernized crowd with a woman that belongs in that crowd.
Wish someone would upload the film.
https://www.youtube.com/watch?v=l6YDWUduzQo
.........................................................................................................................
Sakhiri Sun Bole Papiha Us Paar - Lata Mangeshkar, Asha Bhosale
Incredibly sweet, beautiful! And justly so. As to comparing and going "this one better, no that one", that's as silly as standing at Prayaag and quarreling about Gangaa vs Yamunaa, which fits this celestial pair of singers very well!
https://www.youtube.com/watch?v=e4pUsBHbZpQ
.........................................................................................................................
Saanwre Saanwre..Anuradha1960- Lata - Shailendra- Pt Ravishankar..a tribute
Wonder why is the beautiful second stanza
Gopi Gwaale, Dekhanewaale
Bin Vichaare Kahenge Saare
Pakadi Raadhaa ki chori
missing, was the record malfunctioning?
Responding to a comment below the original yt video about the eternal struggle of her to find her identity:-
It's far more complex than that - she was brought up lovingly in a wealthy home, and married for love, with her old life given up happily enough. It's only that she is far too lonely in the remote country home while her husband is busy treating patients and doing research in his lab at home, and has little time. If thus were in town or elsewhere where she had other things to occupy her, she might be less lonely, but chiefly she misses his attention. As he entreats her after she's decided to leave, he is aware he didn't have time for her, but had even less for himself, being busy keeping people alive! And she changes her mind about leaving, precisely because fame isn't important to her, love and home and family are. As for music, she can continue, only, it's still a lone country home surrounded by villages where he is needed. It's her decision to stay.
https://www.youtube.com/watch?v=364vdw96Su4
This link above has ceased to exist for copyright reasons, however, there are others, given here.
Saanwre Saanwre..Anuradha1960- Lata - Shailendra- Pt Ravishankar..a tribute
ANURADHA (1960)
BALRAJ SAHNI, LEELA NAIDU, BABY BANO, MUKRI, NAZIR HUSSAIN, ASIT SEN, RASHID KHAN
Produced By: LB.FILMS
Directed By: HRISHIKESH MUKHERJEE
Music By: RAVI SHANKER
https://www.youtube.com/watch?v=VitQASqOC5E
Film: Anuradha-- Saanware Saanware --Lata Mangeshkar (1960)
Film: Anuradha-- Saanware Saanware --
Lata Mangeshkar (1960)
Lyrics-Shailendra
Music Composition--Pt Ravishankar
https://www.youtube.com/watch?v=AMJN6VXRou8
.........................................................................................................................
Tere Bin Soone Nain Humare - Lata Mangeshkar - Meri Surat Teri Aankhen
Beautiful.
https://www.youtube.com/watch?v=CJnDIEKSPkk
.........................................................................................................................
Woh Bhoolie Daastaan Lo Phir Yaad Aa Gayie
वो भूली दास्ताँ लो फिर याद आ गई
Beautiful song and beautiful Anita Guha.
वो भूली दास्ताँ लो फिर याद आ गई
नज़र के सामने घटा सी छा गयी वो भूली दास्ताँ...
कहाँ से फिर चले आये, ये कुछ भटके हुए साये
ये कुछ भूले हुए नग़मे, जो मेरे प्यार ने गाये
ये कुछ बिछड़ी हुई यादें, ये कुछ टूटे हुए सपने
पराये हो गये तो क्या, कभी ये भी तो थे अपने
न जाने इनसे क्यों मिलकर, नज़र शर्मा गयी
वो भूली दास्ताँ...
उम्मीदों के हँसी मेले, तमन्नाओं के वो रेले
निगाहों ने निगाहों से, अजब कुछ खेल से खेले
हवा में ज़ुल्फ़ लहराई, नज़र पे बेखुदी छाई
खुले थे दिल के दरवाज़े, मुहब्बत भी चली आई
तमन्नाओं की दुनिया पर, जवानी छा गयी
वो भूली दास्ताँ...
बड़े रंगीं ज़माने थे, तराने ही तराने थे
मगर अब पूछता है दिल, वो दिन थे या फ़साने थे
फ़क़त इक याद है बाकी, बस इक फ़रियाद है बाकी
वो खुशियाँ लुट गयी लेकिन, दिल-ए-बरबाद है बाकी
कहाँ थी ज़िन्दगी मेरी, कहाँ पर आ गयी
वो भूली दास्ताँ...
wo bhooli daastaan lo phir yaad aa gayi
nazar ke saamne ghataa si chhaa gayi
nazar ke saamne ghataa si chhaa gayi
wo bhooli daastaan lo phir yaad aa gayi
kahaan se phir chale aaye, ye kuchh bhatke huye saaye
ye kuchh bhoole huye naghme, jo mere pyaar ne gaaye
ye kuchh bichhdi huyi yaadein, ye kuchh toote huye sapne
paraaye ho gaye to kyaa, kabhi ye bhi to the apne
na jaane inse kyon milkar, nazar sharmaa gayi
wo bhooli daastaan lo phir yaad aa gayi
ummeedon ke haseen mele, tamannaaon ke wo rele
nigaahon ne nigaahon se, ajab kuchh khel se khele
hawaa mein zulf lahraayi, nazar pe bekhudi chhaayi
khule the dil ke darwaaze, muhabbat bhi chali aayi
tamannaaon ki duniyaa par, jawaani chhaa gayi
wo bhooli daastaan lo phir yaad aa gayi
bade rangeen zamaane the, taraane hi taraane the
magar ab poochhtaa hai dil, wo din the yaa fasaane the
faqat ik yaad hai baaki, bas ik fariyaad hai baaki
wo khushiyaan lut gayin lekin, dil-e-barbaad hai baaki
kahaan thi zindagi meri, kahaan par aa gayi
wo bhooli daastaan lo phir yaad aa gayi
nazar ke saamne ghataa si chhaa gayi
nazar ke saamne ghataa si chhaa gayi
wo bhooli daastaan lo phir yaad aa gayi
wo bhooli daastaan lo phir yaad aa gayi
https://m.youtube.com/watch?v=vwVqOiR193o
.........................................................................................................................
Tower House (1962) - Aya Mere Dile Nadan Tu Gamse Na Gabharana -
Lata Mangeshkar (Full Song)
Once so familiar, heard now after decades!
https://www.youtube.com/watch?v=ui0fPCpl7g0
.........................................................................................................................
Jis Desh Mein Ganga Behti Hai - Raj Kapoor - Mukesh,Manna Dey, Lata - Indian Patriotic Songs
This song is, in spirit, continuation of Dil Kaa Haal from Shri 420, but much wider in its grasp.
https://m.youtube.com/watch?v=S2klnDakoRw
.........................................................................................................................
Lag Ja Gale - Lata Mangeshkar
Eternal Dilemma of Human, trapped as ever in inexorable flow of Time, facing a moment of time fleeting by, never to return - unable to hold on, unable to stop it, indecisive about throwing oneself with it into flow of life, of Time!
https://thesongpedia.com/lag-jaa-gale-woh-kaun-thi/
.........................................................................................................................
MAIN YE SOCH KER USKE DAR SE - RAFI - KAIFI AZMI - MADAN MOHAN ( HAQEEQAT 1964 )
Exquisite poetry, simple and subtle, pain of a lifetime of heartbreak in one word deceptively simple and hiding in the simple description of events leading to the devastating separation - set to such beautifully simple, elegant melody, and filmed on a backdrop of lofty Himaalayan ranges with a desert at those heights in the forefront that matches the loneliness of life of the soldiers, alone together in guarding the borders of nation while their hearts are just as much of a desert on the backdrop of the lofty role they play in protection of their nation.
Who else but this team, Chetan Anand, Roshan and Kaifi Azmi!
It wasn't until much, much later that we realised this film wasn't hyperbole, however much well deserved, but plain and simple real story of the defence of Rezang La pass by a handful of Indian soldiers who defended it against a Chinese onslaught of a couple of thousand, or was it three, killing most of them and dying to the last man themselves - the tough conditions and the then not readiness of equipment of military of india, chiefly due to naively blinkered political philosophy of a gandhian aversion to military, had trapped this company into this circumstance, and they had come through with such daunting valour!
गाना / Title: .....................मैं ये सोचकर उसके दर से उठा था -
चित्रपट / Film: Haqeeqat
संगीतकार / Music Director: मदन मोहन-(Madan Mohan)
गीतकार / Lyricist: Kaifi Azmi
गायक / Singer(s): मोहम्मद रफ़ी-(Mohammad Rafi)
मैं ये सोचकर उसके दर से उठा था
के वो रोक लेगी मना लेगी मुझको
हवाओं में लहराता आता था दामन
के दामन पकड़कर बिठा लेगी मुझको
कदम ऐसे अंदाज़ से उठ रहे थे
के आवाज़ देकर बुला लेगी मुझको
मगर उसने रोका
न उसने मनाया
न दामन ही पकड़ा
न मुझको बिठाया
न आवाज़ ही दी
न वापस बुलाया
मैं आहिस्ता आहिस्ता बढ़ता ही आया
यहाँ तक के उससे जुदा हो गया मैं ...
https://m.youtube.com/watch?v=tWLYEZ2uIrM
.........................................................................................................................
AURAT NE JANAM DIYA MARDON KO - LATA - SAHIR - N DUTTA (SADHANA 1958)
Sahir excels here -
aurat ne janam diyaa mardo.n ko
mardo.n ne usse bazaar diyaa
jab jii chaaha maslaa kuchlaa
jab jii chaaha dhutkaar diyaa
aurat ne janam diyaa mardo.n ko
tulatii hai kahii.n diinaro.n mei.n
biktii hai kahii.n baazaaro.n mei.n
nangii nachvaaii jaati hai
aiyyasho.n ke darbaaro.n mei.n
ye vo beizzat chiiz hai jo
banT jaatii hai izzatdaaro.n mei.n
aurat ne janam diyaa mardo.n ko
mardo.n ke liye har zulm ravaa.n
aurat ke liye ronaa bhii khataa
mardo.n ke liye laakho.n seje.n
aurat ke liye bas ek chitaa
mardo.n ke liye har aish ka haq
aurat ke liye jiina bhii sazaa
aurat ne janam diyaa mardo.n ko
jin hoTho.n ne unko pyaar kiyaa
un hoTho.n ka byopaar kiyaa
jis kokh mei.n inkaa jism Dhalaa
us kokh kaa kaarobaar kiyaa
jis tan se uge ko.npal ban kar
us tan ko zalil-o-khaar kiyaa
aurat ne janam diyaa mardo.n ko
mardo.n ne banaayi jo rasmein
unko haq kaa farmaan kahaa
aurat ke zindaa jalne ko
qurbaani aur balidaan kahaa
ismat ke badle roTi dii
aur us ko bhii ehsaan kahaa
aurat ne janam diyaa mardo.n ko
sansaar kii har ek besharmii
gurbat kii god mei.n paltii hai
chaklo.n hii mei.n aa kar ruktii hai
phaako.n se jo raah nikalti hai
mardo.n ki havas hai jo aksar
aurat ke paap mei.n Dhalti hai
aurat ne janam diyaa mardo.n ko
aurat sansaar kii qismat hai
phir bhii taqdiir kii heThii hai
avtaar payambar jantii hai
phir bhii shaitaan kii beTii hai
ye wo bad-qismat maa.n hai jo
beTo.n kii sej pe leTi hai
aurat ne janam diyaa mardo.n ko
mardo.n ne usse baazaar diyaa
jab jii chaaha maslaa kuchlaa
jab jii chaaha dhutkaar diyaa
aurat ne janam diyaa mardo.n ko
https://m.youtube.com/watch?v=RSAjnqg7OeE
.........................................................................................................................
Cryptic title - "This song was supposed to be impossible for human voice"
- and my comment is simply "Beautiful!"!!
Now, "the video is unavailable", so one has to guess!
"Kahin Deep Jale, Kahin Dil"?
https://youtu.be/SBenttZUT7A
.........................................................................................................................
Hoon Abhi Main Jawan - Shakeela, Guru Dutt, Geeta Dutt, Aar Paar Song
Such an underappreciated gem, the song and the beautiful performer artist, both!
https://www.youtube.com/watch?v=CoESiBRIvok
.........................................................................................................................
Zindigi Dene Wale Sun... Talat Mahmood (Dil-e- Nadan)
Bekhata toune mujhse khushi chheen lee,
Zindaa rakhaa magar zindagi chheen lee,
Kar diya dil ka khoon,
Chup kahaan tak rahoon,
Saaf kyu na kahoon,
Tou khushi se meri dar gayaa!
True about some humans who demand lifelong slavery in exchange for having contributed a moment to giving life.
https://www.youtube.com/watch?v=5F7fUys1qRY
.........................................................................................................................
Ritu Aaye Sakhi Re -
Lata Mangeshkar, Manna Dey -
HAMDARD - Nimmi,Shekhar,Smriti Biswas
Patajhada jaisaa Jeevana Beeta
https://www.youtube.com/watch?v=RIjGhDPMqSM
.........................................................................................................................
Aa chal ke tujhe.. Kishor Kumar- Door Gagan Ki Chhaon Mein- Kishore da..
"Door Gagan kee Chhav Mein (1964),
Singer -Music Director, Lyricist ,Actor , Producer and Direction: The Great Kishore Kumar"
Says most of it; then hear the album, and the sheer superlative genius composer shines through!
There weren't many other multifaceted geniuses, even in that era of art over cash, that could match RK, except this one.
https://www.youtube.com/watch?v=7bNULRlWh1k
........................................................................................................................."Door Gagan kee Chhav Mein (1964),
Singer -Music Director, Lyricist ,Actor , Producer and Direction: The Great Kishore Kumar"
Says most of it; then hear the album, and the sheer superlative genius composer shines through!
There weren't many other multifaceted geniuses, even in that era of art over cash, that could match RK, except this one.
https://www.youtube.com/watch?v=7bNULRlWh1k
Jin raaton ki bhor nahin hai..Kishore Kumar_Shailendra..Door Gagan Ki Chhaon Mein
What an immense genius this artist that composed the music here apart from singing, wish he'd composed more than just the few - three? four? - films that he produced!
https://www.youtube.com/watch?v=TC9pjy8jSOk
.........................................................................................................................
Koi Lauta De Mere Beete Huye Din- Door Gagan Ki Chhaon Mein
What a composer! Here, the melody conveys both at once - the sense of loss and missing at present, of the joy of the old in the skipping, lilting of yore!
https://www.youtube.com/watch?v=xS9wKERopvE
.........................................................................................................................
RAHI TU MAT RUK JAANA -ALL 3 PARTS-DOORGAGAN KI CHHAON MEIN -HEMANT KMR-SHAILENDRA-KISHORE KUMAR
Beautiful.
This song, this series of compositions by Kishore Kumar, for a series of films he wrote, produced, directed, performed on screen and sang for, deeply connects the Bengal sensibilities to the Hindi films, far more so perhaps than most other examples of works by Bengali artists - except when Bimal Roy and S. D. Burman worked together.
https://www.youtube.com/watch?v=iZdEb29_TU4
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
PANTHI HOON MAIN US PATH KA- DOOR KA RAHI - (1971) -KISHORE KUMAR -A IRSHAD
Beautiful.
https://www.youtube.com/watch?v=gdP3_1lU91s
.........................................................................................................................
KHOYA KHOYA CHANDA - ASHA - SHAILENDRA - KISHORE (DOOR GAGAN KI CHHAON MEIN 1964)Koi Lauta De Mere Beete Huye Din- Door Gagan Ki Chhaon Mein
What a composer! Here, the melody conveys both at once - the sense of loss and missing at present, of the joy of the old in the skipping, lilting of yore!
https://www.youtube.com/watch?v=xS9wKERopvE
.........................................................................................................................
RAHI TU MAT RUK JAANA -ALL 3 PARTS-DOORGAGAN KI CHHAON MEIN -HEMANT KMR-SHAILENDRA-KISHORE KUMAR
Beautiful.
This song, this series of compositions by Kishore Kumar, for a series of films he wrote, produced, directed, performed on screen and sang for, deeply connects the Bengal sensibilities to the Hindi films, far more so perhaps than most other examples of works by Bengali artists - except when Bimal Roy and S. D. Burman worked together.
https://www.youtube.com/watch?v=iZdEb29_TU4
.........................................................................................................................
.........................................................................................................................
PANTHI HOON MAIN US PATH KA- DOOR KA RAHI - (1971) -KISHORE KUMAR -A IRSHAD
Beautiful.
https://www.youtube.com/watch?v=gdP3_1lU91s
.........................................................................................................................
Not only Asha Bhosale never sounded this sweet, before or after, but Supriya Chowdhury never looked so beautiful, so sweet.
Kishore Kumar was genius at music composition, as evident in all music he composed (which is three or four films, less than half a dozen certainly), especially in this one, but his creative genius must be far more, like that of RK and Dev Anand, in every artist giving their best, or looking their best, or - as in case of the Venus of Indian film industry, Madhubala who was his beautiful second wife - looking her happiest and making it clear she was most beautiful when laughing, which was in films with him.
https://www.youtube.com/watch?v=HAadoY6X6Ds
.........................................................................................................................
PATH BHOOLA IK AAYA MUSAFIR - ASHA - SHAILENDRA - KISHORE (DOOR GAGAN KI CHHAON MEIN 1964)
Not only Asha Bhosale never sounded this sweet, before or after, as in this film, but Supriya Chowdhury never looked so beautiful, so sweet.
Kishore Kumar was genius at music composition, as evident in all music he composed (which is three or four films, less than half a dozen certainly), especially in this one, but his creative genius must be far more, like that of RK and Dev Anand, in every artist giving their best, or looking their best, or - as in case of the Venus of Indian film industry, Madhubala who was his beautiful second wife - looking her happiest and making it clear she was most beautiful when laughing, which was in films with him.
https://www.youtube.com/watch?v=eMCvDdWD1a8
.........................................................................................................................Not only Asha Bhosale never sounded this sweet, before or after, as in this film, but Supriya Chowdhury never looked so beautiful, so sweet.
Kishore Kumar was genius at music composition, as evident in all music he composed (which is three or four films, less than half a dozen certainly), especially in this one, but his creative genius must be far more, like that of RK and Dev Anand, in every artist giving their best, or looking their best, or - as in case of the Venus of Indian film industry, Madhubala who was his beautiful second wife - looking her happiest and making it clear she was most beautiful when laughing, which was in films with him.
https://www.youtube.com/watch?v=eMCvDdWD1a8
Dil Ki Raahen 1973
रस्म-ए-उल्फ़त को निभाएं तो निभाएं कैसे
हर तरफ़ आग है दामन को बचाएं कैसे
रस्म-ए-उल्फ़त को निभाएं...
दिल की राहों में उठते हैं जो दुनिया वाले -२
कोई कह दे के वोह दीवार गिराएं कैसे -२
रस्म-ए-उल्फ़त को निभाएं...
दर्द में डूबे हुए नग़मे हज़ारों हैं मगर -२
साज़-ए-दिल टूट गया हो तो सुनाए कैसे -२
रस्म-ए-उल्फ़त को निभाएं...
बोझ होता जो ग़मों का तो उठा भी लेते -२
ज़िंदगी बोझ बनी हो तो उठाएं कैसे -२
रस्म-ए-उल्फ़त को निभाएं...
https://m.youtube.com/watch?v=PTXd3PWYKOA
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
Ma Go Pother Klanti Bhule - Morutirtho Hinglaj - Hemanta Mukherjee
This is not the first time one is hearing this song, but often significance escape one until need arises.
If this doesn't wake up those blinkered and lulled by lies claiming India was never one, that Baluchistan is not part of india or never was, that Baloch are nit indian - nothing will, for they are not blinkered or lulled or asleep, merely pretending!
For a Bengali film to be titled Maruthirtha Hinglaj is as much indicative of those pronouncements against India's unity, as the fact related by Tarek Fateh about the Baloch defending the temple of Hinglaj Maataa, the reigning Goddess that is deity thereof ,from the assaults of jihadists and pakis.
This song, sung in the true Bhakti spirit of Baul and of Mother Goddess worship, features a small caravan on feet and some on camels, in pilgrimage to the Hinglaj Maataa temple, across the desert - presumably not a group of pilgrims that belong to the nearby region, since they are crossing a desert, and the song and scene are about pains thereof. This can only be the desert that spans much of Rajasthan and beyond, perhaps including the Gujarat border.
And whether the story, the scene, are about the people featured here being from Bengal or not, the film and the song and the verses are certainly Bengali. At least one character, an old woman, does seem Bengali, and that makes the contention about unity of India far stronger - for thepilgrimage all the way from a green, water rich Bengal to a temple across not only a thousand miles but across also a severe desert with its horrendous heat, for an old woman to suffer to visit a temple, not certain of life in the process much less comfort, is only possible with an underlying unity of the culture, the soul.
When a song in a film with verses, music, and artists performing the scene, the director and writer et al are all from Bengal, and it's all about a group of Indian devotees on a painstaking pilgrimage across deserts of India, to reach Hinglaj Maataa temple, questioning unity of India is merely the ex colonial conspiracy to divide and destroy.
পথের ক্লান্তি ভুলে স্নেহ ভরা কোলে তব
মাগো, বলো কবে শীতল হবো |
কত দূর আর কত দূর বল মা?
আঁধারের ভ্রুকুটিতে ভয় নাই,
মাগো তোমার চরণে জানি পাবো ঠাঁই,
আর আঁধারের ভ্রুকুটিতে ভয় নাই,
মাগো তোমার চরণে জানি পাবো ঠাঁই,
যদি এ পথ চলিতে কাঁটা বেঁধে পায়
হাসিমুখে সে বেদনা সবো।
কত দূর আর কত দূর বল মা?
চিরদিনই মাগো তব করুণায়
ঘর ছাড়া প্রেম দিশা খুঁজে পায়
ঐ আকাশে যদি মা কভু ওঠে ঝড়
সে আঘাত বুকে পেতে লবো।
কত দূর আর কত দূর বল মা?
যতই দুঃখ তুমি দেবে দাও
তবু জানি কোলে শেষে তুমি টেনে নাও,
মাগো যতই দুঃখ তুমি দেবে দাও
তবু জানি কোলে শেষে তুমি টেনে নাও,
মাগো তুমি ছাড়া এ আঁধারে গতি নাই
তোমায় কেমনে ভুলে রবো
কত দূর আর কত দূর বল মা?
পথের ক্লান্তি ভুলে স্নেহ ভরা কোলে তব
মাগো, বলো কবে শীতল হবো |
কত দূর আর কত দূর বল মা?
https://www.youtube.com/watch?v=LQWvaxRiykE
Aye Mere Pyare Watan - Bimal Roy - Salil Chowdhury - Kabuliwala Songs - Balraj Sahni, Usha Kiran - Manna Dey
Heart breaking portrayal of the loneliness of migrants, so subtly portrayed by the author, Tagore, in the short story Kabuliwaalaa, that was made into a Bengali film, and then this Hindi film produced and directed by the incomparable Bimal Roy, with music by Salil Chowdhury. And thus the deep bond here of this Hindi song, from a Hindi film, about an Afghan selling dry fruits in a city completely across the country from anywhere remotely close to his homeland.
The superbly expressive face of Balraj Sahni as the fellow Pathan sings about their homeland - and who played that other pathans, remains a mystery - compares in contrast with his attentive demeanour as he hears a Baul singing paens to Ganga on the banks of the river.
Who but Balraj Sahni, when expressing a character's travails, innermost turmoil, was the need, without bombastic dialogues in ex colonial vocabulary! His silences, his ordinary dialogues say far more than the so labelled thespian.
https://m.youtube.com/watch?v=oAdeqOrfzPA
.........................................................................................................................
Koi Matwala Aaya Mere Dware - Lata Mangeshkar, Asha Parekh, Love In Tokyo Dance Song
Funny how even in media and critics, let alone industry and public, so rare was the perception that this artist was practically a twin of the then top southern beauty in films, in both looks and dance - not that their performances of characters were at so different a level, either - and the only difference really was perhaps of this artist being not quite as haughty as the slightly more senior one. This one, one recalls, was known for having travelled across the country with her dance troupe, performing in theatres, chiefly her favourite Choladevi. Still, she's counted more amongst the ones that took on roles of naughty young characters of the day.
https://www.youtube.com/watch?v=N3BOEAmC1pY
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
Ma Go Pother Klanti Bhule - Morutirtho Hinglaj - Hemanta Mukherjee
This is not the first time one is hearing this song, but often significance escape one until need arises.
If this doesn't wake up those blinkered and lulled by lies claiming India was never one, that Baluchistan is not part of india or never was, that Baloch are nit indian - nothing will, for they are not blinkered or lulled or asleep, merely pretending!
For a Bengali film to be titled Maruthirtha Hinglaj is as much indicative of those pronouncements against India's unity, as the fact related by Tarek Fateh about the Baloch defending the temple of Hinglaj Maataa, the reigning Goddess that is deity thereof ,from the assaults of jihadists and pakis.
This song, sung in the true Bhakti spirit of Baul and of Mother Goddess worship, features a small caravan on feet and some on camels, in pilgrimage to the Hinglaj Maataa temple, across the desert - presumably not a group of pilgrims that belong to the nearby region, since they are crossing a desert, and the song and scene are about pains thereof. This can only be the desert that spans much of Rajasthan and beyond, perhaps including the Gujarat border.
And whether the story, the scene, are about the people featured here being from Bengal or not, the film and the song and the verses are certainly Bengali. At least one character, an old woman, does seem Bengali, and that makes the contention about unity of India far stronger - for thepilgrimage all the way from a green, water rich Bengal to a temple across not only a thousand miles but across also a severe desert with its horrendous heat, for an old woman to suffer to visit a temple, not certain of life in the process much less comfort, is only possible with an underlying unity of the culture, the soul.
When a song in a film with verses, music, and artists performing the scene, the director and writer et al are all from Bengal, and it's all about a group of Indian devotees on a painstaking pilgrimage across deserts of India, to reach Hinglaj Maataa temple, questioning unity of India is merely the ex colonial conspiracy to divide and destroy.
পথের ক্লান্তি ভুলে স্নেহ ভরা কোলে তব
মাগো, বলো কবে শীতল হবো |
কত দূর আর কত দূর বল মা?
আঁধারের ভ্রুকুটিতে ভয় নাই,
মাগো তোমার চরণে জানি পাবো ঠাঁই,
আর আঁধারের ভ্রুকুটিতে ভয় নাই,
মাগো তোমার চরণে জানি পাবো ঠাঁই,
যদি এ পথ চলিতে কাঁটা বেঁধে পায়
হাসিমুখে সে বেদনা সবো।
কত দূর আর কত দূর বল মা?
চিরদিনই মাগো তব করুণায়
ঘর ছাড়া প্রেম দিশা খুঁজে পায়
ঐ আকাশে যদি মা কভু ওঠে ঝড়
সে আঘাত বুকে পেতে লবো।
কত দূর আর কত দূর বল মা?
যতই দুঃখ তুমি দেবে দাও
তবু জানি কোলে শেষে তুমি টেনে নাও,
মাগো যতই দুঃখ তুমি দেবে দাও
তবু জানি কোলে শেষে তুমি টেনে নাও,
মাগো তুমি ছাড়া এ আঁধারে গতি নাই
তোমায় কেমনে ভুলে রবো
কত দূর আর কত দূর বল মা?
পথের ক্লান্তি ভুলে স্নেহ ভরা কোলে তব
মাগো, বলো কবে শীতল হবো |
কত দূর আর কত দূর বল মা?
https://www.youtube.com/watch?v=LQWvaxRiykE
.........................................................................................................................
Heart breaking portrayal of the loneliness of migrants, so subtly portrayed by the author, Tagore, in the short story Kabuliwaalaa, that was made into a Bengali film, and then this Hindi film produced and directed by the incomparable Bimal Roy, with music by Salil Chowdhury. And thus the deep bond here of this Hindi song, from a Hindi film, about an Afghan selling dry fruits in a city completely across the country from anywhere remotely close to his homeland.
The superbly expressive face of Balraj Sahni as the fellow Pathan sings about their homeland - and who played that other pathans, remains a mystery - compares in contrast with his attentive demeanour as he hears a Baul singing paens to Ganga on the banks of the river.
Who but Balraj Sahni, when expressing a character's travails, innermost turmoil, was the need, without bombastic dialogues in ex colonial vocabulary! His silences, his ordinary dialogues say far more than the so labelled thespian.
https://m.youtube.com/watch?v=oAdeqOrfzPA
.........................................................................................................................
Koi Matwala Aaya Mere Dware - Lata Mangeshkar, Asha Parekh, Love In Tokyo Dance Song
Funny how even in media and critics, let alone industry and public, so rare was the perception that this artist was practically a twin of the then top southern beauty in films, in both looks and dance - not that their performances of characters were at so different a level, either - and the only difference really was perhaps of this artist being not quite as haughty as the slightly more senior one. This one, one recalls, was known for having travelled across the country with her dance troupe, performing in theatres, chiefly her favourite Choladevi. Still, she's counted more amongst the ones that took on roles of naughty young characters of the day.
https://www.youtube.com/watch?v=N3BOEAmC1pY
.........................................................................................................................
Chhoti Si Mulaqat Pyar Ban Gayi -
Party Song - Chhoti Si Mulaqat -
Uttam Kumar, Vyjayanthimala
The original Agnipariksha where the golden couple of Bengali films had perhaps their first superhit, was a far quieter, deeper flow; since Uttam Kumar himself produced this remake, he probably had a good reason to change it so much. Judging from this dance, perhaps he did it to fit in with the then upcoming trend, or perhaps he needed to ascertain his own multifaceted capabilities. But the story suited the quieter and deeper original far more, and that was probably the reason this one didn't do well.
One recalls the then trend of this variation of draping saree, which was also seen in Sangam. Here, though, she seems to wish to compete with the original of this role, there is a hint of Suchitra Sen in the way she holds herself at times, which was never before or after. They had been together in Devdas by Bimal Roy, before this, and later Suchitra Sen did Aandhi after Vyjayantimala had refused.
https://m.youtube.com/watch?v=U4iaCga94so
.........................................................................................................................
Bade Bhole Ho - Best of Lata Mangeshkar - Majrooh Sultanpuri Song - Ardhangini
The music, artist and singer, all equally superlative!
https://m.youtube.com/watch?feature=share&v=daPHd2EqQR8
.........................................................................................................................
YE RANG BHARE BAADAL - ASHA -RAFI ASAD BHOPALI -RAVI -TU NAHIN AUR SAHI (1960)
Long time since one heard this - those days it was often enough on radio, heard throughout neighbourhoods like fragrance of flowers and incense wafting out on breeze.
https://m.youtube.com/watch?v=_SdLpQ5Xo8A
.........................................................................................................................
Ni Baliye Rut Hai Bahar Ki (HD) - Kanhaiya - Raj Kapoor - Nutan - Lata Mangeshkar
Surprisingly, good film. One goes to see it due to its songs and artists, and ends up marvelling at the well executed finesse by the director and screenplay writer!
https://m.youtube.com/watch?v=4H_u4EQboVc
.........................................................................................................................
SAAWAN KE MAHEENEIN MEIN - SERIOUS VERSION - RAFI - RAJENDRA KRISHNA - MADAN MOHAN (SHARABI 1964)
Daisy Irani?
Responding to a comment below the original YT video by Kartikeya Pandya:-
"I wonder why Devsaab dropped Rafisaab for Kishore Kumar later on though Rafisaab gave all time immortal hits with him.Any explanation?"
Dev Anand used various singers, it was up to the composer to make a selection based on the needs of the music. There were half a dozen singers at the top amongst male voices, none particularly deserving exclusive rights to any maker. And it was never a crime to use Kishore Kumar. But rafi gave up music because he was told it was against his faith.
https://m.youtube.com/watch?v=IbE4U2vLNHE
.........................................................................................................................
Kaarvaan guzar gaya....Nai Umar Ki Nai Fasal
How revered this song was then, way above others with few for same level of reverence! Now, it seems hard to believe it was written for the situation, about young idealists losing an election, however real and painful the disenchantment. Perhaps the poet had written it about the pain at partition, about a million lives lost and ten times that many displaced?
Lyrics transcription here thanks to
Seema Suri
स्वप्न झरे फूल से,
मीत चुभे शूल से,
लुट गए सिंगार सभी बाग के बबूल से,
और हम खड़े-खड़े बहार देखते रहे।
कारवाँ गुज़र गया, गुबार देखते रहे!
नींद भी खुली न थी कि हाय धूप ढल गई,
पाँव जब तलक उठें कि ज़िन्दगी फिसल गई,
पात-पात झर गए कि शाख़-शाख़ जल गई,
चाह तो निकल सकी न, पर उमर निकल गई,
गीत अश्क बन गए,
छंद हो दफन गए,
साथ के सभी दिए धुआँ-धुआँ पहन गए,
और हम झुके-झुके,
मोड़ पर रुके-रुके,
उम्र के चढ़ाव का उतार देखते रहे।
कारवाँ गुज़र गया, गुबार देखते रहे।
क्या शाबाब था कि फूल-फूल प्यार कर उठा,
क्या सुरूप था कि देख आइना सिहर उठा,
इस तरफ़ ज़मीन और आसमाँ उधर उठा
थाम कर जिगर उठा कि जो मिला नज़र उठा,
एक दिन मगर यहाँ,
ऐसी कुछ हवा चली,
लुट गई कली-कली कि घुट गई गली-गली,
और हम लुटे-लुटे,
वक़्त से पिटे-पिटे,
साँस की शराब का खुमार देखते रहे।
कारवाँ गुजर गया, गुबार देखते रहे।
हाथ थे मिले कि जुल्फ चाँद की सँवार दूँ,
होंठ थे खुले कि हर बहार को पुकार दूँ,
दर्द था दिया गया कि हर दुखी को प्यार दूँ,
और साँस यों कि स्वर्ग भूमि पर उतार दूँ,
हो सका न कुछ मगर,
शाम बन गई सहर,
वह उठी लहर कि दह गए किले बिखर-बिखर,
और हम डरे-डरे,
नीर नयन में भरे,
ओढ़कर कफ़न, पड़े मज़ार देखते रहे।
कारवाँ गुज़र गया, गुबार देखते रहे!
माँग भर चली कि एक, जब नई-नई किरन,
ढोलकें धुमुक उठीं, ठुमुक उठे चरन-चरन,
शोर मच गया कि लो चली दुल्हन, चली दुल्हन,
गाँव सब उमड़ पड़ा, बहक उठे नयन-नयन,
पर तभी ज़हर भरी,
गाज एक वह गिरी,
पोंछ गया सिंदूर तार-तार हुईं चूनरी,
और हम अजान-से,
दूर के मकान से,
पालकी लिए हुए कहार देखते रहे।
sapne jhare phool se
meet chubhe shool se
lut gaye singaar sabhi baag ke babool se
aur hum khade khade
bahaar dekhte rahe
karvaan guzar gaya
gubar dekhte rahe.
neend bhi khuli na thi ki haye dhoop dhal gayi
paon jab talak uthe ke zindagi pesal gayi
paat paat jhar gaye ke shaakh shaakh jal gayi
chah to nikal saki na par umar nikal gayi
par umar nikal gayi
geet ashk ban gaye
Swapn ho dafan gaye
saath ke sabhi diye
dhuan pehen pehen gaye
aur hum jhuke jhuke
mode par ruke ruke
umar ke chadhaav ka
utaar dekhte rahe
karvan guzar gaya ghubar dekhte rahe.
kya shabaab tha ke phool phool pyar kar utha
kya kamaal tha ke dekh aainaa sihar utha
Iss taraf zameen aur asmaan udhar utha
thaam kar jigar utha ke jo mila nazar utha
ke jo mila nazar utha
ek din magar yahaan
aisee kuchh hawa chali
lut gayi kali kali ke ghut gayi gali gali
aur hum lute lute
waqt se pite pite
saanjh ki sharaab ka
khumaar dekhte rahe
karvaan guzar gaya ghubar dekhte rahe.
haath the mile ke zulf chaand ki sanwaar doon
hounth the khule ke har bahaar ko pukaar doon
dard tha diyaa gayaa ke har dukhi ko pyaar doon
aur saans yoon ki swarg bhoom par utaar doon
bhoom par uthaar doon
ho saka na kuchh magar
shaam ban gayi saher
woh uthi lehar ke dheh gaye kile bikhar bikhar
aur ham dare dare
neer nayan mein bhare
odh-kar kafan pade mazaar dekhte rahe
karvan guzar gaya gubar dekhte rahe.
maang bhar chali ke ek jab nayi nayi kiran
dholken dhunuk uthi thumuk uthe charan charan
shor mach gaya ki lo chali dulhan chali dulhan
gaaon sab umad padaa behek uthe nayan nayan
behek uthe nayan nayan
par tabhi zehar bhari
gaaz ek wah-giri
punchh gaya sindoor
taar taar huvi choonri
aur ham ajaan se
door ke makaan se
palki liye huwe kahar dekhte rahe
karvaan guzar gaya
ghubaar dekhte rahe
sapne jhare phool se
meet chubhe shool
lut gaye singaar sabhi
baagh ke babool se
aur ham karhe karhe
bahaar dekhte rahe
karvaan guzar gayaa
ghubaar dekhte rahe
https://www.youtube.com/watch?v=ljH6BJchuMo
.........................................................................................................................
Kasme Waade Pyar Wafa - Manna Dey Upkar
Describes generalities pretty well.
Movie/Album: उपकार (1967)
Music By: कल्याणजी आनंदजी
Lyrics By: कमर जलालाबादी
Performed By: मन्ना डे
कसमे वादे प्यार वफ़ा सब
बातें हैं बातों का क्या
कोई किसी का नहीं ये झूठे
नाते हैं नातों का क्या
कसमे वादे प्यार वफ़ा...
होगा मसीहा सामने तेरे
फिर भी न तू बच पायेगा
तेर अपना खून ही आखिर
तुझको आग लगायेगा
आसमान में उड़ने वाले
मिट्टी में मिल जायेगा
कसमे वादे प्यार वफ़ा...
सुख में तेरे साथ चलेंगे
दुख में सब मुख मोड़ेंगे
दुनिया वाले तेरे बनकर
तेरा ही दिल तोड़ेंगे
देते हैं भगवान को धोखा
इन्सां को क्या छोड़ेंगे
कसमे वादे प्यार वफ़ा...
https://m.youtube.com/watch?v=oIiHAKDfksk
.........................................................................................................................
Ek Tha Bachpan - Sumita Sanyal - Akshok Kumar - Aashirwad - Lata Mangeshkar
Exquisite.
https://m.youtube.com/watch?v=rqGZDkAO_8M
Exquisite.
https://m.youtube.com/watch?v=rqGZDkAO_8M
.........................................................................................................................
BEQARAAR DIL TU GAAYE JA - SULAKSHNA PT. - KISHORE KMR - A IRSHAD (DOOR KA RAHI 1971)
Tremendous multifaceted talent of Kishore Kumar, matched perhaps only by RK.
And Pandit family talent flows in generations!
https://m.youtube.com/watch?v=bz4Wk5Ydgso
.........................................................................................................................
Ja khushi ora bole boluk; Singer - Manna De; Movie - Nishipadma
This original has a soothing quality to the music and singing, the performance of Uttam Kumar, and a reality to the setting, to the being and dressing and performance of Sabitri Chatterji, that's mostly missing from the Hindi remake with its glamourised dress and makeup replacing the real portrayals of the Bengali original.
Ja khushi ora bole boluk
Oder kathaay ki eshe jaay
Orrai raater bhramar hoye
Nishipadmer madhu je khaay
Ora diner belaay jaader dekhe
Shudhui ghrinaa jetaay
Aabaar raater taader badhu kare
Asurkhide metaay
Oder aimon jaadu, bole saadhu
Namaguni ora pare jegaay
Orrai raater bhramar hoye
Nishipadmer madhu je khaay
Tumraa panthashaalaar saathi sheje
Jahader paanpeyaalaa bharo
Tahader kaachhe thipeele taar
Hisaab keno karo
Ora je ganno maanno deshvarrenno
Dasher pranam oder paay
Orrai raater bhramar hoye
Nishipadmer madhu je khaay
Ja khushi ora bole boluk
Oder kathaay ki eshe jaay
Orrai raater bhramar hoye
Nishipadmer madhu je khaay
https://m.youtube.com/watch?v=LNCiwQIs-0k
Mausam Hai Aashiqana - Pakeeza
Such perfect confluence of beauty - the artist, the singer, the lyrics and the music, setting amongst evergreen trees on lonely banks of a body of water in wilderness, and starry skies after days of solitude!
मौसम है आशिकाना
ऐ दिल कहीं से उनको ऐसे में ढूंढ लाना
कहना के रुत जवां है, और हम तरस रहे हैं
काली घटा के साये, बिरहन को डस रहे हैं
डर है न मार डाले, सावन का क्या ठिकाना
मौसम है आशिकाना
सूरज कहीं भी जाये, तुम पर ना धूप आये
तुमको पुकारते हैं, इन गेसूओं के साये
आ जाओ मैं बना दूँ, पलकों का शामियाना
मौसम है आशिकाना
फिरते हैं हम अकेले, बाहों में कोई ले ले
आखिर कोई कहाँ तक तनहाईयों से खेले
दिन हो गये हैं ज़ालिम, राते हैं कातिलाना
मौसम है आशिकाना
ये रात ये खामोशी, ये ख्व़ाब से नज़ारें
जुगनू हैं या जमीं पर उतरे हुए हैं तारें
बेख़ाब मेरी आँखे, मदहोश है ज़माना
मौसम है आशिकाना...
https://m.youtube.com/watch?v=ugpRuam-zz0
.........................................................................................................................
Megha Chhaye Aadhi Raat
Beautiful Rakhee in beautiful song, but they did ignore the words while shooting! The first line evokes someone unable to sleep way past midnight, looking at dark clouds, alone, and they had her out on lawn mid day with clouds overhead - which in Indian heat provide welcome relief!
https://m.youtube.com/watch?v=2aQDjbwc-v8
.........................................................................................................................
Megha Chhaye Aadhi Raat
Beautiful Rakhee in beautiful song, but they did ignore the words while shooting! The first line evokes someone unable to sleep way past midnight, looking at dark clouds, alone, and they had her out on lawn mid day with clouds overhead - which in Indian heat provide welcome relief!
https://m.youtube.com/watch?v=2aQDjbwc-v8
Rasme Ulfat Ko Nibhaye -- Lata Mangeshkar - Madan Mohan
This was familiar and yet one wasn't conscious, not quite, of this song - and seeing the year of the film, it's obvious why. That was the year of struggling to stay on alive despite starvation and routine beatings that were accelerated to weekly or more, with the education and with holding up one's strength, one's peace, determination, and not just give up! Then one was thrown out after a particularly vicious assault when one was repeatedly thrown, head first, at walls and doors, before it got worse. This beautiful song was lost somewhere between the starving, the assaults, and the consciousness narrowed to staying alive, like when one is almost fainting and the music one still hears is lost in detail.
Lyrics:-
Rasm-e-ulfat ko nibhaayen to nibhaayen kaise
Har taraf aag hai daaman ko bachaayen kaise
Dil ki raahon mein uthate hain jo duniyawale
Koi kehde ke woh deewar giraayen kaise
Dard mein doobe hue naghmein hazaron hain magar
Saaz-e-dil toot gaya ho to sunaayen kaise
Bojh hota jo ghamon ka to utha bhi lete
Zindagi bojh bani ho to uthaayen kaise
Rasm-e-ulfat ko nibhaayen to nibhaayen kaise
Rasm-e-ulfat ko nibhaayen
https://m.youtube.com/watch?v=y3829c-d7qE
Another video on YT of the song:-
https://m.youtube.com/watch?v=y3829c-d7qE
https://m.youtube.com/watch?v=gIf3Gr9yo14
Hajar takar jharbati (stree)
Fourfold pleasure what with the two top singers and two top artist heroes!
Lyrics in Bengali:-
হাজার টাকার ঝাড়বাতিটা রাতটা কে যে দিন করেছে
তারি নীচে বাইজি নাচে ঠুমরী গানের টুকরো ছুঁয়ে
হাজার টাকার ঝাড়বাতিটা
তবলচিটা দিচ্ছে ঠেকা সারেঙ্গিটা সুর ধরেছে
পিচকিরি টা ঢালছে আতর ধূপের ধোঁয়া যাচ্ছে উড়ে
হাজার টাকার ঝাড়বাতিটা
পরোয়া তো নেই দু দশ লাখ হয় যদি হয় দেনা
একটি রাতের মেজাজটা হোক অনেক টাকায় কেনা
আঙুর ফলের রঙ্গিন রসে পান পেয়ালা ঐ ধরেছি
স্বপ্নে দুচোখ জড়িয়ে আসুক সুরভি আর সুরায় সুরে
হাজার টাকার ঝাড়বাতিটা
ধরনা ধরনা সীতাপতি
রাজা
যে টাকাটা মারছো ছুঁড়ে শোভানাল্লা দিয়ে
সেই টাকাটাই পড়ত যদি একটু দূরে গিয়ে
বেঁচে যেত আজকে কারো কঠোর জঠর জ্বালা
খুলে যেত বন্ধদ্বারের অন্ধকারের তালা
অনাহারের শীতে কেঁপে যে গাছেরি ডাল মরেছে
হয়তো বাঁচার আশা জাগত শিকড় ফুঁড়ে
শিকড় ফুঁড়ে গাছের মতো (বুঝলে সীতাপতি)
শেকড় ফুঁড়ে গাছের মতো আগাছাও তো হয়
মেজাজটা তো আসল রাজা আমি রাজা নয়
তোমরা কেন এত বোকা সেই কথাটাই ভাবি
আমার হীরের আংটি না পেলে ওর জ্বলত নাকি নাকছাবি
হাজার টাকার ঝাড়বাতিটা
https://m.youtube.com/watch?v=PYmwr6FnO14
Ae Ri Main Toh Prem Deewani - Vani Jayaram
Meera - Hema Malini, Vinod Khanna
As good a poet and filmmaker as that of this film was, ego works to bring down the quality of the works by its imposing wilful changes to reality under name of intellectual freedom of the artist - and while India tolerates such mistakes, so no one ever pointed it out, fact is the director imposed an inquisition borrowed from abrahmic faiths onto a history that was of deeply Indian culture, and changed his film from mere freedom of expression of the artist to play, to falsification of facts. Which was a huge blot on the beautiful film, however successfully hidden in the pattern of the narrative of the script.
https://www.youtube.com/watch?v=QzKQmyZklGA
.........................................................................................................................
Superlative, especially from 12:00 on.
https://m.youtube.com/watch?v=67u-7Z9Ed90
.........................................................................................................................
Ek Radha Ek Meera | Mujra | Mandakini|Rajiv Kapoor | Ram Teri Ganga Maili | Bollywood Love Songs HD
Beautiful song, beautifully written too.
This is one of the scores of examples that are clear evidence to the contrary about various morons claiming India is racist, in their eagerness to paste a guilt from elsewhere on India fraudulently.
If India were racist, this beautiful woman would have reigned unquestionably supreme for last few decades in Indian films. Instead, she had her chance and was indeed well showcased here, but was looked down upon by the film fraternity and media that were far more into aping a caste system not indian but copied from that of everywhere else, especially western, and misnamed class so as to identify the very word caste with India. Fact is, cast or caste is an Anglo Saxon word, and means box in German.
And outside india, castes are founded on wealth, power and landed property bases (unlike in India where its classification of professions, and top castes not allowed to charge for services performed as duty, but only to accept what's offered), with a pyramid topped by royalty and cascading down via aristocracy.
This beautiful girl was not a descendant of wealth and titles, but had a root in poor family with lowly occupation, and a large family to support, so she lacked the attitude based on lack of need too, and hence got pushed aside despite her obvious credentials for any viewer who might happen to be racist.
India never was.
https://m.youtube.com/watch?v=tcuWwBKWy0U
.........................................................................................................................
Tum se mujhe pyar kyon ho gaya - Na Tum Jaano Na Hum
Lovely song, lovely film, lovely young pair!
This pair should have had more films. This lovely girl should have had more capable filmmakers, like the Hrishikesh Mukherjee and co of yore, to do justice to her sensitive artistry, very like that of Abhishek Bachchan. They too were wonderful together in LOC.
https://m.youtube.com/watch?v=1IWaqRg7mfI
Goonji Si Hai, Aao Na, Aishwarya, Viveik Oberoi, Udit, Sadhna Kyun Ho Gaya Na HQ2
Lovely.
https://m.youtube.com/watch?v=x725hY_EHRs
.........................................................................................................................
Dheere Dheere - Full Song - Kyun Ho Gaya Na - Vivek Oberoi & Aishwarya Rai
Beautiful, especially 2:50 - 3:20! Beautiful song, beautiful pair, beautiful film. If only it had got it's due, not been victimised due to underworld brohood!
https://m.youtube.com/watch?v=U4MUaN2Qo3s
.........................................................................................................................
Responding to a post "The amount of energy put into the song by the artists is not expressed by the actors, such a shame":-
The lyrics represent inner turmoil of someone finding true love unexpectedly, after being raised an orphan by a mercenary in his work, so the scenes and actors show the love as it proceeds in a gentle rhythm while the singing matches the couldn't turbulence of inner turmoil of the orphan mercenary.
A similar turmoil of being is in an older song, Betaab Dil Ki Tamanna Yehi Hai, from Hanste Zakhm, that one being from a woman in a similar situation.
https://www.youtube.com/watch?v=P4fzOSVy6-o
.........................................................................................................................
Channa Mereya -
Full Song Video
Ae Dil Hai Mushkil
Ranbir, Anushka,| Aishwarya Rai
Pritam| Arijit
Music- Pritam
Lyrics- Amitabh Bhattacharya
Singer- Arijit Singh
Dharma Productions and Fox Star Studios
Audio on Sony Music Entertainment India Pvt. Ltd(C) 2017
As beautiful as the song is, as lovely as the performance of RKjr, it was catapulted to another level doing when little bundle of joy Jayas Kumar auditioned with it - and went on to be the heart's bliss for hundreds of millions!
https://www.youtube.com/watch?time_continue=1&v=284Ov7ysmfA
.........................................................................................................................
.........................................................................................................................
........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.................................................................................................................................................................................................................................................
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.........................................................................................................................
.................................................................................................................................................................................................................................................
.........................................................................................................................
