Posts Tagged ‘Hasrat Jaipuri’

Rafi fest – Birthday Special (I)

December 27, 2011

Dharmendra (8th), Dilip Kumar (11th), Raj Kapoor (15th, 14th), Biswajeet (15th), Naushad (24th, 25th), Rafi (24th), Rajesh Khanna (29th) – This post and the ones that will follow are dedicated to all these birthday boys.

My initial plan was to do one song with lyrics per day, whole of this month. But work demanded more of me, so couldn’t stick to the original plan.

I wont say all the songs that I’m posting here today are the ones that I have come across recently. They are just relatively less heard of. And some of them are songs which I’ve heard pretty often but noticed only now.

1. Na jaane kyun hamare dil ko tumne dil nahin samjha (Mohabbat Zindagi Hai, 1966) : I had first heard this song long long ago (dont remember where exactly, either we had a cassette/LP record at home or had heard it on radio) but had first seen it’s video when I had read the review of this movie on memsaab’s blog. And then had completely forgotten about it until I heard it on radio couple of weeks back. And now all of a sudden it’s pouring in everywhere! I dont know how I could forget such a great song in the first place! Though I wouldn’t call the video great, the song itself is amazing -with all chhed-chhad, haseen gile-shikwe wala lyrics and music. S.H Bihari is the lyricist and O.P Nayyar the music director. And all the songs featuring here this month are sung by Rafi! So that doesn’t even need to be explicitly mentioned.
Totally love  Tumhi ne jaan le li aur tumhe qaatil nahin samjha – the way it’s sung and picturized!

2. Tumhari mulaquat se (Mohabbat Zindagi Hai, 1966) : A more subdued one but so highly romantic!  If Dharam was trying to force himself too much on her in the previous song, in this he appears to have fallen for her at the very first sight. It’s such a beautifully written song – The way it describes the realization of one’s own emotions on meeting someone is so sweet. And it has more of happiness and acceptance to it than awe, making not just Dharmendra but even the one watching the song feel so good about him finding his love. He’s following her everywhere, holding her handbag and even sandals! His antics are really cute and adorable 🙂
Dharam looks even more garam in his shorts! Love Rafi’s restrained rendition inspite of all the paagalpan that goes on in the song, even the ‘hoye’ is sung with so much of control.

3. Yakeen karlo mujhe mohabbat hai tumse (Yakeen, 1969) : Sounds more like a Shammi Kapoor/Joy Mukherjee type song. This time around it’s our glam queen in shorts and uff her adas and nakhras! It’s as though Dharam is on patao-the-heroine spree. Watching the video makes me feel like they are playing catch-me-if-you-can!  But he does get lucky in this one towards the end. Like harvey mentioned, Dharmila jodi is so awesome! They share such a cute chemistry! Apart from being fun,  it’s such a catchy song. The magic of Rafi, Shankar-Jaikishan and Hasrat Jaipuri! I love the rise and fall of notes especially in ‘Tumhari tasveer hai nazar mein, charag jaise ho rehguzar mein‘…the way mein part suddenly drops down.

4. Baharon ki baarat aa gayi (Yakeen, 1969) : No, I wasn’t actually planning to do Ek Hi Film se, but it just sort of happened. Though I had heard both these songs before, I had never paid much attention to them. I heard Gar tum bhoola na doge from this movie on radio sometime back and then checked it out on youtube. I had no idea it was picturized on Dharmila. And I found these in the related links section. Surprisingly these two songs didnt gain the popularity of Gar tum bhoola na doge. This song does remind me of Kaun hai jo sapno mein aaya (Jhuk Gaya Aasmaan) and Chala jaata hoon kisi ki dhoon mein (Mere Jeevan Saathi). Must be the picturization but am wondering if Dharam too meets with an accident after the song. I didnt quite like this song when I saw  it the first time but it has grown on me. I really like the way ‘Suno toh mere dil, suno toh meri jaan, hothon pe dil ki baaaaaat aa gayi‘ is sung. The type puncture sequence is funny. The last antara is different in video and audio. Audio version has –
Honge muthi mein dono jahaan, jis ghadi main unhe paunga
Chaand suraj ke dole mein phir, apne ghar par unhe launga

5. Dil kahe ruk ja re ruk ja (Mann Ki Aankhen, 1970) : I heard this on radio few days ago and instantly fell in love with it. It wasn’t the first time I had heard it. I find it so strange that there are some songs which I have  heard all my life but never noticed. And one fine day, I hear it on radio and suddenly realize how good it is and get addicted to it. Wonder if the mood that I’m in has anything to do with it. But I saw the video for the first time last week. It reminded me a little of Suhana safar aur yeh mausam haseen and a little of Yeh kaun chitrakaar haiThis lovely song is written by Sahir and composed by Laxmikant-Pyarelal.
Ruk ja re ruk ja makes me want to stop doing whatever I’m doing and just let the song take over.

Songs picturized on other actors (birthday boys) will come up in a day or two, as and when time permits.

Advertisements

Budtameez (1966)

September 18, 2010

It was Sadhana’s birthday on 2nd September. She’s one of my favourite actresses and I keep raving so much about her. But look at the irony I couldn’t do a post on her birthday.

I was feeling bad about it but I made up for it last Sunday – saw two of her movies back-to-back. Arzoo and Budtameez.

Favourite actor, favourite actress and lots of fabulous songs – I was dying to watch this movie and it had been lying in my must-watch pile for quite sometime. And now I have finally done it! I had first seen this movie more than a decade ago. I had almost forgotten the story but some of the songs, esp the title track always remained afresh in my memory.

Shyam Kumar Saxena (Shammi Kapoor) hails from Allahbaad and lives with his younger sister Beena (Purnima) whom he lovingly call Binny and step-mother (Manorama). We are not taken to a flashback but through a series of conversation it’s revealed that Binny had met with an accident because of Shyam and she’s wheel-chair bound now. Movie begins with Shyam coming home at midnight and Binny keeping awake to wish him for his birthday. Though she’s his step-sister, she loves him dearly and the feeling is mutual.

But Manorama is not very fond of Shyam and keeps nagging him for not getting a job. So he leaves for Bombay the following day in search of a job.

A beggar asks him for some money on the streets of Bombay and when he takes out some money from his pocket a 100 rupees note falls from his pockets and goes flying into a car. He goes running behind and gets into the car in search of it. Just then the car-owner, Shanta (Sadhana) comes along with a bunch of friends and screams at him. She threatens him to get out of his car and drives away.

 Quite lost in the city, he’s just strolling around when he finds a wallet fallen on the ground and hurries behind a man to return it. Raja Bahadur (Brahm Bhardwaj) is highly impressed with Shyam’s honesty and when Shyam breaks a vase worth Rs. 100 in the store, he pays for it. Shyam is hesitant about Raja Bahadur paying for it but he tells him to return the money when he has it and gives his card before leaving.

Shyam comes across Shanta and her friends again at a swimming pool and demands for his money. They play the fool with him and sing Surat haseen lagta hai deewana. At the end of it he somehow manages to get his money back and goes to Raja Bahadur’s house to return the money.

As they converse, it turns out that Raja Bahadur was friends with Shyam’s grandfather in Allahbad. And he invites Shyam to stay with them. Shanta, Raja Bahadur’s granddaughter, is literally shocked to find him in her house. She tries her best to get him out of the house.

Raja Bahadur loves Shanta dearly and oversees her faults. Now this has made her such a spolit brat. He realizes that his affection has made her so headstrong and rude. So he has hired Rita (Laxmi Chhaya) to help him out in bringing Shanta back on track but all their efforts have been going in vain.

They sit down for breakfast the following morning. Shanta throws away the juice that her butler serves her because she doesn’t like it and half of it falls on Shyam. He argues with her saying she’s not the only one at the table and she should at least have some basic table etiquettes. They have a row over this. At the end of it, Shyam gets up, fetches a jug of water, pours it on Shanta  and walks out. Raja Bahadur and Rita look at the entire episode in awe. Shyam, guilty of his actions, goes to his room and starts packing. He wants to leave the house before Raja Bahadur throws him out for insulting his darling granddaughter.

But what follows next is quite the opposite. Raja Bahadur is highly impressed with Shyam and is convinced now that if someone can put some sense into Shanta’s head, it’s Shyam. So he hires Shyam as the Manager of the house! But before handing over the charge, he explains few things to him as to why Shanta is so aloof to everybody and why she hates men so much – Shanta’s father was a drunkard. The sight of her father getting drunk everyday and beating his wife has etched an indelible impression in her memory. One day when it gets too much to bear, her mother commits suicide. And this has turned her into a man-hater. She doesn’t believe in love and she feels all men are the same. According to her every love story/marriage would end either giving lots of pain or in a suicide. She is also the president of a Ladies Club, a club where she preaches how bad men are and all the members of the club are prohibited from falling in love.

Raja Bahadur also blames his son for all this and says he personally despises people who drink.

But now that Shyam has come into their lives, he is assured that Shanta will learn to love her life and people around her. He also reveals to Shyam his wish of getting Shanta married to him. According to him, he could never find a better guy for Shanta.

Now, there’s Devdas (Kamal Mehra) who has always dreamt of marrying Shanta. He happens to be a family friend’s son and is a little crazy. His sense of dressing is wierder than himself- one day he comes dressed as Robinhood to meet Shanta and the other day as a donkey. He’s such a joker. 

One day Shanta comes down to the hall from her room and is surprised to find the house empty except for Shyam. Shyam tells her that Raja Bahadur has gone to Khandala for some Business deal and Rita has gone with him. As she hates the sight of Shyam, she doesn’t like the idea of being home alone with him. So she decides to go to Khandala as well. She asks the driver to get the car ready.

And yes, you all guessed it right. Her chauffeur is none other than Shyam himself, in disguise of an old man. They leave for Khandala. He drives so slowly and keeps preaching so much to irritate her that after a while she takes over the wheel. 

She’s furious when she discovers that Shyam cheated on her and followed her. Like it happens in all Hindi films, their car breaks half way through. She shows attitude and starts walking. And to this attitude he sings Haseen ho tum khuda toh nahin.

Too add to Shanta’s plight, it’s already dusk, getting darker with every passing minute and it starts pouring heavily. Shyam suggests they go and look for some shelter but Shanta says she would spend the night in the car rather than go anywhere with him. So he leaves her in the car, goes behind a tree and hides. From there he starts roaring like a tiger to scare her. In less than a minute, he has Shanta running out of the car calling out for him, scared to death. They finally find the remains of an old abandoned house in the middle of the jungle and they go there to take shelter from the rain. And this is such a beautiful scene. It’s as though only the entrance of the house is intact – there’s only a space wide enough for one to stand there. Shyam, being a perfect gentleman, lets Shanta take refuge there but Shanta’s conscience doesn’t let her leave Shyam getting drenched in the rain all night. So she calls him and they try to adjust in that little available space. Shyam stands with his breath held in so that his tummy goes in and makes some space for Shanta to fit in as well. It’s so hilarious!!! And then Shanta spots a snake hanging nearby and faints in shyam’s arms. Just then, there’s a gunshot and Colonel Jung bahadur (Jagdish Raj) comes marching. He first thinks they must be lovers who have run away from their house and come and almost shoots them. But Shyam manages to convince him that they are already married and were on their way to Khandala but got stuck due to bad weather. Colonel takes pity on them and takes them to his bunglow.

What follows is a laughter riot. Shanta comes back to her sense, she gets murderous when she discovers that she’s put in the same room as Shyam. Now Shyam has to do all he can to make sure that she doesn’t come to know what he has told the colonel – that they are a married couple! He scares Shanta saying Colonel is mad. He has spent 6 months in a mental asylum and shoots anything and everything at the first opportunity he gets. He tells the same story to colonel about Shanta. He goes around the house singing Budtameez kaho ya kaho jaanwar.

When Shanta gets back home the next morning, she realizes that Raja Bahadur had never gone to Khandala. It was all his plan to get Shyam and Shanta together. She goes mad with anger. She goes to Devdas with her friends and tells him she would marry him if he helps her get Shyam out of her way. Devdas is more than eager to please her.  Remember, Raja Bahadur hates people who drink. So they make a plan to get Shyam drunk at a party and strike his name out of Raja Bahadur’s good books for good.

Devdas throws a party and everybody is invited. Shanta and Devdas give Shyam laddu’s filled with bhaang.

(Doesn’t she look like Kareena here? )

He gets drunk and sings  Apni baahon se koi kaam toh lo. The lines he recites before the song is  just awesome : Nashaa pilaa ke giraanaa toh sab ko aataa hai, Arre mazaa toh jab hai ke girton ko thaam le saaqi. Thanks Nasir, I had completely forgotten about this song until I saw saw it on your blog.  And now hardly a day passes without me listening to it.

Raja Bahadur makes his entry at the end of the song and is shocked to see Shyam stuporing. And Shanta adds to it saying he even tried misbehaving with her. But is it so easy to trap Shyam? The truth is that he already knew about Shanta’s plan and he never had the laddu in the first place! He was just acting drunk. When he tells the truth to Raja Bahadur, Shanta hits him on his head with a bottle rendering him uncounscious.

Raja Bahadur takes him home and summons a doctor. Doctor, after dressing his wounds and giving him an injection, tells Raja Bahadur that there’s a chance of Shyam getting blind. When Shyam recovers and gets up Rita enquires if he’s able to see. She then confides in him about the doctor’s fear of him losing his sight. This gives him an idea and he hides the fact that he can see. He acts blind in front of Shanta. And this makes Shanta feel guilty. He sings Dil ko na mere tadpao. But it doesn’t take her long to figure out his act. Slowly she starts falling for him. Being headstrong as she is, she’s reluctant to accept it even to herself.

And when she finally does followed by Pehla pehla pyaar hai yeh pehla pehla pyaar, a Baba comes to give news of Shyam’s death.

She almost has a nervous breakdown and goes running to the place where Shyam had dived into the river and drowned himself. Baba follows her and says Shyam had left a note behind for a girl named Shanta. When she tells him that she’s Shanta, he gives the note to her. She reads it and finds out how much Shyam loved her. She feels miserable that he died because of her. So she decides to end her life as well and jumps into the river. Baba catches her just in time and reveals his real identity. They sing Sirf tum hi toh ho jispe marte hai hum pledging their love for each other. This is where the dialogue in my earlier post comes into picture.

Raja Bahadur is delighted that Shanta has fallen in love with Shyam. He meets up with a Panditji and fixes a date for their wedding.

In the mean time, back in Allahbad, Manorama is looking for a guy for Binny. One Panditji tells Manorama that there is one eligible guy who belongs to a respectable family. But they will get their son married to Binny only if Shyam is ready to marry their widowed daughter! She knows that if she talks to Shyam about it, he wouldn’t even listen to her. So she tells Binny, without revealing the actual truth that she has found a guy for her and he has a lovely sister who would make a great match for Shyam. Happy and excited Binny immediately writes to Shyam about it and asks him to reply back to her letter immediately  if he’s ok with the proposal so that they can commit to them and begin with the preparations.

Raja Bahadur is busy with wedding preparations as well. When Devdas finds out that he’s getting Shanta married to Shyam, he tries to fight with him for Shanta. But Raja Bahadur doesn’t give a damn to him. Just then Devdas notices a letter addressed to Shyam on the table in the hall.

 He, along with his friend read the letter and reply to it. The letter never reaches Shyam! Now thinking Shyam is happy with the proposal, Manorama and Binny also start preparing for the weddings. Before you start wondering how they managed to copy Shyam’s hand-writing…they don’t write the reply back, they send a telegram instead, ruling out the possibility of getting caught! Smart guys 😛

Shyam leaves for Allahbad, with due permission from Raja Bahadur, to return with his family for the wedding. He’s in a shock to discover things at home. He has always held himself responsibile for Binny’s accident. She’s become handicapped because of him. Now there’s a good proposal come in and if he tells about Shanta and his wedding in Bombay, his sister may never get married. Who else would marry a handicapped girl, who can’t even walk??? So he quietly sacrifices his love and gets himself involved in the wedding preparations.

Shyam’s wedding card reaches Raja Bahadur in Bombay and he’s shocked to see it. He can’t believe that he made such a big mistake – He always thought of Shyam as someone who’s very reliable and responsibile. The guy who had left with a promise to marry Shanta is now getting married to somebody else!  Shanta, still unaware of Shyam’s wedding, is happily selecting jewelleries for her own wedding.

Shanta is heart-broken when she learns the truth and she becomes her old self again. Raja Bahadur is all set to cancel the invitaitons but Shanta insists that she will get married as planned but to a different guy,  Devdas. If Shyam can forget her and get married to somebody else, she argues so can she!

Will Binny get to know that Shyam had already  committed himself to Shyam before it’s too late? Will she be able to change their fate even qif she does find it out? Will Shyam ever discover that it was all Devdas’s doing? Watch Budtameez to find out.

It’s a lot like Ziddi (1964). Both are about  taming a stubborn girl but I liked this one much better. Not just because it has Shammi Kapoor in it (though that’s one of the reasons) but because the story is handled and executed better here. Sadhana is gorgeous!!! Shankar Jaikishan’s music is awesome and the songs penned by Shailendra and Hasrat Jaipuri are simply superb. Love each one of them!

The script was written for Shammi Kapoor…everything about the movie is extremely Shammi-sque. I can’t imagine anybody else doing this role. He is stylish, suave, romantic, flirty, smart, caring, funny….as always. Sadhana is amazing –  arrogant, stubborn, witty and very very beautiful. Sadhana’s Shanta was a perfect match for Shammi Kapoor’s Shyam! And they shared a great chemistry!  Apart from the lead pair, I liked all the others as well. Every character had a well-defined role.

I particularly liked Brahm Bhardwarj and Jagdish Raj!

Jagdish Kanwal’s dialogues were crisp and just perfect. I love him for that filmy dialogue alone! After an overdose of Manmohan Desais movies from the 70’s and 80’s with all lost-and-found themes (not that I don’t like them, I have seen most of them, not just once but so many times) I had almost forgotten that he had directed some great movies like this. This film just restored my faith in him.

All in all, a very entertaining film. I see myself watching it quite often – it has made its place in my favourite Shammi Kapoor films (others being : Dil Deke Dekho, Professor, Teesri Manzil, Raj Kumar…..). I thoroughly enjoyed watching the film. A great stress-buster! 🙂

I somehow missed Rajendranath in this movie. Kamal Mehra was great as Devdas but would have loved to see Rajendranath do that role.

You can watch if online if you can’t get a dvd.

Kathputli (1957)

August 24, 2010

It was Vyjayanthimala’s birthday on 13th August. So I thought I would watch and review a movie of hers. Of late I have been doing too many posts on songs and have actually been missing reviewing movies. So I sat down to search for a Vyjayanthimala movie in my collection and this was the only one I had.

The name sounded pretty interesting, and with a starcast of Vyjayantimala, Balraj Sahani I was so excited about watching it. But alas, the excitement ended after the first half an hour. I thought Guru Dutt movies had self-deprecating heroes. But his movies are well made, thought provoking and have lots of substance in them. The story and characters linger in your thoughts and disturb you long after the movie has ended. This was a self-deprecating movie with niether any justification nor any substance. It has amazing songs, but again unfortunately they don’t contribute towards the story.

Ok, let me start with the story without discouraging you any further 😛

 The movie begins with a puppet-show in a village, which I thought was a very relevant beginning.

Among the audience, is Pushpa (Vyjayanthimala), an innocent village belle. She is apparently mesmerized to see the puppets dancing. In between she peeps up and manages to catch a glimpse of the puppeteer.

She goes back home and dances in puppet style to the title track, a happy Bol ree  kathputli dori.  Shivraj (Jawahar Kaul), the puppeteer sees her dancing and is of the opinion that her dance was superb : it looked like someone had put life into his puppets. They start a conversation and she tells him that his show was very good.


Pushpa : Kahan rehte ho? (Where do you live?)
Shivraj : Sadkon par. (On the streets.)
Pushpa : Sadkon par? Ghar nahin hai? (On the streets? Don’t you have a home?)
Shivraj : Kabhi ghar ki zaroorat hi nahin padhi (No, never felt the necessity to have one.)

She feels sad for him and decides to help him. She takes him to a huge bunglow and tells Manohar (Aagha) about her idea – that they need a job. Shivraj would make the puppets dance and paralelly there would be few girls doing exactly the same steps as the puppets on the other side of the stage. They even do a live demo of it. But Manohar is not impressed. He is showing them the way out when Loknath (Balraj Sahni) comes and stops them. He offers Pushpa a job but she refuses and walks out saying people who work on stage/theaters are not considered good and she had come there to help Shivraj find a job, not for herself.

Pushpa goes back home and finds out that her sister Chandni is scared to go to school because she hasn’t paid her fees for three months and she may not be allowed to enter her class. She somehow manages some money but Chandni refuses to go to school. According to her, her education is taking up all Pushpa’s hard-earned money. But Pushpa is adamant about educating her and sends her to school.

Shivraj comes to their house later and says that Loknath has offered them a job at a salary of Rs. 200 each. But she sends him away saying she deosn’t need Loknath’s job. Chandni feels that was insulting. Shivraj had come to help them and Pushpa was so rude to him. So Pushpa goes to him to apologize. Just as they make up and admit their fondness for each other and promise to work together, Shivraj gets hit by a car and gets crippled. The hands that made the puppets dance and jump, skid and fight are no longer capable of doing the same again.

It’s then that Pushpa decides to work and earn, help Shivraj recover and also work towards fulfilling their dreams. She goes to Loknath’s house asking for a job. She meets Manohar and asks him for a job.
Manohar : Khana banana jaanti ho? (Can you cook?)
Pushpa : Haan (Yes)
Manohar : Bawarchi hai.(There are cooks)
Bartan dhona jaanti ho? (Do you know how to wash dishes?)
Pushpa : Haan
Manohar : Naukar hai (There are enough servants to do that)
Kapde dhona jaanti ho? (Can you wash clothes?)
Pushpa : Haan
Manohar : Dhobi hai (There are laundry men)
Boot polish karna jaanti ho? (Do you know how to polish boots?)
Pushpa : Nods her head
Manohar : Woh mera kaam hai (That’s my job)
Do me one favour, I’ll give you Rs. 50 per month, food and accomodation for free but never come here asking for a job again.

When Loknath finds out that Pushpa had come in search of a job, he calls her and immediately starts training her. She’s already a good dancer, he helps her polish her skills.

He sings Manzil wohi hai pyaar ki (Subhir Sen) and she dances to it. This song, undoubtedly a lovely number, but has nothing to do with the story. Loknath launches her on stage. Her first dance on the stage is Itne bade jahan mein ae dil . She becomes a superstar overnight.

She’s offered a plush flat in an apartment and she moves in with Shivraj (I guess Chandni was included by default, though they don’t show her). 

Pushpa does a lot of stage shows. Her next performance is Mini mini chi chi, a lovely duet by Lata and Mukesh picturised on Pushpa and Manohar.

When she doesn’t find Loknath around after the show she enquires after him. Manohar tells her that his little son, Bhola is a sickly child and his condition has gone from bad to worse. That’s why he had to rush home.

She goes after him. Bhola is very happy to see her. She feels sorry for him and promises to come and see him everyday.  She even sings a lori Soja re soja mere raj dulare and puts him to sleep.

 Pushpa and Shivraj get married. Shivraj, however, doesn’t like Pushpa bonding so much with Bhola. And the fact that he’s incapable of earning and that she’s the bread-winner hurts his ego all the more.

Her next performance is Bakad bum bum baje dumaroo. It’s a fun number with a peacock dance.

At the end of it, she faints and Loknath summons a doctor. When Shivraj finds out that Pushpa fainted he comes and accuses Loknath of trying to kill her. According to him Loknath was always in love with her. When he couldn’t win her with his love, he  used his son to attain Pushpa. But even that didn’t work because Pushpa got married to Shivraj. So out of jealousy Loknath wants to kill her! Now that was a very ridiculous logic! After delivering all this nonsense, he slaps Loknath. Just then doctor comes and announces that Pushpa is pregnant.

Pushpa gets engaged in her family life and she takes a break from stage. She delivers a baby and it’s only in the hospital that Chandni is shown again (wonder where she was all this while).

In the meanwhile Loknath retires from the stage giving Manohar and Co. all the responsibilities of running the shows. They are not happy with his decision but he’s adamant about it. Shivraj’s slap and accusations hit him too hard.

Now that Pushpa has stopped working, they find it hard to meet ends. Shivraj makes some toys and takes them to a local dealer. But he says nobody buys handmade dolls but lightens Shivraj’s disapppointment saying he knows a man in Patna who deals in such toys and gives him the man’s address. Shivraj, with a hope of finding employment sets out for Patna immediately.

That’s when Pushpa finds time to visit Loknath. She doesn’t have any money left even to pay the house rent and she’s almost finished selling all her jewels. She’s desparately in need of a job. So she goes to his mansion seeking a job but is shocked to see him.  He’s still recovering from the misery of Shivraj’s accusations when Bhola passes away leaving him all alone. She feels the best way to bring him out of his loneliness and despair would be to get him back to work. Left alone there are high chances of him going insane. So she tells Manohar about getting him back on stage. It’s then that Manohar reveals the truth about the incident with Shivraj. She’s devastated to learn how rude her husband was to the person who did so much for her and her family.

She takes it as a responsibility to bring Loknath back to normal. She leaves her baby, Munna with Chandni and helps Manohar find a good dancer. Their plan is  to get a very good dancer and present her to Loknath. He would spot the talent and focus on training and presenting her on stage. They find one such girl, Kamla Lakshman. She dances to Haye tu hi gaya mohe bhool re, and Loknath is thoroughly impressed. Her dance was awesome. I found it better than Pushpa’s. He takes her under his wing and works towards doing a show with her. But her greedy uncle demands more money just before the show and threatens to stall the show if he doesn’t give in to his demands.

 Pushpa comes to his rescue and does the show  herself dancing to Bol ree  kathputli dori. Now, as expected, Shivraj comes back. His journey to Patna goes in vain and returns home disappointed. Finding only Chandni and Munna at home he asks for Pushpa’s whereabouts. When he learns that she’s gone back to Loknath and stage, he takes Munna and goes away.

Pushpa is heartbroken and the grief of losing her child is too much for her to bear. Loknath again comes to her rescue and helps her find Shivraj. She falls down at his feet and pleads with him but he refuses to give the child back.

What happens next? Will she ever get her child and husband back? Why does Loknath go out of his way to help Pushpa?

The movie started on a very good note but went haywire after the first half an hour. So I googled for found out – This was supposed to be produced and directed by Amiya Chakrabarty, who had made classics like Daag, Patita, Badshah and Seema  but unfortunately Amiya could not complete Kathputli as he passed away while making the movie and Ajit Chakrabarty and Nitin Bose completed the film. Wonder if that’s why the movie is so vague.

Shankar-Jaikishan’s music is fabulous. Shailendra and Hasrat Jaipuri (Soja re soja mere raj dulare, Bakad bum bum baje dumaroo by HJ, all the others were by Shailendra) had penned the lyrics. Songs are good but except for few, the others look like they’ve just been put in to fill the gaps.

Story is very predictable. I’m extremely fond of Balraj Sahni but found him every theatrical most of the time here. Except for the scenes with is son, he was just ok rest of the times. When Pushpa goes to meet Bhola the first time, he says,
Bhola : Papa kehte hai aap bahut achhi hain. (Dad says you are very nice)

That moment of uneasiness is portrayed extremely well by Balraj Sahni.

There was no chemistry between Vyjayanthimala and Jawahar Kaul. And even when Vyjayanthi was in distress, I just couldn’t feel sad or feel at all for her. The soul…the essence was missing in the story and in the performances was well. None of the actors looked convinced of what they were doing or even interested in it except for Agha. If I could sit through this movie it was just  for Balraj Sahni and Agha. I know it was a wrong choice for the lady’s birthday. But that was the only movie of hers I had. So couldn’t help it.

P.S : For a change I’m giving the credit to Doordarshan this time. I was watching Rangoli on 8th morning and the entire episode was dedicated to Vyjayanthimala. But inspite of learning about her birthday so much in advance, I couldn’t watch the movie until 15th and complete this post till now.

Couldn’t find the videos of Mini mini chi chi, and Soja re soja mere raj dulare. Am uploading them on youtube. Will put share the link once done.

Ten of my Favourite Saira Banu Songs

August 23, 2010

Here’s wishing Saira Banu a very very Happy Birthday! (23rd August). I am not a big Saira Banu fan. I find Saira Banu very screechy most of the time – but that doesn’t mean I don’t like her at all or don’t watch her movies. I liked her in movies like Shagird, Aayi Milan Ki Bela, Jhuk Gaya Aasmaan etc. And she has some great songs picturised on her….such good songs that I couldn’t resist myself from doing this post (knowing that it’s her Birthday).

So, here are few songs of hers that I like the most, not in any particular order.It’s a random list of first 10 or rather 15 songs that came into my mind.

One more thing before I start with the songs. How could I not mention Vividh Bharati? I was listening to VB in the afternoon and they played all Saira Banu’s songs in one of their programs. It was then I checked and confirmed her birthday.

1. Aap naraaz khuda khair (Pyaar Mohabbat, 1966) : This is one of my all time favourites and I love everything about this song. Rafi’s singing goes without saying. Shankar-Jaikishan’s music is amazing. Dev Anand is great but it’s Saira who steals the show for me. She looks very beautiful, charming and elegant. Her expressions are simply awesome!


2. Main chali main chali (Padosan, 1968) :  Rendered by Lata and Asha, this is a very masti-bhara number! It has something very refreshing and carefree about it. Rajendra Krishan’s lyrics and R.D’s music is very very cheerful and pleasing. Bhai batur is another typical Saira Banu song, in her signature style. And I really like it but there’s another signature song coming up next. So this was showcasing a different mood of Saira. I like her chilled out character here – that carefree  and eco-friendly attitude.

3.  Unse mili nazar (Jhuk Gaya Aasman, 1968) : This is what I call Saira Banu’s signature style. Penned by Hasrat Jaipuri, composed by Shankar-Jaikishan, sung by Lata and picturised on our B’day girl, this is one of my all-time favourite songs. It’s such a catchy song – everything about it is lovely – the tune, lyrics, singing and Saira looks gorgeous. Picturisation is very very cute, romantic and sensuous. Saira’s expressions of self-confession are so innocent and sweet. I find this and Bhai batur pretty similar – picturisation wise.

4. Kanha kanha (Shagird, 1967): This has Saira in a different avtaar altogether. I initially thought of including my favourite number from this musical blockbuster – Woh hai zara khafa khafa, but felt Dil vil pyar vyar and Ruk ja aye hawa are more like typical Saira Banu songs. But this one is different from other songs of hers, spiritual and magical at the same time. I find her extremly beautiful here. Lata is terrific and Laxmikant-Pyarelal’s music is fantastic!

5. Kashmir ki kali hoon main (Junglee, 1961) : My favourite song from this movie is Ehsaan tera hoga mujh par, but I like the Rafi version more than Lata version. Saira’s expresssions are not all that great in it. It’s Rafi’s voice topped with Shammi Kapoor’s expressions and eyes that has made the song what it is. Ja ja ja mere bachpan is sweet but it’s Saira, looking like a Kashmiri doll in Kashmir ki kali hoon main that makes it to this list – her looks, the Kashmiri attire, angry and khadoos look of Shammi Kapoor (with a pout)…everything about this song is so lovely in a typical Hindi Film style. Again, this song reminds me a bit of O mere sona re from Teesri Manzil.


6. O sanam tere ho gaye hum (Aayee Milan Ki Bela,  1964) : Another musical blockbuster. Each and every song in this film is a masterpiece. I had thought of including Tum kamseen ho first and then realized that I hadn’t put a duet (with a male singer) yet and I’m already half-way through. And also, I have already included a paean to her above and there will be few more by the time I reach the end of this post. So here goes one of my favourite Lata-Rafi romantic duets. Lovely tune from SJ camp and highly romantic lyrics by Hasrat Jaipuri. I like Rajendra Kumar-Saira Banu pairing, they look good together and they share a good chemistry. And I love everything about this song, including Rajendra Kumar’s dance 😀


7. Unki pehli nazar kya asar kar gayi (April Fool, 1964) : Talking about musical blockbuster, here’s one more. After battling between Tumhe pyaar karte hai, Mera naam rita chirstina and Unki pehli naazar ka, I chose this over the other two – Tumhe pyaar karte hai is a lovely song, no doubt about it but didn’t want to put two romantic duets in a row (if that can be called an excuse). Mera naam rita christina – everytime I see this song, I keep wishing  it had Helen in it. It definitely portrays Saira in a different avtaar again but I like this song better.  It does sound like a sober and more Bolly-Bharatiya-Naari version of Unse mili nazar. Lata is mindblowing in it and so is Saira. Truly amazing song!


8. Tum akele toh kabhi baag mein (Aao Pyaar Karen, 1964) : I find songs and movies more charming and fascinating when they are in Black & White than in color. May be because all the people whom I like so much looked much better in B&W days. Both Joy Mukherjee and Saira look so gorgeous in this one. This movie again has some lovely songs – be it Tum akele toh kabhi, Dil ki aaine mein, Yeh jhuki jhuki or Tammannao ko khilne do. Tum akele toh is very entertaining. Hats off to the lyricist for penning down this duet – a true battle of words. Usha Khanna’s music as always is lively and peppy. Lata and Rafi are at their best. Saira looks very young and pretty. Though the set looks artificial, I love the song. It’s such a lovely song and with Joy and Saira on screen, I just can’t complain about anything. The full song’s video is not on youtube yet. The link above has only half of the song. However, the audio is available.


9.  Hum bhi agar bachche hote (Door Ki Awaaz, 1964) : I almost put Husn se chaand bhi sharmaya hai but as this is a Birthday special post and it’s Saira’s birthday, here’s this all-time favourite birthday song dedicated to her. Not a great movie, but Joy-Saira pairing always promised some great songs.

10. Husn chala kuch aisi chaal (Bluffmaster, 1963) : Not a movie that I remember fondly, except for few songs and this happens to be one of them. What an eye-candy! Now that I have seen Shammi Kapoor in his true Shammiesque style, (unlike the one in Kashmir ki kali hoon main, though he looks cute there as well) I can sleep peacefully. Ok, I shouldn’t be changing focus. Saira looks very pretty and like I keep saying, B&W movies have a different charm. With Shammi on screen, it’s difficult to concentrate on somebody else. So I better end it here.

Here’s wishing the lady a great year and a healthy life ahead!

Ten of my Favourite Manna Dey Songs

May 1, 2010

I’ve been away from the blogworld for quite sometime now. Lots of other things kept me extremely occupied – I was looking for a change in job, so to start with, I was busy attending interviews. When I got a new job, I resigned from my previous company and was serving notice period for a month, and that just flew away in giving trainings. And now that I have finally joined the new place, I’m trying to get used to the atmosphere here.

So, I hardly had time to watch movies or post something here for the last one month. Now that life has come back to normal again, when the weekend approached I was glad that I could watch movies and get back to blogging again. Thanks to Vividh Bharati that I came to knnow it’s Manna Dey’s birthday today. So here I am with some of my favourite Manna Dey songs.

Born on 1 May 1919, Prabodh Chandra Dey is better known by his nickname, Manna Dey. As he celebrates his 91st birthday today, here’s wishing him a very very happy birthday and a wonderful year ahead!

1. Laaga chunri mein daag (Dil hi toh hai, 1963) :  This is a real masterpiece, one of my all time favourites and one of the most popular Manna Dey songs. Roshan’s music, Sahir Ludhianvi’s lyrics, Manna Dey’s voice, Priyadarshini’s dance and Raj Kapoor’s screen presence – everything is just so superb. And this song has such a spiritual feel to it.

2. Yeh raat bhegi bheegi (Chori Chori, 1956) : Along with Mukesh, Manna Dey was also Raj Kapoor’s voice in many movies. And this movie is one of my favourite Raj Kapoor films. Raj Kapoor is undoubtedly one of the finest actors we’ve ever had and a great director too, with an amazing sense of music – all his films have such lovely songs. But his movies are usually so socially awakening that they leave me emotionally, morally and socially depressed. So I don’t re-watch many of his movies but this is an exception. It’s such a fun movie and has wonderful songs (Hasrat Jaipuri’s lyrics and Shankar-Jaikishan’s music) – be it Jahan mein jaati hoon, Aaja sanam or Panchhi banoo udti phiroon.

3.  Gori tori baanki (Aadhi Raat Ke Baad, 1965) : Manna Dey had a very strong classical base and was usually roped in to sing semi-classical songs. And this song, penned by Prem Dhawan and composed by Chitragupta is a semi-classical song set on Western music – a fun number picturised on Aagha where he tries to impress girls with his magic tricks.

4. Ae bhai zara dekh ke chalo (Mera naam Joker, 1970)  : One more Manna-Raj duo and Manna Dey won the Filmfare best Playback singer award for this song.  This movie marks the debut of Rishi Kapoor. Raj Kapoor spent so much of his own fortune in making this movie, that when it flopped at the box office, Raj came close to being totally bankrupt. I had watched this film on Doordarshan during my school days but they had to cut it short to fit in the allocated 3 hours. But my dad says that this was almost 5 hours long and when he had watched it in a theater, it had 2 intervals.

5. Yeh dosti hum nahin todenge (Sholay 1975) : IMDB’s tagline for Sholay reads : “The greatest star cast ever assembled…….The greatest story ever told”. I doubt if there’s any Bollywood fan who has not seen this movie but I wont get into the details of the movie, let Raju Shrivastav do that. This Manna Dey-Kishore Kumar duet is one of the most popular songs on dosti – be it any occasion/event…this song is always played/sung.

6. Ek chatur naar karke (Padosan, 1968) :  A musical battle where both Mehmood and Sunil Dutt lip-sync to Manna Dey and Kishore Kumar respectively as they try to win over Saira Banu. The singing by both the artist is sheer madness at its best.

As per wiki –  “Reportedly the song ‘Ek Chatur Naar’ (a duet by Kishore Kumar and Manna Dey) was partly improvised by Kishore Kumar at the time of recording and Manna Day, determined to show Kishore Kumar how he would sing the duet better (since Kishore had not been trained classically), got into the mood of the song and immortalized ‘Ek Chatur Naar’. Legend also has it that Manna Dey was upset by the fact that in the picturisation of the song, the singing competition between the two heroes (Dutt and Mehmood) was won by Dutt, for whom the background singing was done by Kishore. Dey didn’t like the fact that a classically trained singer like himself would have to lose, though only on-screen, to an un-trained singer (Kishore). In the song, at a couple of times Mehmood had to say “sur gadbad jee” against Sunil Dutt where Kishore was singing hence Dey refused to say those words so Mehmood gave his own voice for the same.”

But this is what Manna Dey had to say about this song in – “Memories Come Alive: An Autobiography” :
“I was especially cautious when asked to sing for Mehmood in Ek chatur naar with Kishore Kumar. The latter had a unique and unaffected style of singing which tended to eclipse the subtleties of classical music, and place his singing partner, in a duet, at a disadvantage. To be put in the shade by Kishore’s flamboyant style of singing was a distinct possibility and, to counter the risk, I decided to work with Pancham, striving to build on my strengths and find a way of holding my own.”
“On the day we were to record Ek chatur naar, the entire staff at the studio stood outside the glass-door to watch Kishore and me sing. For the two of us, the session had taken on the magnitude of a duel. It took us 12 hours – the recording started at 9 am and ended at 9 pm – to complete it, and I must admit, Kishore was in his element that day. Out of this tough battle to outshine one another, would emerge a new star in the world of music.”

7. Ae meri zohra zabeen (Waqt, 1965) : Another gem of a song – picturised on one of my favourite actors, Balraj Sahni;  sung by one of my favourite singers, Manna Dey and from one of my favourite movies. This is just amazing! 

8. Pyaar hua hai ikraar hua (Shree 420, 1955) : Yet another Raj Kapoor-Manna Dey duo. I think of Raj Kapoor and Nargis and this song is the first thing that comes to my mind. I think of a rain song, I think of this song. I remember reading that this song is one of the top ten romantic songs in Bollywood.

9. Tum bin jeevan kaisa jeevan (Bawarchi, 1972) : There are some songs which I just cant imagine anybody else singing, and this is one of them. Directed by Hrishikesh Mukherjee, Rajesh Khanna playing the All-rounder Bawarchi is one of my favourite films too. And this film had a different music altogether, not the usual romantic numbers, as per the prevailing trend.

10.  Jhanak jhanak tori baje payaliya (Mere huzoor, 1968) : Its a great song, great composition and great singing by Manna Dey – simply superb.

And there I go as usual, I was just getting into the flow and I have reached 10 songs already. There are so many other songs of his – Chalat musafir (Teesri Kasam), Jeewan chalne ka naam (Shor), Door hai kinara (Saudagar), Na maangoo sona chandi (Bobby), Kaun aaya mere mann ke dware (Dekh Kabira Roya)…….to name a few.