Posts Tagged ‘Helen’

My tribute to Rafi Saab – The A to Z of Mohammed Rafi

August 3, 2010

I started this post on 31st, as I was listening to Rafi marathon on Vividh Bharati but with such lovely songs playing I couldn’t concentrate on the post. I had listed the songs even before that, but still it took me so long to complete it. I kept getting lost in the songs in between that I¬†forgot I had to come back here and finish this ūüôā

After an extremely hectic week, the best thing I could ask for is a day full of Rafi saab’s songs. Not that I didn’t listen to his songs the rest of the week. Not even a single day of mine passes without listening to him. Thanks to Vividh Bharati for that. The first thing I do every morning after I get up is to put the radio on. And they play a minimum of one Rafi song in every program of theirs. Then my collection of hundreds of his songs in my cell phone which I listen to everyday on my way to work. Other people get frustrated with the traffic and I feel good about it. The longer it takes me to reach office, the more number of songs I get to listen to and I reach office more refreshed. And when I am not in meetings and am not reading something, I continue listening to music in office as well. A big thank you to Nasir and Venkat for sharing all those rare gems…you guys have introduced me to so many songs that I had never thought even existed. And a big big thank you to entire team of Vividh Bharati – Kamal Sharma, Renu Bansal, Mamta Singh, Nimmi Mishra, Yunus Khan, Amarkant Dubey, Rajendra Tripathi, Shehnaz Akhtari and to everybody else. Had it not been for you all I wouldn’t have known even half of these songs! I owe my filmi and musical knowledge to you all!

I missed out the programs on Vividh Bharti in the morning on 31st as I got up late. But ever since I got up I was been hooked to it. They played non-stop Rafi songs. And do I even need to say that each song of his is songs is a masterpiece!

So much is written about Rafi (1924-1980) that I don‚Äôt quite know where to begin and what new to say really.¬†¬†Rafi was one of the most versatile singers…From the doleful¬†Jugnu¬† to the patriotic¬†Shaheed¬† to the classical¬†Baiju Bawra to the effervescent¬†Mr. and Mrs. 55¬† to the regal¬†Raj Hath to the poetic¬†Pyaasa¬† to the meltingly romantic¬†Barsaat Ki Raat¬†– phew! the list is endless‚ÄĒRafi sang them all. And more.

The whole week I’ve been thinking of something special to post as a tribute to this legend. It’s just impossible to list out my 10 favourite Rafi songs. I’m in love with every song that he has sung. But at the same time I couldn’t even sit without doing a post. After sifting through numerous options like – listing down some songs of Rafi alphabetically, listing out human emotions and associating a song against each emotion, defining the 7 stages of human life through his songs….but I realized that I just couldn’t move beyond the first letter.

I started thinking of his songs that start with ‘A’ and the list was so long that I could break it into 2-3 separate posts. Then I tried with the emotions. Within no time I realized that there were too many of them for instance Anger, Anxiety, Anguish, Astonishment, Attraction, Amusement, Affection, Agony. And this is just the beginning. Next I shifted to the stages of human life. I opened Shakespear’s poem and started mapping Rafi’s songs against each of the stages. But 7 were too few and then realized that I would end up counting almost everyday as a different stage! So that wasn’t much help either.

So I came up with this rule for this post…I would include –
1. Not very popular songs of Rafi as in, not the songs that would feature in every top 10 or top 20. I’m promoting some rare gems of this mastreo.
2. One song per actor and preferrably picturised on a lesser known actor (at least I’ll try avoiding the supserstars as much as possible). There are bound to be few exceptions though. But don’t be surprised if you don’t see even a single Shammi kapoor song here! (As I am doing a series of Rafi sings for Shammi, I’m trying to leave out Shammi Kapoor songs so that other songs would get a chance).
3. For a change I’m including songs from movies that I haven’t seen as well.

A : Abhi na jao chhod kar (Hum Dono, 1961) – Absolutely awesome romantic duet, superbly rendered by Rafi & Asha and¬†so convincingly picturised on Dev Anand and Sadhna.¬†¬†The charming couple, the excellent rendition, Jaidev’s superb music,ÔĽŅ Sahir Ludhyanvi’s ¬†thoughtful and yet so simple lyrics¬†¬†and the beautiful depiction of two lovers unwilling to separate¬†leave you wanting to fall in love – this is without doubt one of the best romantic song ever recorded.¬†¬†¬†When I ¬†hear this song¬†I feel like¬†I amÔĽŅ in another world, the feeling of the song is simply awesome. What a treat this is!¬† And¬†for once I wished ‘A’ was the last letter of English Alphabet. Putting this song at the end would have made much more sense.

A :¬†Ankhinyan milake zara baat karo ji (Pardes, 1950) : Striking the earlier song as I couldn’t think of any other song starting from ‘F’ other than Falsafa pyaar ka tum kya jano,¬†picturised on Dev Anand.¬†In his earlier years, before he had fully come into his own, Rafi sang for Ghulam Mohammed (Naushad‚Äôs prot√©g√©) a lovely duet with Lata. This¬†one is picturised on Rehman and Madhubala and¬†I¬†love¬†this¬† for lots of reasons: Madhubala‚Äôs striking beauty,¬†Rafi‚Äôs deep, powerful rendition, peppy music and¬†young and dashing Rehman!

¬†B : Bahut haseen hai tumhari aankhen (Aadhi Raat Ke Baad, 1965) : Very cute song…not very popular but¬†sweet and very romantic¬†nevertheless. Rafi and Suman Kalyanpur come together in this lovely track¬†picturised on Sailesh Kumar and Ragini who playfully flirt and tease each other. Chitragupt’s music is soothing and pleasant.

C : Chhupa kar meri aankhon ko (Bhabhi, 1957) : My initial choice was Chal ud jaa re panchhi but couldn’t find the Balraj Sahni version of it ¬†on youtube. I had once heard in an interview that Balraj was so sad after shooting the song. He felt he could have done it much better! It’s such a divine song. But guess I’ll go with the flow – romance and move ahead with this¬†infectiously romantic duet featuring Jawahar Kaul and Shyama. Rafi teams up with Lata here and the rendition is magical. This is one of my all time favourite Lata-Rafi duets. I had first heard this song on Vividh Bharati years ago and always felt that it must be picturised on Meena Kumari. I somehow related the feel of the song and the name of the movie¬†itself to Meena Kumari. But was pleasantly surprised to discover Shyama in it. I saw this film just because of it’s songs. Not a movie I am very fond of, but give me its music anyday and I would be more than happy. It has a variety of songs – Chal ud ja re panchhi, Chali chali¬† re patang meri chali re, Chhupa kar meri aankhon ko, Jawaan ho ya budiya, Kaa re kaa re baajra…Coming back to this song, Chitragupt’s music, Rajender Krishan’s lyrics, Lata and Rafi’s rendition¬†is truly amazing. And check out Shyama’s expressions, esp when she lip-synchs “tumhari is adaa par bhi hamare dil ko pyaar aaye“. Haye…I just love this song!


D : Dil ki tamanna (Ghyarah Hazar Ladkiyan, 1962) : It’s Vividh Bharati again where I first heard this song. And the first thing I did after the song was over is to rush to search for it on google/youtube. Initially, I could just find the audio version of it, Rafi’s solo. And I¬†have listened to it continuously for days, non-stop. What an intoxicating voice and there’s so much feel to it. I didn’t even know who it was picturised on then but just wished whoever it was –¬†may his dil ki ¬†tamanna come true! I’ve been looking for the cd/dvd of this movie ever since but with no luck. Rafi and Asha sing¬† Majrooh Sultanpoori’s lyrics for Bharat Bhushan and Mala Sinha, under the music direction of N. Dutta. It’s a classic composition.

D :¬†¬†Dil mein chhupa ke pyaar ka ( Aan, 1952) : Striking Dil ki tamanna because I just confirmed that Ghar se toh cut chuka patta is picturised on Bharat Bhushan, though it doesn’t have a video, I don’t want to break my rule.. Here’s another lovely Rafi number featuring two actors whom¬†I like a lot – Dilip Kumar and Nadira. Shakil Badayuni penned the lyrics for this lovely song and Naushad Ali composed the music. Rafi is heavenly and so is Dilip Kumar. There’s a color version of this video. But I find the B&W version more enchanting. ¬†


¬†E : Ek tera saath hum ko (Waapas, 1969) :¬† Exteremely romantic song. Music is by Laxmikant Pyarelal and ¬†lyrics¬† by¬†Majrooh Sultanpuri. It is a duet sung by Rafi and Lata picturised on¬†a newly married couple (Alka and Shekhar Purohit? Ajay?) pledging undying love and devotion to each other. I feel the essence is somehow missing in the picturisation, but just listen to it and it’s magical, such a treat to the ears!

F : Falsafaa pyaar ka tum kya jano (Duniya, 1968) : A¬†terrific song by Rafi, composed by Shankar-Jaikishan and¬†picturised on Dev Anand and Vyjayanthimala. “How would you grasp the philosophy of loving when you have never fallen in love before” – for once I kind of like the translation of the mukhda. I almost played around with Phoolon se dosti kaanton se yaari (Foolon se) but when I had a song starting with ‘F’, I thought I would rather go with it. Though Dev Anand looks wierd with that hair-cut and this song has the flavours of Badan pe sitare lapete hue, I¬†¬†still love this number…it’s so intoxicating. This is what I call a quintessential¬†Rafi song!

G : Ghar se toh cut chuka apna patta (Kal Hamara Hai, 1959) : I heard this song on radio last week and instantly fell in love with it. Unfortunately I couldn’t find the video. ¬†Though imdb lists Bharat Bhushan as the lead in this film, I somehow don’t feel this song is¬† picturised on him. It sounds so much like a Johnny Walker kind of a¬†song and I sincerely hope that it is. Something very catchy and lively about this song. Music is once again by Chitragupt. (P.S : I just confirmed that it is indeed picturised on Bharat Bhushan, so much for my guess work).


H : Hum toh hai¬†tum par¬†(Bewaqoof, 1960)¬†– This is one very cute song rendered superbly by Rafi for I.S Johar. This movie was written and directed by I.S Johar himself. Majrooh’s lyrics and S.D Burman’s composition is beautiful. And it was R.D Burman on the Mouth Organ. The modulations in Rafi’s voice match I.S Johar’s antics so perfectly. There’s something very Shammi-sque quality to this song.

I : Itni badi duniya jahan itna bada mela (Toofan Mein Pyar Kahan ,1966) : Rafi sings¬†this¬†for¬†Ashok Kumar. It’s so¬†tender and so beautiful. There’s a softness to Rafi’s voice here which is just brilliant. “Versatile Rafi¬†commendably modulates his voice to suit the great natural actor, Ashok Kumar, while singing on the pangs of loneliness” (Thanks Nasir for describing the song so beautifully). ¬†Check out the picturisation for Guzre dino ka dhundla nishaan hai baanki, dil toh¬†bujha kab se hai abh dhuaan baanki –¬†the smoky effect is¬†so amazing. Prem Dhawan’s melancholy lyrics, Chitragupt’s excellent music, Rafi’s magical rendition and Ashok Kumar’s brilliant performance – this couldn’t have got any better. My initial choice for a song beginning with ‘I’ was Itna haseen saathi itni haseen manzil from Aatma Aur Parmatma but couldn’t find a video to it. So settled for this one – another favourite of mine. Though not as romantic as I would have liked it to be, it’s a very beautiful song.

J : Jo baat tujh mein hai (Taj Mahal, 1963) : A timeless gem…one of my favourite songs.¬†This one’s picturised on Pradeep Kumar. The lyrics by Sahir Ludhianvi, music by Roshan and Rafi’s velvety voice is beyond this world – truly sublime!¬†¬†I so very badly wanted to post Jab se hum tum baharon mein from Main Shadi Karne Chala but it’s such an irony that we don’t have videos of such lovely melodies on youtube yet. And since the basic filter criteria here is one song per actor, I don’t want to go on posting just the audios. Hopefully, somebody will upload the video soon.


K : Kahin ek masoom nazuk si ladki (Shankar Hussain, 1977) : For once, I am not relating a song to Vividh Bharati. I first heard this bollywoodondemand.com, an online radio station couple of years ago. Back then AIR, Vividh Bharati didn’t have online sites. I accidentally came across bollywoodondemand.com and I used to listen to it very regularly¬†at work. One fine day, I heard this song and googled for it but couldn’t find it. Then, I came across the audio version of it after few months¬†and finally found the video last year. I was rather¬†surprised to discover Kanwaljit in it. Used to watch him in serials during my school days, Family No. 1 on Sony used to be quite popular then.¬†Kamal Amrohi’s lyrics, Khhayyam’s music and Rafi’s rendition – it’s all¬†so heavenly. Something very dreamy, fairy-tale like about this song. But the video somehow spoilt this for me. I love the song, can’t help not loving such a magnificient number but the picturisation is a spoiler. Chalo khat likhe jee mein aata toh hoga, magar ungliyan kap kapati toh hongi, kalam haath se chhut jaata toh hoga, umange kalam phir uthathi toh hongi, mera naam apni kitaabon pe likh kar, woh daanton mein ungli dabati toh hogi….kabhi subah ko shaam kehti toh hogi, kabhi raat ko din batati toh hogi…what an imagination!¬†It’s so beautifully written!! I used to imagine this scene while listening to this song, but the video didn’t have any of it! Audio version didn’t have the last antarra. I heard it for the first time when I saw the video on youtube. And it took me some time to figure out what Palate is …Palate kabhi toot jaati toh hogi….


L : Le chala jidhar yeh dil chal pade (Miss Bombay, 1957) : This is Rafi singing for Ajit. in the good old days before¬†he turned into a villian on screen. Bombay‚ÄĒthat teeming metropolis, teeming then in the 1950s just as it is teeming today‚ÄĒthe land of opportunities, sapno ka shehar‚ÄĒwas masterfully captured by lyricist Prem Dhawan to composer Hansraj Behl‚Äôs tune. I had only heard this song on Bhoole Bisre geet on Vividh Bharati. Saw the video for the first time today. Half the time I kept imagining Ajit saying “Mona Darling” in between the song. ūüôā Ajit was quite a handsome man and smart too…he realized early in his career that it’s more fun being the villian than a hero!

M : Main toh tere haseen khayalon mein kho gaya (Sangram, 1965) :¬† My my my dear from Nagina was my first choice. I didn’t want to list Mujhe dard-e-dil ka pata na tha and Madhuban mein radhika nache re. Though I love both these songs, they have already featured many times in this blog. ¬†And thanks to Richard for including all these songs in his list. I’m not feeling guilty about skipping them. So here I come with this lovely track from Sangram picturized on Randhawa (Dara Singh’s brother) and Swarna Kumari. I am so glad I decided to do songs from the movies that I haven’t watched. I had heard this song so many times on radio but it’s for the first time I am seeing it’s video and am so happy to discover Randhawa in it! Lala Asar Sattar music is very melodious and Rafi is¬†fantastic in it!


N : Na kisi ki aankh ka noor hoon (Laal Quila, 1960) : I almost included Nu tu hindu banega na musalmaan banega¬†but realized I had this song in one of my earlier posts. And this divine composition¬†by S.N Tripathi in Laal Quila came to my mind. It’s a timeless classic, a stunning nazm. Such deeply moving lyrics! Rafi’s booming voice magnificientlyÔĽŅ amplifies the poignancy and grief expressed by Bahadurshah Zafar. Truly unforgettable!


O : O phirki wali (Raja Aur Runk, 1968) : This song takes me back to my school days. We had a cassette, Best of Mohd. Rafi volume 2 which had this song. And there was a time when I was in 9-10th when I used to listen to this song at least 2-3 times a day. It’s such a masti-bhara song that it fills my heart with happiness when I listen to it. I somehow had always imagined it to be picturised on Shammi Kapoor or Dharmendra, mainly due to the fun quotient. I was pleasantly surprised to see Sanjeev Kumar singing it to Nazima. I was listening to this after so long today¬†and I still remember each and every word of it. I’m so pleased with myself. That’s Rafi’s magic! Laxmikant-Pyarelal’s foot-tapping music,¬†Anand Bakshi’s fun-filled lyrics and Rafi’s flirtatious rendition topped with Sanjeev Kumar’s awesome performance makes this song immortal. I love the way Rafi sings Jubaan se and Jarra beimaan si


P : Phir milogi kabhi (Yeh Raat Phir Na Aayegi, 1966) : Biswajeet was one lucky actor when it came to songs. He got to feature in some of the best songs ever. I am not fond of him as an actor, but his songs, each one is a masterpiece! Rafi and Asha are singing for Biswajeet and Sharmila in this 1966 thriller. O.P Nayyar’s music, S.H Bihari’s lyrics and Asha-Rafi rendition, it’s picturization…everything about this song¬†¬†is mesmerizing.¬†I feel captivated everytime I listen to this and never want it to end.¬†


Q :¬†Quismat ke likhe ko hum mita na sake¬†(Duniya, 1949) : This is a lovely Rafi-Surraiya duet composed by C. Ramachandra. It has Surraiya, Karan Dewan, Yakum, Shakeela in the leading role. I don’t know who it’s actually picturised on. I have only heard this song on Radio and couldn’t find a video as well. Listen to Rafi’s young voice…it’s so gentle and soft. Amazing song!!!

R : Roshan tumhi se duniya (Parasmani, 1963) : This time it’s Rafi singing for Mahipal in Parasmani, which marks the debut of Laxmikant-Pyarelal as Music Directors. Rafi at one of his romantic bests, extremely melodious number penned by Ashad Bhopali. Such an apt song in praise of a princess! What awesome lyrics, equally amazing music and Rafi’s voice is subhan-allah!!! One can feel the emotion and depth in his voice…the way he¬†sings “Haye”, the aalap in between and the accompanying tabla and sitar is just mindblowing. Even Mahipal and Geetanjali have expressed well. One more speciality about this film is that it’s partially color. The first half is in Black&White and the second half (if you remember, Hansta hua noorani chehra) is in color. Movie is total bakwaas but it has lovely songs.

S : Sau baar banakar maalik ne (Ek Raat, 1967) : I don’t know who this song is picturized on. Spent quite sometime searching for the video but couldn’t find. There’s hardly anything about this movie available. But I love this song so much that I just couldn’t leave it out. I was addicted to it when I heard it for the first time. Have been searching for the video for quite sometime now. It usually happens that the songs that I so desparately want to see are not as good as expected. So for the time being I am content just listening to it. Yogesh’s lyrics, Usha Khanna’s music and Rafi’s divine rendition…I get so lost in this song. Till I heard this song, I thought Chaudhvai ka chaand, Roshan tumhi se duniya, Tareef karun kya uski etc were the ultimatum when it came to praising the girl’s beauty. But now, there’s one more to the list.

T : Tum toh pyar ho (Sehra, 1963) : Ideal song on Rafi’s death anniversary would have been Tum mujhe yun bhoola na paaoge but that’s too popular and has already been discussed in this blog before. Then I thought of Tum akele toh kabhi baag mein jaaya na karo from Aao¬†Pyaar Karein.¬†¬†But again, even that doesn’t have a video available. So the next I could think of was this lovely duet by Lata and Rafi picturised on Sandhya and Prashanth. Hasrat jaipuri’s lyrics tuned beautifully by Ramlal, this is a gem of a song. And the depth in Rafi’s and Lata’s voice has taken it to a different level altogether! What a romantic duet it is!


U : Unse rippy tippy ho gayi (Agra Road, 1957) : ¬†I¬†discovered this song few months ago and fell in love it it. It’s such a cute and fun filled number sung by Rafi and Geeta Dutt. I was actually planning to include this is Geeta Dutt special post but I reached 10 before this could come up then. So here it goes! Picturised on Vijay Anand (this is his debut film as a hero) and Shakeela. He does resemble Dev Anand a bit, esp when he’s sulking. Yoddling is a quality that we generally associate with Kishore da. Felt good to hear Rafi yoddling for a change! There are few lines in Gujarati and few in Punjabi in between. Geeta and Rafi yoddling away to Roshan’s music and Prem Dhawan’s lyrics is very delightful.


V : Vo jo chahane wale hain tere (Duniya Rang Rangili, 1957) : I couldn’t figure out who was singing this song on screen…but who cares, as long as it’s sung by Rafi in real.¬†It’s¬†¬†sweet number written by Jan Nisar Akhtar and composed by O.P Nayyar. Check out Rajendra Kumar, he looks so young and handsome.¬†¬†Is the girl Chaand Usmaani?

W : Woh hum na the woh tum na the (Cha Cha Cha, 1964)¬† : Rafi here sings for Chandrashekhar. He is so dull,¬† doughy and expresssionless. I don’t like him, every time I see him I keep wondering how he became an actor. Hence I am putting Helen’s picture below. Lets forget about the movie and the actor…coming to the song, it’s an excellent track. Penned by Neeraj and composed by Iqbal Quereshi, this is a touching song brilliantly rendered by Rafi. ¬†

X : Phir aane laga yaad wohi (Yeh Dil Kisko Doon, 1963) : Ok, so this song doesnt begin with ‚ÄúX‚ÄĚ ‚Äď but then, how many songs do? I will just use this letter to insert another lovely song. And this song is specially dedicated to Nasir and Richard. We had a long discussion about this song sometime back. But due to my usual restriction of not including songs from the movies that I haven’t seen, I had left this one out in Shashi Kapoor special post. But since that’s not the case this time, here it goes to you both for reminding me of this song. Shashi Kapoor’s image below is for bollyviewer. This is one of the most melodious song, beautifully¬†picturised. Ragini’s moves are so graceful and elegant. Shashi is a darling. Rafi is magicalÔĽŅ, Qamar Jalalabadi’s lyrics and¬† Iqbal Qureshi’s composition is so mystical with Usha Khanna chanting those simple syllables Pyaar ka aalam, it infuses¬†so much feel to the song.

 
Y : Yeh¬†teri saadgi yeh tera baankpan (Shabnam, 1964)¬†: This post has been one hell of a revelation to me! I never knew Rafi had sung this song for Mehmood! Usha Khanna’s composition and¬†Javed Anwar’s lyrics are simple and sweet. And Rafi as usual is outstanding! He could convincingly slip under the skin of characters that were poles apart: he sang for the brooding Dilip Kumar in¬†Deedar with the same ease with which he lent his voice to a frolicking Johnny Walker in¬†C.I.D.¬†¬†And it is so difficult for the listener to decide where Rafi excels more and who his voice suits the best!

Z : Zara ruk jaa (Sitaron Se Aaghe, 1958) : I was feeling sad that I couldn’t include a song picturised on Johnny Walker so far. So am more than happy now for being able to do so. Apart from Rafi, I remember this song for Johnny Bhai’s cycle stunt and his friends going around puncturing everybody else’s cycle tyres. Rafi and Johnny share an amazing chemistry. Each song of this combo is special and tailor-made for them – the sync between Rafi’s voice and Johnny’s acting is always so perfect! I have a broad smile on my face everytime I see Johnny perched on a tree (he looks so comfortable there) and jumping down¬†singing Zara ruk ja

Rafi saab was the most versatile and probably had the most mellifluous voice. His voice reflected the great energy and smartness of youth and exuded great skill and craftiness. He could sing slow, fast , semi classical, Bhajans, Qawalis, taranas, Geet, romantic numbers, sad songs ‚Äď just about anything with equal zest and gusto.

Also, when I began listening to  songs of Rafi, I realized one thing Рhe enriched the compoistions that he sang for. Now this is quite  exceptional and rare because he did not require a great composition to create a a great song.

I feel like Kahin bekhayal hokar choo liya kisi ne when I listen to his songs. This is one song that I really missed putting up here along with Jo unki tamanna ho, Woh din yaad karo, Yeh jhuke jhuke naina and many more!!! Be it any song of his, even if I am listening to it for the very first time, I feel a sense of familiarity towards it.

I came across this blog while searching for few songs and since what was written there exactly described the songs and how I felt about them, I couldn’t help copying them. And I must admit that it¬†did save¬†a lot of time. Writing up about these songs do take a lot of time. And it gets quite distracting as well – I search for one song on youtube, see some other song on related link section and that leads to another song and so on (as it’s too much of a temptation to resist). So when I find few lines already written up about the song, it’s god-sent! ūüôā A big thank you to Cinema Corridor and all other fellow bloggers¬†for all your contributions and wikipedia for providing me with so much of information always! I had acknowledged everybody in my earlier post on Shammi Kapoor but somehow I forgot about this one. Could be because it took me couple of days to finish this post and by the time I reached the end, I was just happy that I had completed the post and was in a hurry to publish it.

Love you Rafi saab!!! May your soul rest in peace.

Kishore Da’s songs coming up next.¬†I should have done that today, but first things first. And that reminds me I still have my Mukesh special post pending!

Hum Dono Hai Alag Alag???

May 12, 2010

A program on Vividh Bharati (Chhaya Geet) triggered this idea…..there are few songs which have exactly¬†the same tune and they have been haunting me for quite a while now – sometimes composed by the same Music Director and some times by different MDs. In addition to the songs and tunes generally inspired by Western music, we do have lots of remakes (not remixes)¬†within our own Bollywood as well.

1. Kya kya na sitam tujh pe hue mehlon ki rani (Mohini, 1957)¬†and Tu hindu banega na musalmaan banega (Dhool Ka Phool, 1959)¬†: N. Dutta composed music for both these films. Raja MehdiAli ¬†Khan penned the lyrics and Rafi sang for Raj Kumar (?) in Mohini (tried searching for the video but couldn’t find it, so not sure if it’s actually picturized on Raj. I am going hunting for this movie next) and Rafi sang Tu hindu banega na musalmaan banega¬†to the tunes of N. Dutta again 2 years later which was almost the same and this time for¬†Manmohan Krishna in this Yash Chopra Blockbuster starring Rajendra Kumar, Mala Sinha, Nanda, Manmohan Krishna and Ashok Kumar. Owing to the success of the latter, even the song became more popular than it’s former identical version¬†.

2. Badi muddat se dil ki bekaraari ko karar aaya Besaharon ka zamaane mein sahara hai khuda…..choota watan¬†hamara¬†(Khuda Ka Banda, 1957) and Parvar diga re aalam (Hatimtai) : I couldn’t find the song from Khuda Ka Banda. Please let me know if any of you have this song or can find it somewhere. The other day it was playing on radio ( I hope I had saved the mukhda correctly)¬†and for a moment I thought it was Parvar diga re aalam. Again, Rafi rendered to both these songs composed by S.N¬†Tripathi.

3. Bol bol my little dove (Baap Bete, 1959) and Hai ho dilruba¬†¬†meri neeta (Dil Deke Dekho, 1959) : Unlike the other two above and the one below, these two movies had different Music Directors. Music for Baap Bete was composed by Madan Mohan and Dil Deke Dekho by Usha Khanna. No idea who ispired who. And it’s Rafi again singing both these songs. Found the video for Bol bol my little dove.

4. Aaj mausam ki masti mein gaye pawan (Banarasi Thug, 1962) and Ek Chameli Ki Mandve Thale (Cha Cha Cha, 1964) : Iqbal¬†Quereshi this time but both the duets have Rafi again! I can’t help mentioning how dashing Manoj looked in the former and how gorgeous Helen was in the latter.

I always thought Chaand jaane kahan kho gaya from Main Chup Rahungi was similar to Ek Chameli Ki Mandve Thale. And then I heard Aaj mausam ki masti mein gaye pawan.

Please help me figure out why these music directors chose to tune two such identical songs in two different films! (this was the question I had in mind when I started this post). And now Р why did they all get Rafi to do it????

Chhote Sarkaar (1974)

March 20, 2010

I must say this was quite an unusual film…unusual for two reasons –

  • Credits listed only Sadhana and Shammi Kapoor followed by these :

I had to rewind to make sure that I hadn’t missed out on Prem Chopra/Pran/Lalita Pawar’s names. Then I paused for a while – wondering how a movie would go on for¬†more than¬†2.5 hours without any of these people, will Shashikala be able to solely pull it on for that long, what would Helen’s role be? I had so many questions in my mind even before the movie started.

Honestly speaking, I had no clue¬†as to what this movie was about. I had just seen it listed in Shammi’s filmography and had checked for it in imdb but with not much¬†luck. And surprisingly I could never associate it with any song either. As if this curiosity was not enough,¬†I¬†spotted¬†the VCD in a video store, Shammi and Sadhana, both looking so adorable on the cover, it was too much of a temptation to resist.

Chhote Sarkaar begins with Moti Babu (Shammi Kapoor) returning home from Shikaar and there is quite a big group waiting to attend to him.

After wiping away his sweat and offering him his drink, the group strikes a conversation – it’s more of a comparison, in fact, as to what a lifestyle he leads, how great he his, how classy his hobbies are and how rich he is compared to Raja, who’s good for nothing and has acquantaince with ordinary village people, who paints pictures of girls and sells the paintings to earn his livelihood and how obsessed he seems about his latest model, Kasturi (Helen). ¬†How could two people born to a same mother be so different – while Moti is the Shaan of the haveli, Raja is a disgrace to the family! (whoa, that’s even rhyming!!!)

Moti interferes here saying that he doesn’t want to hear anything about Raja.¬†(that’s the Moti Babu look, with his head tilted towards his left throughout the movie).

The scene then shifts to Raja’s room, who’s busy giving a final touch to his painting of Kasturi who’s in exactly the same pose, on the sofa behind him.

Gulabi (Shammi), the housemaid sees Kasturi and rushes off to Seema (Shashikala) to gossip about how shameless it’s of Kasturi to wear such cheap dresses.

Seema goes to Raja’s room. Their past unfolds as they converse – they used to study together in college and she used to be¬†his model once upon a time, actually she was his first model ever.

Obviously, she’s very jealeous of¬† Kasturi and tells Raja that he should resume making her portraits.

But now that she’s married to his brother, Moti, he tells her that she’s like a mother figure to him (Bhabhi Maa ke barabar hoti hai) and can’t even think of making her paintings and selling them. She begins her tale of how lonely she is.

Moti is usually out and she is all alone, the least he could do was to give her company. She tries to seduce him and he asks her to leave. She takes that as an insult and takes a vow to take revenge. When Moti comes back home that night, she complains to him that Raja tried to rape her and Gulabi nods in support. He’s so angry about the whole thing, he almost kills Raja for it. Even Maa (Sulochna) buys the story and says she’s so ashamed of him.¬† Raja is then kicked out of the haveli.

He makes up his mind never to paint any woman ever. He goes to this bar in the village with some new paintings to give them over to his agent, Asit (Asit Sen) . Now that Raja has stopped painting her, Kasturi dances in the same bar to earn a living Р Main kesar kasturi .

Asit tells him that he’ll starve to death at this rate, because nobody would be interested in such paintings. It’s the beauty, youth and lust in his painting that sell (that was the exact translation).

Sad and depressed , he goes back home (now that he’s kicked out of the Haveli, he lives¬†in the village). On his way, he sees a girl sleeping on a bench. Just as he’s about to¬†cross her, he notices a snake sliding towards her and pulls her down from the bench. Initially, she misunderstands his intention and accuses him of trying to take advantage of the situation – a lone girl all by herself, in the middle of nowhere. But when she sees the snake herself, she’s very grateful to him for saving her life.

Radhika (Sadhana) has come from some other village and is on her way to the house where her aunt works. But she kind of gets lost and tired that she is¬†after the journey, she falls asleep on the bench. She takes out a slip of paper containing her aunt’s address and gives it to Raja, but in a very filmy way, it starts raining all of a sudden¬†and the address gets washed away.

The state he is in after all that happened, he doesn’t offer her any¬† help.¬†He¬†walks back home and Radhika follows him. After some persuasion he finally lets her into the house. He first instructs her to change quickly coz she’s totally drenched and he’s scared she might catch cold. Then he goes to get coffee for her from a thermos and by the time he’s back she’s fast asleep on the couch, wrapped in a towel!

She looks so beautiful, innocent and at so much peace in her sleep, that he just can’t stop himself from capturing it onto his canvas. Yes, he makes a painting of her ūüôā

When he gets up the following morning, he finds her gone. Any guesses??? Radhika is Gulabi’s neice and she finds her way to the haveli next morning.

She gets the shock of her life when she sees Moti in the haveli and she is totally confused.

Through her uncle Radhika learns about all that had happened earlier between Moti and Raja. As it turns out that Uncle knows all the truth and feels sad that Raja was framed in such a way that even his Maa went against him.

She goes to meet Raja and when she learns that the painting was sold for Rs. 1000, she’s very happy for him and offers to model for him. He tells her about his dream – to earn enough money¬†to start up a school for the village kids. She’s all the more impressed with him and decides to do all that she can to help him achieve his dream. And they both sing and dance to O jhuke jhuke naino wali aaja mere paas.

The bar where Kasturi dances closes after a police raid. Now she’s totally jobless and is finding it hard to survive. Sunder, a local goon tries to woo her but she’s so smitten by Raja that she just gives a damn to other guys. Jaggu, another goon,¬†comes in for help and warns Sunder not to bother her any more.

Sunder, Jaggu, Kasturi

Jaggu tells her that she’s like a sister to him and she need not worry about any thing going forward.¬†He tells her that Raja was enquiring about her. He offers her a lift to take her to Raja. Happily she goes with him, but here comes the twist. Jaggu is Moti’s aide and he¬†takes her to Moti instead. The light in the room is so dim and Moti doesn’t face her, not all that difficult to convince her that¬†it’s Raja. Moti tells her how much he loves her. She’s so delighted about it and everything else just follows.

She goes back home to find Raja waiting for her, and that’s when she realizes that Jaggu cheated on her and she ended up sleeping with Moti! Thank god, she realizes this fact and Raja is spared.

Cutting the long story short, Seema is expecting and the doctor says that there are some complications and she needs to be extra careful. Radhika is appointed to take good care of her. Due to the complications, Seema is admitted into a hospital. One night, finding Radhika alone at home, Moti tries to rape her.

Doctor’s manage to save only Seema, they lose her child. Kasturi, who was also expecting Moti’s child, delivers a baby boy.

Raja, on the other hand, becomes quite a¬†famous painter. Asit and Raja decide to exhibit his work. A painting named “Naari – Tere teen Roop” (Three forms of a Woman)¬† is the highlight of the exhibition. Seema is quite shocked to see Radhika in all Raja’s paintings. But it gets too much for her to take when she sees the most-talked about painting, which is –

She goes back home and kicks Radhika out of the¬†house and sends her back to her village. Exhibition is a huge success. Raja comes searching for Radhika to share the news and he finds her gone. It doesn’t take him long to figure out what had happened. He feels sorry for her because she was punished for no fault of hers. Just because she was poor and was a servant in the house, she was not in a position to fight for what is right. So he decides to groom her and present her to the society in a different way. With this in mind, off he goes to her village.

He sings this romantic number to her  Tere chehere mein hai jo baat and he brings her back in a new avataar. Radhika becomes Princess Chaand and Seema is called to felicitate her at an event but the makeover is such that Seema fails to recognize her!

While Raja is busy grooming Radhika, Moti goes to the villagers, disguised as Raja and convinces them to vacate their houses so that he can build a hotel in that land. He promises to build a colony for them and since they all look upto Raja, they agree to this proposal.

With all the attention that Radhika gets as Princess Chaand, she breaks her engagement with Raja saying she doesn’t want to ruin her life and future by getting married – Kya roz roz peena

Kasturi pleads with Moti to accept his child.¬†¬†Raja overhears this conversation and is shocked to find out that Moti is responsible for all that happened to Kasturi. Just as he enters to fight for Kasturi and help her¬†get justice, Moti shoots her dead and she falls into Raja’s arms.

Next, Raja is arrested for murdering Kasturi!¬† Moti then gets Kasturi’s child kidnapped and throws him off into¬†a lake.

How mean and inhuman can Moti get? Is there any limit to the crimes that he commits? Is there anything good in store for Raja? Will Maa ever learn the truth? Will Moti ever be forgiven for all his misdeeds? What makes Radhika change so much? Will Seema ever confess her conspiracy against Raja? And will the villagers ever learn the truth that it was Moti who rendered them homeless and not Raja?

Coming back to the unusual factors –

  • Shammi playing the bad guy was a real surprise to me! No wonder there was no need for Pran and Prem. And must say that he’s done it pretty well. I wish he had done more roles like this ūüėČ
  • Songs….A Shammi Kapoor film with¬†just 4 songs (out of which 2 were Item numbers each picturised on Helen and Sadhana)!!!!???? Isn’t that an injustice?

I won’t rate it as Shammi’s best work – a¬†typical 70’s¬†masala flick, predictable plot¬†¬†but entertaining enough to keep¬†one hooked. I can’t still¬†get over the¬†fact that Shammi can be so mean. And must¬†say that¬†he has done the role¬†pretty convincingly – I almost hated him at one point, but his expressions were so hilarious, I just couldn’t help laughing most of the time.

At some places, the characters were too loud and had such exaggerated expressions esp the first few minutes after Sadhana’s entry.

I totally enjoyed watching it,¬†full paisa vasool material. If only Raja’s character wasn’t so bechara, laachaar, majhboor and self-sacrificing, I’m sure I would have liked the movie even better.¬†

It’s always more fun being the bad guy and Shammi looked like he was actually enjoying doing it. I have always loved Shammi¬†and I love him all the more now! ūüėÄ

Love Marriage (1959)

March 15, 2010

No, it’s not the IPL fever, at least not yet. I was off today and took out few VCDs to watch. It was tough to decide which one to watch first – Dil Deke Dekho being my all time favourite and Anupama has been on the top of my must watch list for quite some time now.

I had a tough time just¬†deciding between these two. I then made up my mind to get up early tomorrow and watch both the movies. ūüôā Among the other three, I randomly picked one and it turned out to be Fashionable Wife.¬† I was actually looking forward to seeing it (just to check out how silly it is), esp after Spy in Rome – it’s also made by the same person. ūüėõ But fortunately or unfortunately, there was some problem with the cd.

Rishte Naate – the title itself sounded so¬†emotional and sentimental (most of the times I simply end up buying movies without even thinking if I’ll ever watch them). And I was in no mood of seeing something depressing today.¬†That¬†¬†left me with only one option¬†– Love Marriage!

A Cricket match in progress and that too with such a good looking batsman, I was more than happy just looking at him hitting fours and sixes.

After winning the match, he celebrates his victory with his friends at Sporting Club of Jhansi.

Scared that he might get caught by his brother, he sneaks into the house, with his shoes in his hands only to find his Bhabhi, Uma (Pranoti Ghosh) and his nephew, Munna (Master Anwar) waiting for him to hear the result of the match.

Just then his brother, Anil Kumar (Abhi Bhattacharya)¬†comes back home from work, and all of them get back to their duties – the entire household is scared of him, including their pet dog, who quietly gets back into his basket for the night the moment he senses Anil’s arrival, signalling the others too.

Few obvious things – Sunil Kumar (Dev Anand) or Sonu, as his Bhabhi calls him, is extremely fond of his Bhabhi and nephew. He adores his brother, but is scared of him as well. Anil, on the other hand, is tired of Sonu’s kiddish ways and feels it’s high time he starts taking his life seriously.

The next morning Anil receives a letter from Mr. Choglekar. He had spoken to Mr. Choglekar regarding a job for Sunil, who’s a first class BA graduate. And Mr. Choglekar mentions in his letter that there’s a vacancy in Bombay and that Sunil should apply for it ASAP.

Bhabhi is all worried about having to send her brother-in-law away. But Anil is adamant about sending Sonu to Bombay. When Bhabhi does his packing and makes other necessary arrangements, he goes to the Sporting Club to meet his friends.

He finds one of his friends missing. One asking he finds out that he’s been too busy visiting Neelam, a kothewali bai. And all are worried that he’ll ruin his life at this rate. So they all set out to rescue him.

Sonu literally drags his friend out of there. Now Neelam takes this as a personal insult and vows to destroy Sonu and his family.

Sonu leaves for Bombay and he goes directly to his Mamaji, Naren Babu’s house, only to find it locked. On asking his neighbours he finds out that Mamaji has left for Jhansi.

With no place to stay in Bombay, he’s pretty worried. When he sees an ad in newspaper announcing an availability of a room, he goes to see it.


He manages to drive away all the other people who’ve come with the same purpose and finally goes to meet the owner but Geeta (Mala Sinha) refuses to share her flat with a guy. She wants a female flat-mate!

He meets Mr. Shampi, Geeta’s neighbour, on his way out, who narrates Geeta’s history to him – that she’s an orphan and is looked after by her Chacha-Chachi. She was studying in Bombay but started working to support the family after her Chacha passed away. And now she wants to share her flat so that she doesn’t have to pay the entire rent.

Now, it happens that Mr. Shampi knows Anil. When he learns that Sonu, aka Sunil is Anil’s brother, he decides to help him and convinces Geeta to give the room to him.

Sunil then sets out to meet Mr. Choglekar, who’s very worried about the Cricket Match the following morning because his team doesn’t have a proper batsman.

Sunil offers to help him out and after hesitating for a while he lets Sunil bat for his team. Geeta is a huge Cricket fan – she even has pictures of lots of cricketers stuck on her wall. So it’s only obvious that she’s on her way to see the match the next morning. Sunil asks her for direction to the stadium and she’s rather surprised.

She doesn’t believe that he can play – the way he behaves she thinks he’s an illiterate and¬†good for nothing. Anyways, she takes him to the stadium with her.

Sunil not only wins the match but manages win Geeta’s heart as well. Here’s a scene from the game followed by She ne khela he se aaj cricket match.

Next day’s newspapers are flooded with Sunil’s photos and tales on how Choglekar’s team won the match because of Sunil. Sunil goes to Geeta’s room to show her that he’s not all that bad and what he witnesses there leaves him rather surprised – he sees Geeta cutting his picture from the newspaper and talking to herself about him. Pleased he runs back to his room and after checking himself in the mirror continues to the terrace to sing Kahan jaa rahe the kahan aa gaye hum.

Geeta looks so lovely here listening to him singing.

Both fall in love but are unable to express their feelings to each other.

Choglekar throws a party to celebrate his team’s victory and Sunil invites Geeta to it. Celebration and¬†party implies that there’s one more song here. But I¬†found¬†this song somehow out of place, it would be more apt¬†in a Manoj Kumar movie. But I love the dance preceding the song, no matter what Sunil says about it¬†– Tin kanastar peet peet .

Sunil finally gets the job he had come for and better still he gets posted to Jhansi! But he’s not very happy about it because he doesn’t want to leave Geeta and go. But is delighted to learn that Geeta has quit her job and is¬†leaving for¬†Deolali, which falls on the way to Jhansi,¬†where her Chachi lives.¬†They leave by the same train the following morning.

This time Sunil is determined to tell Geeta that he’s in love with her. ¬†And he even partially succeeds in doing so¬†ūüėõ

A little after Geeta arrives home, Champa, Chachi’s house maid informs her that some Sunil Babu has come to meet Chachi. This Chachi-Sunil encounter is hilarious, followed by Hum jaan gaye sarkar tum lakh karo inkaar.

Chachi is not all that well and her last wish is to see Geeta married. When she¬†has an attack, she makes Sunil promise that he’ll marry Geeta right away. He’s little hesitant about the idea of getting married without informing his Bhaiya and Bhabhi but seeing Chachi ji’s condition, he gives in and gets married to Geeta.

He feels that he should go home first and inform his family then send for Geeta, but Chachi remains adamant that a girl, after marriage,  should follow her husband whereever he goes. So they both leave for Jhansi.

He’s so tensed that he doesn’t even know how to face his family, esp his brother.

Scared, he jumps off the rickshaw and sends Geeta alone to handle his Bhaiya and Bhabhi Рto break the news of their wedding to them.  She does manage to impress Bhabhi.

Anil and Uma are more than happy with the news and they both adore Geeta. They celebrate the occasion and my wait for Helen finally ended when she came to dance to Dil se dil takaraye (the title track) – beautiful and graceful as ever.

All’s well and everybody is happy but as expected that doesn’t last forever.

Remember, Neelam and her vow to ruin the family? When I had just started wondering what happened to her, she made an entry.

Sunil ends up visiting her regularly and takes to drinking – Kareeb aao na tadpao

When Geeta learns this, she demands for a divorce!!!!

What happens to Sunil and Geeta? What leads Sunil to Neelam in the first place? Will things ever be the same again?

It was a delightful watch. I thoroughly enjoyed watching it –¬†¬†lovely starcast, great performances, wonderful songs and a good story. Inspite of the twist with Neelam, and little bit of emotional atyachar towards the end (luckily it wasn’t very long), it was good.

Both Dev and Mala were loud at times, but given the storyline, I didn’t mind much. With some one like them on screen, and not to forget those lovely songs, I hardly had the time to complain about anything.

Dekha Pyaar Tumhara (1963)

March 6, 2010

The movie opens with a phone call at the Police Station. The inspector calls few constables and leaves after hanging up.

I was wondering if it was a murder mystery. But the call was to report a petty theft. A lady complains that her purse has been stolen and the girl sitting next to her is missing.

She gives the girl’s description and Police track her down only to lose her again as she enters a house on the way and hides.
In the house, Madhuri (Naaz) hears Shanti (Achla Sachdev) singing Taron ki gori chaand ki gudiya jage ri nindiya to dolls.

Ramesh Gupta (Shyam Kumar)¬†reads in the paper about a wealthy man’s missing daughter – 18 year old, fair, a mole on her left cheek, light eyes and black hair.

Suddenly they realize that Madhuri, one of their aides, also has a mole on her cheek. After confirming that it’s on the left cheek, they (Ramesh and Madan)¬†plot a scheme to prove her as the wealthy man’s missing daughter.

A detective named Sudhakar is killed and Madan’s and Ramesh’s men go to burry him. Prabhu (Bhagwan) happens to reach there at that very moment and discover the deadbody.

He’s attacked but Raj(Subi Raj) arrives and they both fight with them.

Raj and Prabhu learn about Shanti – that her daughter was stolen and that Sudhakar was investigating the case. They impose as detectives and take over the responsibility of finding her long-lost daughter.

On their first day of investigation, they go to a night club in the evening evening to see Helen perform to Chale aana sanam uthaye quadam. Madhuri, disguised as a guy, steals Sadhana’s (Sadhana Coudhary) necklace and hands it over to Madan.

But when the theft is discovered, noone is allowed to leave the club. Madan, scared of getting caught puts the necklace in Prabhu’s pocket.

Prabhu and Raj are also fleeing from police because they don’t want to be caught as imposters. They somehow manage to leave the club.

Prabhu has a big-time crush on Sadhana. When¬†he finds the necklace, he decides to return to it over. Ramesh’s men track Prabhu’s house to take the necklace back but they don’t find it. They even attack Prabhu and Raj but can’t lay their hands on the necklace.

During all this Madan realizes that Madhuri is actually in love with Raj and is scared that their plan would go for a toss if the three of them (Madhuri, Prabhu and Raj) get together.

So he comes up with another plan.

He takes Madhuri to Shanti as her daughter and warns her against Raj saying he’s just pretending to be in love with Madhuri but in real he’s behind¬†her wealth.

Shanti is¬†overjoyed at having her daughter back but she suddenly turns against Raj and doesn’t let¬†him into the house.

Prabhu, on the other hand goes to return the necklace but even there Madan goes and tell’s Mohan Das, Sadhana’s father that it was Prabhu who had stolen the necklace in the first place and he has returned it now just to create a good impression on them, so that he can rob them of their entire wealth once he gains their faith.

Unable to convince the people involved of their innocence,¬†Raj and Prabhu¬†feel helpless. And that’s exactly what Madan and Ramesh had ever wanted.

The bad guys succeed in¬†setting a perfect trap – Madhuri in a place where she can’t defend Raj, anything she tries to do in his favour has a risk of revealing her own secret, that she’s just a character in Madan’s and Ramesh’s scheme and not Shanti’s own daughter; hatred that they implant in Shanti against Raj and Mohan Das against Prabhu¬†and heroes are¬†no longer¬†in a state to do anything to prove themselves innocent of all the accusations because noone is willing to even listen to them.

There are 2 more songs¬† –

Aaye bahaar mere angana mein
Haye re haye masoom ishare

The title track was deleted, and as per this, one more song was deleted.

What happens next? Will Shanti ever find her real daughter?

Will Madhuri be caught? Will the heroes be able to prove their innocence?

Who’s this gentleman? (I didn’t find this movie listed in imdb, so had to guess the names of the characters, am not really sure who’s who except for Madan Puri, Achala Sachdev and cracktastic villian Shyam Kumar).

I couldn’t even find when this movie was made. Checked few sites, they only had Dekha Pyaar Tumhara made in the 1980’s starring Kamal Hassan. The CD certificate was dated 1963, but am not sure when the movie was actually made.

There’s nothing to rave about this movie –¬†neither the starcast (most of them were OTT, I liked only the bad guys), nor the story. Even the songs are just ok. I really don’t know why I bought this movie in the first place ūüėõ

Luckily the movie was cut-short and it got over in less than two hours. I was happy when it finally ended. First 5 minutes and one could make out what would follow next.

Not a movie that I would suggest anybody to watch – ¬†if you like the songs, watch them on youtube. And if you don’t have anything better to do, re-watch one of your favourite movies ūüôā

Baarish (1957)

February 25, 2010

I watched this movie on Valentines day, but was too occupied to put it up here. I truly adore the lead pair of Nutan and Dev Anand, and this movie has some nice songs…these two reasons were more than enough for me. But I had no idea as to what the story would be like. Fortunately or unfortunately, internet was down that day, so I couldn’t even read the review before watching it. But now, I’m glad I didn’t because the review on imdb is not quite true and if I had read¬†it I would have never watched this movie on that day.

Before I start with the story, this movie has nothing to do with Baarish…and if I remember correctly, there was not even a single rain/baarish scene in the entire movie (at least in what I saw, don’t know if there was anything in the deleted/edited parts). But it does begin with this statement –

Translation : Just like how the rain washes away the dirt and brings along new hopes, honesty and sincerity wipes away crime. The story of Baarish begins and is  set against a village backdrop where crime is a way of living.

Gopal (Nana Palsikar) works for Boss (Jagdish Sethi?).

On an errand for Boss, Gopal flees leaving the maal behind when police turn up and¬†goes into a hiding. Ramu (Dev Anand), Gopal’s brother is pretty bossy with the other guys in the chawl. After a petty clash with¬†some guys, where he’s rescued by Mohan (Anwar Hussain), he goes singing Dane dane pe likha hai . Don’t know why but Ramu is obsessed with Kabootar (Dove). He even has a pair of¬†them sticking out of his pockets ūüėČ

He doesn’t know for sure what his brother does, but he knows that he works for Boss and has a hunch that Boss is upto¬†no good.Gopal¬†comes home¬†after a few days. Ramu, who was pretty worried about Gopal’s disappearance, is delighted to see him¬†and the brothers sit down to have dinner.

But before they finish, two of Boss’s men come with a message for Gopal. Gopal goes to meet Boss, who’s furious with him for messing up the deal. Gopal tells him that he’s fed up of such work and doesn’t want to work for him any more. He wants to leave the world of crime and do something legal to earn a living.

But Boss gets him killed. Ramu¬†sees a person stabbing Gopal and feels that Boss is behind Gopal’s death and goes to tell him that he’ll take revenge.

Boss, orders Mohan, one of his employees and¬†Ramu’s best friend,¬†to talk Ramu out of it or else he will have to kill him as well.

He goes to meet Ramu and tries to calm him down.¬†Mohan get s aletter from home. He shows it to¬†Ramu but since Ramu can’t read or write (yes, inspite of being city bred, he’s an illitrate) Mohan reads it himself and tells Ramu that his father is ill and they owe lots of money to villagers. As he’s busy himself and can’t make it, he asks Ramu for a favour – to go to the village and give some money to his parents. Ramu refuses at first but at the end he agrees to do as Mohan says and he sets out for his village.

And the moment he enters the village, there are lots of village belles hitting on him and there’s a little broad-daylight teasing.

Unable to locate Mohan’s house, and with all those girls worrying him, he gets frustrated. And that’s when Chanda (Nutan) calls him from a tree top.

He ignores her and keeps walking. There’s a fun song Yeh muh aur daal masoor ki (love the faces that¬†Chanda makes in this song). He loses his patience by the time the song ends and they both get into a fight. A passer-by comes and helps him by showing him the way to Mohan’s house. But Chanda hears him asking for Mohan’s address and tries to divert him. She is none other than Mohan’s sister and thinking it’s someone who they owe money to, she goes home and scribbles¬†“Sab Kaashi gaye hai, saal bhar baad lautenge” (All have gone to Kaashi and will return back only after a year) on the wall of their house. Then she locks the door from outside, goes into the house (don’t know how she manages to do that) and waits for Ramu to leave.

¬†But Ramu doesn’t know how to read¬†or write, he tries hard to figure out what’s written but in vain and at the end he concludes that it has to be – “Mohan Lal ke pita Girdhari Lal ka makaan” (Mohan La’l’s father Girdhari Lal’s house). So he sits at the doorstep waiting for someone to come home.

He hears a Kabootar cooing and that brings a broad smile on his face.

He climbs the wall to catch the Kabootar. It flies aways but he discovers something else.

It doesn’t take long for him to figure out what Chanda has been upto. Furious, he breaks the door open and enters the house just in time to¬†see ¬†Girdhari Lal passing away. But just before he dies, assuming that it’s his son Mohan, Girdhari makes him promise that he’ll look after his wife and daughter. Delirious as he is, he can’t even recognize that it’s not Mohan.

But Ramu has no intention of taking up their responsibility. He’s all set to return to the city when Maa (Lalita Pawar) insists on coming with him. She emotionally blackmails him saying that Mohan is all they have now and if only he could take them to Mohan, they would never trouble him again. He agrees to this on a condition that Chanda stays away from him¬†or else he would kill her and not even be sorry for it.

After coming back, he first goes to Mohan’s house but soon finds out that he has been arrested for a theft. He goes to meet him at the prison.

He goes and pleads the inspector to lock him up instead and let Mohan go! But that doesn’t seem to work. Also, Mohan doesn’t want his mother and sister to know¬†what he’s been upto. So, unwilligly¬†Ramu lies that Mohan is out of town and takes them to his house.

Chanda keeps cribbing so much – the house is so small¬†and untidy, if her brother had been there she would have lived like a princess etc etc…Ramu gets so irritated and they keep fighting all the time (but their fights are cute).¬† Inquisitive neighbours peep in to ask Ramu who they are and where they’ve come from, if he’s married to the girl and their questions just go on and on…

When Ramu goes out to buy grocery, Chanda goes out to get water and the other guys in the neighbourhood worry her and sing Zulf hai (quite a funny picturisation). He returns just as the song gets over and when he sees what’s going on, holds her hand and drags her to the house. And yes, she keeps screaming and telling him to keep away from him.

I don’t know what happens in between – ¬†how they reconcile. In the next scene they are sitting on the terrace singing praises and admitting their¬†love for each other followed by a song Kehte hai pyaar jisko.

As expected, people around start gossiping all the more after they see the two of them singing and dancing on the terrace. Maa and Chanda both feel that the only way to end all this is to get Chanda married to Ramu.

But Ramu refuses to marry her. He feels he’s illitrate and jobless and that Chanda deserves someone better. At this, the mother-daughter duo decide to leave the house and go back to their village. Ramu tries to stop them but they just don’t listen to him. Finally, this is what he says to stop them from going back (can’t help laughing thinking of Chanda’s expression).

Boss tells Ramu that he would sponsor his wedding – so what if Gopal is not there, he’s always seen Ramu as his own brother and as long as he’s around Ramu will never have to worry about anything. Ramu is very¬† grateful and promises Boss that he would do anything for him in return for this favour.

Chanda and Ramu get married, but just as the ceremony gets over, Ramu is summoned by Boss.

Boss and Harya (Madan Puri), his assistant,  have setup a trap to kill Ramu.

When Chanda hears of Ramu’s death there’s a sad version of Kehte hai pyaar jisko.¬† And she goes to commit suicide herself.

Will Ramu survive the attack? What happens to Chanda and Maa? Will Mohan ever be released from Prison? Will Boss get caught for all his misdeeds?

On the whole it’s a nice movie. Loved Chanda-Ramu fights and their romance. And the songs, Kehte hai pyaar jisko¬†and Phir wohi chaand. It was nice to see Dev Anand¬†roaming around shirtless/ with¬†his shirt unbuttoned even when we was wearing one ūüėČ (Now I know where Salman Khan got his inspiration from). I had¬†read somewhere¬†that he was a big sensation in those days, one of the most good looking stars and women went gaga over him. Wonder what effect this had on them.

There were couple of other songs in the movie : Hum toh jaani pyaar karega and Mr. John ya Baba Khan ya lala Roshanadan.

The supporting cast included quite a lot of actors but sad that they hardly had anything to do –

Lots of people and that too people with potential but all these people were hardly used. Lalita Pawar in such a bechari role (forget bechari, there’s hardly any substance in her role) , I somehow couldn’t digest; same with Madan Puri. Kumkum and Mehmood just make an appearance in 2 scenes, Helen in one dance, Nana Palsikar for around 5 mins.

One thing that’s given lots of importance is¬†Kabootar ūüôā

It’s neither very evil nor very preachy. It’s pretty entertaining and if I had to rate it, I would give it¬†6.5 on 10.

Singapore (1960)

January 29, 2010

I accidentally came across a song Tum lakh chhupana chaho on youtube few months back and with Shammi in it I had to watch this movie. Till then, I didn’t even know that a movie named Singapore existed. I had Bigflix (Movie Rental) subscription back then, so I ordered for it and sat down to watch but there was some problem with their DVD and I couldn’t watch the whole thing. And it being a pretty mysterious movie, I was too restless till I got hold of it and watched it fully.

Directed by Shakti Samanta, it’s an Indo-Malaya production.

Ramesh (Rajan Kapoor) and Shobha (Shahikala) are in love. They meet at a club for dinner where they are followed by two men РChang (Madan Puri) and his aide, who eavesdrop them. Shivdas (K.N. Singh) even taps their table to find out what they are talking about.

We learn that Ramesh is in charge of the Singapore office that deals with Rubber export. He was planning to sell the firm and come to India, as per Shyam’s (Shammi Kapoor)¬† advice. Shyam is his friend cum employer who lives and takes care of the rest of the business in India.¬†But now he says he has come across something and he might change his mind about leaving Singapore. He also mentions that he might even call Shyam there to Singapore. But he changes the topic when Shobha enquires about what he’s upto, saying he doesn’t want to talk business over dinner.

As it turns out, Shivdas is¬†Shobha’s father. And when he sees Ramesh and Shobha leaving the club he says that Lata (Padmini), his neice is alone at home waiting for Shobha. He invites Ramesh to join him after Shobha leaves but Ramesh says he has booked a call to Bombay at 9 and goes to drop Shobha home.

Lata is worried because it’s so late and tells Shobha to keep track of time when she goes out in the night. Shobha tells her that Shyam, whom she introduces as Ramesh’s boss, is very good looking and is coming to Singapore. And she worries Lata saying once he comes and she meets him, she also might lose track of time.

Ramesh goes back to his office to take the call. He tells Shyam that he’s convinced¬†about ¬†some hidden treasure in their estate and he has also found a map that would lead them to it. Shyam is rather surprised. He thinks Ramesh is drunk and is talking rubbish. When Ramesh asks him why he didn’t reply to his letters, Shyam says he never got any letters from him.

It looks like it’s a trend between them that Ramesh always records his conversation with Shyam. This entire thing is getting recorded when Ramesh sees shadow by his door. He puts the map in his musical cigarette case, the VAT 69 bottle on his table and hides it in the drawer. Then he gets up and goes to the door. He’s hit on his head by two¬†faceless men making him unconscious and then Ramesh disappears.

Shyam, unable to understand what happened to Ramesh who left the call abruptly and went, gets worried. He¬†decides to go to Singapore and check it out for himself when he’s not even able to reach Ramesh again.

He meets Maria (Maria Menado) in the flight to Singapore and they become friends.

One of Shyam’s employees Cha Choo (Agha) comes to the airport to receive him, takes him to his office and gets him introduced to all the other employees. Cha Choo takes him around and¬†they sing and dance to¬†Yeh shehar bada albela.¬†¬†Next,¬†they go¬†to police and report Ramesh’s disappearance.

On their way back, Cha Choo tells Shyam about a girl named Shobha, who Ramesh was in love with, thinking she might know of his whereabouts. But he doesn’t know where Shobha lives. All he knows is that she is Shivdas’s (proprieter of another Rubber¬†estate)¬†daughter. And on a second¬†note he adds that she’s a very good dancer and is performing at New India Club that evening. So, off they head to New India Club. Unfortunately or fortunately, it’s Lata performing at the club that night and not Shobha but Shyam is unaware of this fact. She dances to Aane laga jeene ka mazaa.

Shyam follows her to the greenroom after the dance and after learning who he is she invites him home. After a lot of confusion he finally figures out that she’s Lata and not Shobha. And he sees Chin Chin Choo (Lilian), one of his employees with Shivdas just as he’s leaving.

He summons Chin Chin Choo to his cabin the following morning and tries to find out indirectly where she was the previous night. She makes up a story and Shyam is convinced that he was mistaken and it was someone else who he ad seen with Shivdas.

He’s still confused about it when he gets a call from Maria who wants to meet him. After noting down the address, he leaves. Maria reveals her feelings for him (I’ve added that part also in the video) and then they sing to Dekho ji dekho sunlo yeh baat.

They go to Maria’s house for dinner and somebody attacks Shyam there – he’s shot at. He’s more surprised than worried thinking about why anyone would want to kill him.

He comes back to his office and narrates everything to Cha Choo. They find the tapes of his conversation with Ramesh and play it. With its help they find the musical Ciagarette case and hence the map.

He meets Lata, and offers her a lift one evening. They are attracted to each other (how could they not be?). They flirt a little and end up singing Hat jao deewane aaye.

He suspects Shivdas is upto something, so he makes a copy of the map to find out his intentions. The next day, he sets out on a picnic with Shivdas, Lata and Shobha. But before leaving he shows the map (duplicate)¬†to Shivdas, puts it in a file and takes it along saying he’s going to the police station with it directly afterwards.

Shobha leaves the two lovebirds together and goes on her own. Shivdas tries to steal the map from Shyam’s file, which he has left in the car and Shobha witnesses this.

Shyam and Lata, on the other hand, are busy singing¬† Tum lakh chupana chahoge. This is followed by lots of twists and turns. Shivdas is shot dead, Shobha goes missing and Chang and his men are behind Shyam’s life.

Running from them, Shyam reaches a village where the villagers are dancing. Disguised as one of them, he joins lovely Helen and dances to Rasa sayung re rasa sayung sayung re. He somehow escapes from them and goes home.

Lata is desparately waiting for him, unaware of what happened. She asks him about Shivdas and Shobha. She’s¬†grief stricken to learn that her uncle is no more.

At this very moment police come to arrest Shyam. They¬†are informed that it was he who had killed Shivdas. They search the house and find Shivdas’s deadbody in the bathtub. Lata is so shocked that she passes out. She is convinced that Shyam killed Shivdas and asks the police to take him and go.

Maria comes just in time to hear and see Shyam accused of Shivdas’s murder. He’s thus arrested. When police start investigating the case, they find Cha Choo locked in office washroom, gagged and tied. Even the original map¬†goes missing!!!

Cha Choo is taken to the police station where he narrates¬†how few people locked him up in the washroom and raided Shyam’s cabin.¬† Even police find everything fishy and suspicious. Maria comes to Shyam’s rescue and bails him out.

There’s one more number which Lata dances to Tu kahan kho gaya.

Maria manages to bail him out, but is he really innocent? How did Shivdas’s deadbody end up in the bath tub? What happens to Ramesh and Shobha? Who is Chang? Who does he work for? Who’s Chin Chin Choo? Was it really her with Shivdas that night? Why is Lata so much against Shyam? Is she also a part of the conspiracy? And who’s Maria? What’s she actually upto?

What I liked the most about the movie –¬† Shammi, of course!!! He was such a feast to the eyes ūüôā This must¬†have been¬†one of his best looking roles.¬† Shankar Jaikishan’s music – though it sounded a little wierd listening to Mukesh singing for Shammi in Yeh shehar bada albela.

Helen…in the little role she has, it’s not even a role, she’s there just in that one song, but she looks so gorgeous and adorable! And the song Rasa sayung re rasa sayung sayung re¬†is such a catchy number.

Pretty and elegant Padmini, charming Shashikala,¬† mysterious Maria, K.N. Singh and Madan Poori (in chinky getup), wonderful Agha, missing Rajan Kapoor and¬†lovely¬†Lilian¬†ūüôā

Not to forget, the lovely and petite ladies dancing in the background (if only I could have been one of them…*sigh* ) clad in such beautiful attires. I¬†loved their dresses.

Most of the characters are well sketched and significant, but the story goes haywire, especially towards the end. I didn’t like the way they reveal the mystery, in fact, it’s not even kept a big secret in the first place. It could have been done better. Not something that would keep one on the edge but it’s a fun watch.

on the whole, it’s an entertaining package. If not¬†for anything else, I could watch this movie again for Shammi and one glimpse of Helen.

Pagla Kahin Ka (1970)

November 29, 2009

Movie with a title like this can have only one actor Рthe one and only Shammi Kapoor!!!

 

Jenny (Helen), the Dancer; Sujit (Shammi Kapoor), the Singer and Shyam (Prem Chopra), the Musician. They all perform in a¬†night-club that’s owned by Max (K.N Singh)

Jenny lives with an aunty (now I am not sure if she’s really her aunty or she’s just staying as a Paying Guest with her). And somebody please help me with her name.

Aunty somehow doesnt like Sujit and she doesnt appreciate Jenny going around with him. She think’s he’s really mad because that’s what everyone thinks he is.

Sujit is madly in love with Jenny.

He feels blessed to have Jenny and Shyam in his life.¬† Jenny is his love and Shyam his best friend. Sujit and Shyam live together. He tells Shyam one night that his life is so beautiful now. His mother had died when he was six. His father unable to accept his mother’s death goes insane and gets admitted into a mental hospital. Soon after he dies leaving Sujit all alone in the world. He never had a reason to live until he met Shyam who brought him here and gave him this life.¬† And now with Jenny around, he doesnt need anything else in life, he’s the happiest person in the world.

They perform to the title track, Log Kahen Mujhe Pagla Kahin Ka,¬†for the New Year party in the night-club. And after the performance, Shyam announces Jenny and Sujit’s engagement.

So long dance-partners are finally turning into life-partners and everybody cheers for them. But Max is not happy about this.

Max insults Jenny and Sujit gets into an argument with him. Situation gets heated up. Max draws his gun, but Shyam hits on his head with a bottle and Max dies. Sujit rescues Jenny and Shyam but gets caught himself before he can escape.

Jenny and Shyam go to meet a lawyer, Advocate S.K. Mehta (Brahma Bhardwaj). He feels that the guards saw Sujit trying to run away, so the case is strongly against him. Even if Shyam confesses that it was he who killed Max, it will look as if he’s trying to save his friend. The only way to save Sujit is to prove that he’s insane (majority of the people anyways feel that way already, so not all that tough a job).

Sujit feigns insanity, almost everyone who knows him tells¬†a tale about Sujit’s insanity. Shyam tells the court that he found Sujit one day and heard him singing. Since he had a good voice, he brought him along and gave him the job of a singer in the band. He used to get fits at times and that’s why they lived together so that he could take care of Sujit.

Jenny claims that Sujit is in love with her but she just acts along because he’s insane and she’s scared of him.

As he’s proved mentally unstable, he’s not punished for killing Max. The Judge orders him to be admitted into a mental asylum until he recovers.

With really insane inmates, Sujit goes crazy in the asylum and tries to run away. When the guards realize that he’s trying to escape they follow him and he ends up hiding in a girl’s wardrobe in a room in one of the houses near the asylum. As it turns out¬†that the girl, Dr. Shalini (Asha Parekh)¬†aka Shallu is Doctor’s neice and when he warns her about an inmate¬†who has escaped, she locks her door from inside only to discover Sujit in her wardrobe. She¬† tries to catch him and call the guards but¬†on an attempt¬†to free himself, he pushes her, she falls and hits her head on a table. Seeing her hurt, he cant just run away and is caught and taken back to the asylum again.

One of his inmates sells¬†another inmate¬†(Asit Sen) role-paying a buffalo to Sujit and there’s a fun-filled track Meri bhains ko danda kyun maara when the old owner hits the buffalo. Being his usual self he is very entertaining and soon everyone in the asylum grows very fond of him. One of the nurses, Sudha (Kumud Tripathi) even goes on to tell Dr. Shallu that had he been normal¬†she would have fallen in love with him.

The doctors in mental asylum read his file, study his case and reach a conclusion that he’s really insane except for Dr. Shallu. She takes permission from Dr. Shah (Manmohan Krishna) to study this case in depth.

She makes friends with him and when he says he doesnt like the asylum, would love to go out, she takes him out. He likes places that has hills all around, a water body with a lot of turtles in it. He seems obsessed with turtles.

She takes him for an outing to such a place, sans the turtles – to a place that has hills all around and a beautiful lake. He does complain that he cant see turtles but he’s happy to be out.

She confronts him saying she’s convinced he’s perfectly normal but has feigned insanity to so that he doesnt get punished for killing Max.

He himself admits that he’s not insane and he was just putting up an act. But he had done all this for his love. He tells her all about Shyam and Jenny.¬† Goes on to¬†give a long lecture on love. She’s so impressed by how deeply he feels for Jenny. And decides to help him. In the process she herself falls in love with him (how could she not). She asks him what he’d do if Jenny’s not serious about him or has forgotten him. He says it’s impossible that Jenny forgets him and sings – Tum mujhe yun bhoola na paoge

Finally they declare his recovery at the asylum and time has come for him to leave

He goes to Shallu to take his leave. She sends him aways telling him never to come back to the asylum again . He goes back home but finds the room locked. On asking his neighbour, Mr. Pinto he learns that Shyam has gone for¬†a reception. Curious, he asks what the occasion is and is devastated to learn that it’s Jenny and Shyam’s wedding reception.

He goes to the party confused and angered at this betrayal.  He sees Jenny and Shyam seated and Madhumati dancing to Suno Zindagi Gaati hai.

He loses his faith in love and friendship. He is totally shattered and unable to take the shock, this time he really goes insane. He ends up being re-admitted in the very same asylum. But this time his chances of recovery are very slim and he doesnt remember anything except for Jenny, who he feels muderous about.

He doesnt recognize anyone at the asylum. Shallu goes on to sing the same song Tum mujhe yun bhoola na paoge with a hope that it might remind him something, trigger something atleast,  but in vain.

The lively Sujit who everyone was almost in love with during his earlier stay has become a total stranger now. He sings a song, more to himself than to anyone else, when one of the inmates, Ramu dies РAe mere dil yahan tu

Will Shallu be able to bring him back to normal again? What happens to Shyam and Jenny? Was Jenny ever in love with Sujit? Or was killing Max  just a trap?

I wont say this is one of the best movies of Shammi Kapoor but it’s a typical SK movie, thoroughly entertaining. And it did make my weekend.¬† I usually dont find faults when Shammi Kapoor is around and I have always liked Shammi-Asha chemistry. Not much of chemistry here but Shammi’s make-up in the second half when he comes back to the asylum the second time looks really wierd. He’s shown with a little stubble on his cheeks but it looks more like kajal/coal smuged on his face.

Oh, btw, Helen looks very very pretty in this movie.

And if anyone has watched this movie and knows why he’s so obsessed with turtles, please¬†enlighten me ;-D