Posts Tagged ‘Madhubala’

Rafi Fest – Us paar iss deewar ke jo rehte hai

December 3, 2011

I was introduced to this song not as recently as the last two songs, but a couple of months ago. I saw and heard it first when Nasir saab had shared it on his wall on facebook. And for me it was love at first sight. I was completely floored by it! I must have listened to it non-stop for 10-15 times.

It’s from 1951 film Saiyan, composed by Sajjad Hussain and written by D.N Madhok. It’s picturized on Sajjan and Madhubala. Madhubala has a raw and rustic appeal, and she looks so beautiful, as always. But it’s Sajjan who steals the show!  I haven’t seen much of Sajjan in movies, but I instantly fell in love with him in this song.  His dance, expressions, the way he’s carried himself throughout the song….is just wow! The energy level, style and attitude in Rafi’s voice and Sajjan’s onscreen antics is simply superb!!!  Each word is crisp and to the point and unlike most of the songs where picturization doesn’t live upto the greatness of the song, this, I feel is one complete entertainment package – awesome lyrics, amazing music, flawless singing, beautifully picturized – over all,  very well delivered! Though I keep wondering what he’s upto at 1:54, it just adds to the craziness of the song.

And this song never fails to bring a smile on my face.

Us paar iss deewar ke jo rehte hai – 2
Koi kehde unse jaake jo hum kehte hai
Oh oh oh oh….

Us paar iss deewar ke jo rehte hai
Koi kehde unse jaake jo hum kehte hai
Oh oh oh oh….

Barbaad jawani na kijiye
Dil le lijiye dil de dijiye
Yeh din aur tanhayi haye – 2
Haye re kaun yeh samjhay
Nis rahi na rahe yeh jawani hum sach kehte hai

Koi kehde unse jaake jo hum kehte hai
Oh oh oh oh….

Us paar iss deewar ke jo rehte hai
Koi kehde unse jaake jo hum kehte hai
Oh oh oh oh…..

Aawaaz jawani deti hai
Dekho angdaai leti hai
Ghut ke mar jayenge armaan -2
Kahe ki jhijhak hai aao yahan
Nis rahi na rahe yeh jawani hum sach kehte hai
Koi kehde unse jaake jo hum kehte hai
Oh oh oh oh….

Us paar iss deewar ke jo rehte hai
Koi kehde unse jaake jo hum kehte hai
Oh oh oh oh…..

(Yeh husn diya jisne tumko
Poochega woh ek din yeh sunlo)  – 2
Bande pe mere kyun zulm kiya – 2
Ek jhalak dikhla ke maar diya
Lajja mein doob maroge hum sach kehte hai
Koi kehde unse jaake jo hum kehte hai
Oh oh oh oh….

Us paar iss deewar ke jo rehte hai
Koi kehde unse jaake jo hum kehte hai
Oh oh oh oh…..

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 🙂

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’t 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—Rafi 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, 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 am 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’s protégé) a lovely duet with Lata. This one is picturised on Rehman and Madhubala and I love this  for lots of reasons: Madhubala’s striking beauty, Rafi’s 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—that teeming metropolis, teeming then in the 1950s just as it is teeming today—the land of opportunities, sapno ka shehar—was masterfully captured by lyricist Prem Dhawan to composer Hansraj Behl’s 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. 🙂 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 magnificiently 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 “X” – 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 magical, 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 – just about anything with equal zest and gusto.

Also, when I began listening to  songs of Rafi, I realized one thing – he 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! 🙂 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!

Boyfriend 1961

December 29, 2009

Before I start with Rajesh Khanna special this week, there are two movies that have to write about. They have been pending for more than two weeks now.

After I read memsaab’s review of Aakhri Khat, I went to all the video stores in the city hunting for it and finally found it in one. There I saw Boyfriend (though it was a VCD and not a DVD). Not that I need an excuse to buy a Shammi Kapoor film, but doesn’t this look tempting?

The movie begins with a little boy running on the street in a dark night with few men behind his heels. He halts to catch his breath just below this notice on a wall.

An elderly couple visit a temple. One of the pujaris enquires as to who they are and why they come to visit the temple every year on the 2nd of January. The elder pujari introduces them as Thakur Harcharan Singh (Shivraj) and his wife, Rajni Singh (Amirbai Karnataki) from Ambala.  22 years ago, they had lost their son elder son, Madan. So they come every year on that day with a hope of finding him someday.

In Shimla, Madan aka Shyam is being released from  jail after being arrested for the second time for petty theft. First time he was arrested as Madan and later on as Shyam. Inspector returns him his gold locket and sends him off with a piece of advice on leading a good life ahead.Also says no matter how many times he changes his name, but he’ll get caught everytime he does something wrong.

In Thakur Harcharan Singh’s house in Bombay, they are talking about Madan. Even after all these years Rajni feels that they will find him someday. Their younger son Sunil (Dharmendra) makes an entry at this point. He’s a Police Officer and says he is working on a murder case and wont be returning home that night. Rajni is diappointed the he goes around solving everybody else’s problems but doesnt put in enough effort to find Madan. Then in typical filmy ma style she says : Na jane mera Madan kahan hoga, kis haal mein hoga  (Don’t know where my Madan is, how he is).

At this, the scene shifts to the scenic beauty of Shimla and finally we get a proper glimpse of Madan/Shyam’s (Shammi Kapoor) singing Mujhe apna yaar banalo .

Enroute to Bombay, Shyam meets Shantilal in the train. When Shantilal addresses him as Madan, he says he’s Shyam and not Madan. They were together in Shimla jail during Shyam’s first sentence. Shantilal is ill and he tells Shyam about his daughters – Sangeeta and Sushma who live in Bombay.  He had left his family and fled Bombay after taking Rs. 50,000 from Thakur Harcharan Singh.

Shyam tells him they will go together to Bombay and find his daughters. But the following morning he gets up to find Shantilal gone. As he had given a word to Shantilal that he would find Sangeeta and Sushma, he sets out on his mission the moment he reaches Bombay. He asks every girl he meets if her name is Sangeeta/Sushma. Finally he bumps into Sushma (Nishi) but by the time he realizes it’s her, it’s too late, she’s already gone.

Thakur Harcharan Singh is the owner of Stage Center. And Sangeeta does dance shows for him. Shyam reaches the stage and stands outside. Thakur and his wife pass by him.

They see Sangeeta (Madhubala) practicing dance inside and praise her for all the hard work she’s putting up for the show. Sangeeta says she’s dancing so that she can earn enough to pay her father’s debts to him. That’s the Director/Dance Master of Thakur’s shows in the picture.

There’s this guy hiding in the shadow and eyeing Rajni’s necklace. He manages to steal it when she is leaving Stage Center.

Sunil arrives at that very moment and seeing Shyam there he suspects him of stealing the necklace. He takes Shyam’s talashi but doesnt find anything on him and lets him go. When police arrives the real theif  puts the necklace in Sangeeta’s makeup box kept in a taxi and runs away. But Shyam sees him putting the necklace.

So Shyam goes to Sangeeta’s house in the night and steals the necklace from her makeup box. He battles against his will to sell it and finally decides to return it to Sunil the following morning hoping it would give him a chance to prove him that he’s innocent. When he’s still making up his mind on the next course of action, a Hawaldar on duty spots him and asks him what he’s doing there so late in the night. He says he came in search of Sangeeta. On being asked if Sangeeta knows him, he tells the Hawaldar to take him to Sangeeta and he could see it for himself. The moment Shyam tells he knows Shantilal, Sangeeta calls him in. Hawaldar now convinced that he had actually come to meet her, leaves assured.

Both Sangeeta and Sushma are delighted to hear about Shantilal but are hurt at the sametime that he himself didnt come to meet them. As it starts raining very heavily outside, they ask Shyam to stay back that night. Seeing Sangeeta sleeping, he sings Salaam aapki meethi nazar ko.

The sisters get up in the morning to find him gone. Shyam goes to Thakur’s house early the next morning to return the necklace.  But he is stopped by Sampat (Dhumal), Thakur’s man servant. When Sampat learns that Shyam has come to return the stolen necklace he flicks it off from Shyam’s pocket. Unaware of this Shyam goes to Sunil but is surprised himself when he finds the necklace gone from his pocket.  Anyways, he tells Sunil that he has changed now and will find some proper job soon.

Sunil and Sushma are in love. Sushma has a pic of Sunil inside her book and is busy talking to his pic when the phone rings.

It’s Sunday, the only day when Sunil’s off. He tells her he’s coming to her house to meet her. But she has a prior commitment of going shopping with Sangeeta. She makes up an excuse and manages to send Sangeeta alone.

Here Shyam goes to Sethji (who seems to be extremely fond of Shyam) to clear his earlier debts. Shyam owns a room in Bombay and Sethji says he’s planning to get his son married that year and asks if Shyam could give his room to his son. During the conversation Shyam discovers that Thakur and Director are in search of a tall, fair and handsome hero (there’s so much stress on this – 6 foot ka lamba, khubsoorat sa naujawan) for their play “Boyfriend” to cast opposite Sangeeta.

Off he goes to meet Thakur who approves of him at first sight itself. But they still ask him to give an audition and he dances to Mujhe apna yaar banalo and bags the role. He’s introduced to the entire unit including Sangeeta but she puts up her price and doesnt even talk to him properly because he left home that morning without even telling them and she’s angry with him! But not for long (And I dont blame her for that. How could anyone resist his charm for long?)

They sing Aaigo aaigo yeh kya ho gaya on their way home. He drops her at her place and goes to his room. Shantilal comes to see him. He says he doesnt have the courage to face his daughters after all that they have had to go through because of him and the debts he had taken. He is very ill and knows he’s dying. He gives Bhagwat Geeta to Shyam, tells him to give it to his daughters and dies.

The sisters are devastated by the news. And Shyam consoles them.

The all leave for Shimla for a Stage show there. Their show in Shimla “Miya Biwi”  – Dekho Na Jaao Ae Jaan E Man  proves to be a huge success.

After the show is over Shyam and sangeeta go skating. Sangeeta falls down and breaks her leg. This accident leaves her crippled and she can’t dance anymore. Shyam holds himself responsible for it.

She’s all sad and depressed thinking that Shyam may not like her anymore. But Shyam says he’s in love with her soul and she’ll always remain the same for him. But she says she can never dance with him again.  To which he says he had joined the theatre for her and not because he enjoys dancing and acting.
 Sangeeta : You are god to me

Shyam :  What do you know about me to treat me as your god?

Sangeeta : You think I need to know you more than what I already do? What I know of you is more than enough and I trust you more than anyone else

Once they are back in Bombay, Shyam goes to Banwarilal to buy a gift for Sangeeta. He says he needs something that will cheer her up. And Banwari shows him a necklace. Shyam feels it’s similar to Rajni’s necklace that was stolen but Banwari argues that there can be more than one necklace of the same design.

Now that Sangeeta can no longer work for him, Thakur sends his manager (Moolchand) to Sangeeta’s place asking them to either pay his debt of Rs. 50,000 or to vacate the house. He says if they can arrange for Rs. 2,000 (i.e., the interest amount) in 2-3 days, then he can convince Thakur to give them a time of one month to pay the remaining amount. He even gives them a court notice.

Shyam is shocked by Thakur’s behaviour. 

Thakur on the other hand is looking for a heroine for his play. He wants a girl to cast opposite Shyam in “Boyfriend”. But Shyam arrives at that very moment and says he wont work with Thakur anymore. He has an argument with Thakur on how he has treated Sangeeta. Shyam challenges Thakur that a day will come when he’ll have to beg Sangeeta for help and that day he would think of him(there’s so much of stress on 6 foot ka haseen naujawan again. In fact this is how Thakur addresses him throughout the movie).

Sangeeta, Sushma and Shyam are desparately in need of Rs. 2,000 so that they dont lose their shelter at least. Shyam sets out to sell the necklace he had bought for Sangeeta. But since he asks only for Rs. 2,000 for it, everyone feels there’s something fishy about it and nobody buys it.

Tensed that he couldnt arrange for money, he sings Mujhe apna yaar banalo once again (this looks like an all-purpose song ;-)). He gets an idea. He goes to Sethji, gives his room to Sethji’s son and takes Rs. 2,000 in return.

Then he goes to Thakur, deposits Rs. 2,000 and takes a receipt. Now the sisters won’t have to leave the house at least. But Sunil comes and asks him where he got the moeny from. He still feels that Shyam has stolen it. Thakur offers Shyam to come back to stage but Shyam says if he comes back on stage it’ll be with Sangeeta. He again says the 6 foot ka haseen naujawan dialogue – in short, every dog has its day!

Shyam goes to consult a doctor. After seeing Sangeeta’s reports he says she can be cured and she’ll be able to dance again. But he says he will have to do a major operation and that will cost Rs. 5000. Shyam says he’ll arrange for the amount and fixes an appointment with the doctor.

He goes back home to find Sangeeta sleeping (which she’s only pretending to). He sings Dheere Chal Dheere Chal Ae Bheegi Hawa (asks hawa to dheere chal meri bulbul ki hai neenden jawaan and he himself sings so loud :-D)
He keeps the necklace that he had bought for her on her neck. At the end of the song, she wears the it and comes out.
Sangeeta : You think I’ll look good if I wear this?
Shyam : No, now that you’ve finally worn it I feel the necklace looks beautiful. I bought it from the footpath for Rs. 2.25 but it has become priceless

Sangeeta : You are not a human, you are god!
Shyam : Call me whatever you want but dont ever call me god

Sangeeta : If that’s the case shall I tell you the truth?

Shyam : What truth?

Sangeeta : The truth is that you are a theif!
Shyam : A theif?
Sangeeta : Yes, a theif.
Shyam : What did I steal?
Sangeeta : So you are saying you havent stolen anything?
Shyam : No, I havent stolen anything
Sangeeta : Then why are you getting nervous?
Shyam : I’m not nervous
Sangeeta (laughing) :You have stolen my heart away!

Phew!!!! That was such a releif to Shyam 😀

Sunil comes to Sangeeta’s house, meets Sushma and warns her that Shyam’s not a nice man. Sushma tries to defend Shyam. Sangeeta enters the room and Sunil sees the stolen necklace on Sangeeta’s neck.


He asks her where she got the necklace from. He also tells her that it’s a stolen stuff. He threatens them that if they dont tell him who gave that necklace to her, he will arrest both of them. Finally Sushma admits that Shyam gave it.

Sampat’s dream of robbing Thakur (has been eyeing his safe from the very beginning) finally comes true when he finds out the combination to safe’s lock. But he needs a partner to execute his plan. He tells Sevakram (Maruti Rao) to send someone. Sevakram informs Shyam about it. As Shyam desparately needs Rs. 5,000 for Sangeeta’s operation, he accomapnies Sampat in his mission.

Unaware that Sunil has revealed about him, Shyam comes home to Sangeeta. He’s shocked himself to find that it was the same (stolen) necklace. But there’s no way he can prove his innocence. He says he’s going to surrender himself to police but Sangeeta doesnt let him go. Police siren rings, but he runs away before police could arrive. He manages to escape but leaves his gold locket behind.

Thakur and his wife recognize the locket as Madan’s. And they realize that Shyam is their son. They send Sunil to find Shyam.

Shyam comes to Sangeeta’s house disguised as  Sardar Guruvachan Singh (owner of a theatre company in Shimla who wants to cast her in his next play). He takes her to the doctor (with whom he had fixed an appointment earlier). After an operation Sangeeta is cured. She can walk and dance now.

Someone’s been following Guruvachan Singh. Thinking it’s Sunil’s trick to arrest him, he tries to mislead his follower that leads to a hilarious sequence. And this ends with Kyon Jee Mujhe Pehchaa.

Sunil makes a masterplan to arrest Shyam. And when he finally succeeds in doing so Shyam tells Sunil : “It’s my misfortune that I can neither convince you nor Sangeeta that I am innocent.” There’s one more song here – Dekho na jao ae berehem

When Rajni sees Shyam, she hugs him tight and says : Madan beta, where were you all these years? Pagla kahin ka!!! But the twist here is that he refuses to admit he is Madan.

What happens next? Will they ever find the real Madan? Will Sampat get caught? What happens to Sangeeta?

I enjoyed watching the movie but there was nothing wow about it (except for Shammi)! Definitely not one of his best movies either but entertaining enough to keep one glued to his/her seat esp if you are a Shammi Kapoor fan.

I didn’t find Madhubala all that great like in her other movies. She looked kind of exhausted throughout. Chirpy and feisty, Nishi is good but her dialogues get irritating at times. It being one of Dharmendra’s earlier movies, he looks and sounds  novice. I just couldn’t  imagine him screaming “Kutte, Kamine…main tera khoon pee jaaunga” at this point of time.

But it isn’t all that bad either 😀 Shankar Jaikishan’s music is good. And as I had mentioned in my earlier post, I have a soft corner for songs the moment I recognize Rafi’s voice.

I would say it’s Shammi’s movie all the way! And if I watch it again it would be only for Shammi Shammi and Shammi (though that was the case now as well).

Ten of my Favourite Dilip Kumar Songs

December 11, 2009

As Dilip Kumar (Yusuf Khan) turns 87 today, here’s wishing him a great day, lots of happiness and good health! 🙂

Dilip Kumar is considered to be one of the greatest actors of Indian cinema. Starting his career in 1944, he has starred in some of the biggest commercially successful films from the late 1940s, 1950s, 1960s and 1980s. His performances have been regarded as the epitome of emoting in Indian Cinema. He was the first actor to receive a  Filmfare Best Actor Award and holds the record for most number of Filmfare Awards won for that category (8 filmfare awards for Best Actor and 19 Nominations , now isnt that something???) !!!

He has done a wide vareity of roles  (be it romantic, comic, social, negative, historic) and is better known as the Tragedy King of Indian Cinema.

1. Ude jab jab zulfen teri (Naya Daur, 1957) : This was one of the biggest hits of the year and it grabbed 3 filmfare awards : Best Actor (Dilip Kumar), Best Music Director (O.P Nayyar) and Best Story (Akhtar Mirza). One of the most successful films of B.R Chopra, this movie was set in post-independence India where Industrialization is slowly creeps in and the impact it brings when the son of a rich landlord (Jeevan) begins operating a bus service in the town of Tangawallahs, who earn their livlihood transporting people from one place to another by Tangas(horse – carts). 

I had seen this movie long long ago (around 12 years back) but I still remember quite a lot of it. To start with, it’s music. It has some great songs, be it Ude jab jab zulfen teri , O.P Nayyar’s signature song – Maang ke saath tumhara, Yeh desh hai veer jawaanon ka, Saathi haath badhana  or Reshmi Salwar Kurta Jali Ka.  Then the starcast – Dilip and Vaijanthi  made a great pair (though originally Madhubala was signed to do the role of Rajni), Ajit, Jeevan, Leela Chitnis all were wonderful in this film.

2.  Suhana safar aur yeh mausam haseen ( Madhumati, 1958) : Directed by Bimal Roy, this movie was one of the earliest movies that dealt with the concept of reincarnation. Though Dilip sahab didnt bag an award, the movie went on to win 8 filmfare awards – Best Movie, Best Actress (Vaijanthimala), Best Director (Bimal Roy), Best Music Director ( Salil Chowdhary), Best Supporting Actor (Jhonny Walker ), Best Art Direction (Sudhendu Roy), Best Payback Singer (Lata Mangeshkar) and Best Editing (Hrishikesh Mukherjee). This movie was a musical delight.

3. Do sitaron ka zameen par hai milan (Kohinoor, 1960) :  The Tragedy King and the Tragedy Queen of Bollywood come together in this light-hearted fairy-tale movie. They both look so good in this song and it really feels great to see both of them smiling throughout. Music by Naushad is very melodious and along with this,  Madhuban mein radhika nache re   was very popular. Dilip Kumar  went on to bag a filmfare ward for Best Actor once again for his role as Rajkumar Dhivendra Pratap Bahadur Chandrabhan.

4. Tu kahe agar (Andaz, 1949) : Three reigning stars of the era in the same movie caught in a love triangle!!! I dont remember the details, but had really enjoyed watching it. Dilip Sahab in a grey shade (wont say negative) – heroes those days were expected to sacrifice their love for their beloved’s happiness. But he pursues Nargis in this movie even after he learns that she’s engaged to Raj Kapoor.

5.  Nain lad jaye hain  (Ganga Jamuna, 1961) :  Produced by Dilip Kumar himself, the film stars real life brothers Dilip Kumar and Nasir Khan as two brothers on opposing sides of the law – where Dilip Kumar plays a leader of a dreaded band of killer bandits and Nasir Khan, a Police officer (story sounds familiar???).  The music of this film is by Naushad and the lyrics by Shakeel Badayuni. It’s a beautiful composition. All the songs (Dagabaz Tori Batiyan, Dhoondho Dhoondhore Sajna, Do Hanson Ka Joda, Insaf Ki Dagar Pe, Jhanan Ghoonghar Baje) from this movie are really nice and they were big hits too.

6. Insaaf ka mandir hai ye (Amar, 1954) : I have always loved this song. Though it’s not my usual romantic, fun-filled type, it’s a great composition, beautifully rendered and brilliantly portrayed.  I just came across a comment on youtube, a fact that never struck me as such but is really amazing :

“Given the essentially Hindu ethos of the song, when you consider the fact that ALL the key people involved in the song (Writer – Shakeel Badayuni, Music Director – Naushad, and both the actors) were muslims, you have to bow your head to this demonstration of true secularism.”

7. Pyaar kiya toh darna kya (Mughal-E-Azam, 1960) : Though this movie doesnt need an  introduction, here are few facts (courtesy : wikipedia) :
It’s an Indian epic film produced and directed by K. Asif. With its lavish production, K. Asif’s magnum opus took nine years and Rs 10.5 million to finish. The film broke box office records in India when released and held the record for the highest grossing film ever until the 1975 film Sholay broke its record.


This was (counting Sanjay Leela Bhansali’s Devdas) the most expensive film ever made in Indian history. Tailors were brought from Delhi to stitch the costumes, specialists from Surat-Khambayat were employed for the embroidery, Hyderabad goldsmiths made the jewellery, Kolhapur craftsmen designed the crowns, Rajasthan ironsmiths crafted the weapons, and the elaborate footwear was ordered from Agra. For the battle sequence, 2000 camels, 4000 horses and 8000 troops were used, many of them soldiers on loan from the Indian Army. Altogether the film cost Rs. 1.5 crores (38.29 crores in present terms).


It’s not just the movie that created a history, the song “Pyar Kiya To Darna Kiya” has an unusual history to it:  it was written and re-written 105 times by the lyricist, Shakeel Badayuni, before the music director, Naushad, could approve of it; it was shot in the renowned Sheesh Mahal (Palace of Mirrors); and in those days of sound recording, editing and mixing, as there was no way to provide the reverberation of sound, Naushad had Lata Mangeshkar sing the song in a studio bathroom.

8. Saala main toh saab ban gaya (Sagina, 1974) : Not one of my best songs, but this song definitely pops up in my head when I think of Dilip Kumar.

9. Tere husn ki kya tareef karun (Leader, 1964) : An award winning performance by Dilip Kumar, yet again!!! This movie has some very romantic numbers : Aajkal Shauq-E-Deedar Hai, Ek Shahenshah Ne Banvake, Hameen Se Mohabbat

I was really confused as to which song to actually put in the list because I like all the songs in this movie. But then felt, as long as I mention them, it doesnt matter 😀

10.  Imli ka boota (Saudagar, 1991) : One of his later successes, this movie brought back Dilip Kumar and Raj Kumar together after almost three decades (they last appeared together in Paigham in 1959).  It’s a very cute song and feels so good to see both of them so happy and cheerful singing “imli ka boota beri ka ped, imli khatti meethi ber” at this age. And their chemistry is rocking!!!

As a youth, Manoj Kumar admired Bollywood superstar Dilip Kumar so much that he decided to name himself Manoj Kumar after Dilip’s character in Shabnam (1949). Though it sounds little wierd (no offense meant), I wonder if anybody else has gone to the extent of changing his(her) name and making a mark in the same industry as Manoj Kumar did. If we look at it in one way, I think it’s the biggest tribute one actor could pay to another actor.

He’s definitely a great combination of good looks and great performance. An actor who everyone looks up to. Happy Birthday Dilip Sahab!!!