Posts Tagged ‘Mehmood’

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!

Ziddi (1964)

May 29, 2010

Ashok (Joy Mukherjee), is the youngest son in the family of Judge Sachin Shankar (Ulhas) and Mumtaz Begum.

He has two brothers and a younger sister (Lata Sinha). Both his brothers  are married and one of his sisters-in-law is Bela Bose. She hardly makes an appearance for 2 mins, what a waste of character!

Sachin is a pretty strict parent who wants everybody at breakfast table¬†by 8 AM and expects all his sons to go to work and earn¬†their living. The other two are great sons as per him who are professionally and financially settled in life and his only complain is about Ashok, who’s still in bed when everybody else has already gathered for breakfast. And he’s also not happy about Ashok wanting to become a writer.

Ashok goes to meet a publisher (Murad), who also doesn’t approve of his choice of profession because he thinks Ashok doesn’t look like a writer!!! (Now what’s that supposed to mean?)

Mr. Chaterjee (Asit Sen) makes an entry here and the¬†publisher tells him that he has been summoned¬†to Ooty by Thakur Mahendra Singh (Raj Mehra) as the Manager of his Tea Estate. And apart from looking after the Tea Estate his job would also include keeping an eye on Asha (Asha Parekh), Thakur’s daughter. He gives Mr. Chaterjee Asha’s photo, where she’s posing beside an elephant with a gun and gives him a brief introduction saying – “Yeh Thakur saab ki beti hai, Asha. Aur uski teen hi shauk hai zindagi mein – Sheron ki shikar, haati aur ghodon ki sawari and aadmi ke kapde pehena aur unko neecha dikhana” (This is Thakur’s daughter, Asha¬†and she lives just for three things – to kill tigers, to ride horses and elephants and to wear men’s outfit and to make them feel inferior).

Ashok also sees Asha’s pic and is totally smitten. He has a feeling that if he gets to meet her he can come up with a story that would establish him as an Author. He takes her pic and goes on the road singing Teri surat se nahin milti kisi ki surat . Judge spots him singing by the swimming pool and takes him back home. Finding Ashok’s behaviour weird, he¬†feels Ashok must be¬†suffering from some illness and calls a Doctor. Doctor says he’s fine, it’s just that he’s suffering from loneliness – ¬†which he finds all the more weird – lonely in a house full of peaople?! Doctor then goes on to explain that they should get Ashok married. At this, the entire family literally runs out of the house in search of a girl, leaving bewildered Ashok behind.

Ashok runs away from his house and goes to Ooty.

Judge is furious to find Ashok gone and is all the more angry when he discovers Ashok’s note that says :¬† “Zindagi bhar gadha na reh jaun, isi liye romance aur adventure ki talaash mein jaa raha hoon” (I don’t want to remain a fool all my life, that’s why I am off in search of Adventure and Romance).

He’s almost robbed off his belongings in the train by Mohan Choti while he’s asleep –¬†And this¬†scene is¬†hilarious…Ashok’s dreaming about Asha and is blabbering in his sleep. That’s when Mohan Choti enters his compartment and what follows is very funny – extremely situational monologue from Ashok¬†and Mohan’s expressions just perfect to blend with the scene. This is once of my favourite scenes in the film.

When Ashok finally wakes up and realizes that his suitcase is nowhere around, he follows Mohan and jumps out of the train behind him. Just then they hear a gunshot and Mohan drops Ashok’s suitcase and runs¬†away. Ashok then spots Asha with a gun and she screams at him for scaring her prey away¬†– according to her, the tiger she was about to shoot ran away because of Ashok ūüėõ

She takes her jeep and drives away. Ashok retrieves his belongings and starts walking towards some civilization from the jungle he is in. Back at Thakur’s (Raj Mehra)¬†house, everybody’s searching for the jeep. The new Manager was arriving and Mahesh (Mehmood), their driver was supposed to go to the station to receive him but both the Jeep and the driver are missing.

Seema (Nazima), Asha’s sister¬†is sure that Asha must have taken the Jeep and Thakur is very angry about the whole affair and promises to scold Asha when she gets back. Lakshmi (Sulochna), Thakur’s wife, is hurt that Seema isn’t very fond of¬†her sister¬†and keeps complaining about her.¬†And¬†both Thakur and¬†Lakshmi¬†are busy¬†blaming each other for¬†spoiling Asha.¬†In between this, Asha drives in complaining that somebody scared her prey away. And on being asked about Mahesh, she tells her pet, Majnu (an elephant) to bring him back. Poor soul was put in a drum and kept under Majnu’s invigilation.

Both her parents are extremely fond of her and they easily forgive her for all the pranks she’s upto and overlook them. As a result, Asha is such a spoilt brat, stubborn to the core and quite irritating as well.

Mahesh is then sent to the station to bring the Manager. On his way he sees Ashok walking with a suitcase and assumes him to be the new Manager. So he brings him home and introduces Ashok to everybody as the new Manager of Mahendra tea State.

Asha is furious to see him home and tries all the possible pranks to get him kicked out. She isn’t very successfull in doing so but she doesn’t give up.

¬†As a punishment for taking the Jeep in the morning, Thakur prohibits her from going to the Jalsa (a local fete) that night. And Ashok is instructed to keep an eye on her and make sure that she doesn’t even step out of the house.

Stubborn and bent on proving how inefficient Ashok is, she sneaks out of the house and in a hurry mounts an untamed horse and sets off. When Ashok realizes this, he goes behind on another horse, saves her and brings her back home, literally drops her on her bed and locks her room from outside. But she calls Majnu below her balcony, jumps on her back and goes to the Jalsa and dances to Raat ka samaa jhume chandrama.

Ramdas (Dhumal), is the Supervisor of the Tea Estates. He has a very pretty daughter Sheela (Shubha Khote) who’s madly in love with Mahesh. But Ramdas doesn’t approve of their romance and picks up a quarrel with Mahesh for the silliest of reasons.

Ashok takes up his job as the new Manager the following day. It’s almost 12:30 in the afternoon, he tells Ramdas to break for lunch at 1 and¬†heads¬†home for lunch himself.

Mahesh also takes a break saying he’s going to meet Sheela.¬†On his way,¬†Ashok sees¬†Asha perched on a tree branch chewing Sugarcane, he flirts a little with her and she instructs Majnu to pick him up and throw him in the well, which Majnu obediently follows.

Mahesh sees Sheela getting lunch for her father and walking towards the Tea Estate. He asks her for some food and they climb the clock tower where she feeds him. He¬†sets the time to 11insh¬†hoping to spend some more time with her. Ramdas is hungry and keeps waiting for his daughter who doesn’t turn up. When he glances up to the clock tower to see the time, he is surprised¬† and figures out that something’s wrong. ¬†So he sets out to investigate. When Mahesh sees him, he runs away at such a speed and without even looking around that he also ends up in the same well as Ashok. They somehow manage to get out.

¬†And now, Ashok feels it’s time to do something to tame Asha. But he has to get across Majnu¬†before reaching Asha. So he prepares himself¬†for¬†the mission.

He manages to make friends with Majnu. And with his help, he sort of kidnaps Asha and sings Pyaar ki manzil mast safar. Now that Majnu is on Ashok’s side, Asha decides to sell the disloyal Elephant. She sits on¬†Majnu¬†and begins the auction. Ashok comes disguised as an Arabic and buys the Elephant for a huge amount. When she dismounts after the deal is done, he jokes with her saying, he had bought the entire package for that much, ie the elephant along with her on his back!

There’s a lot of drama in between. Ashok comes across a letter sent by Mr. Chatterjee, the original supposedly new Manager of the estate – who has written saying he fell ill and couldn’t come on time but now that he has recovered, he would be arriving soon. It’s just because Mahesh thought he was the Manager, he was brought to the house and given the job. He’s worried and thinks of going back home. When Mahesh learns the truth he decides to help Ashok. They both go to receive Mr. Chatterjee, who comes marching to the background score of “So he’s a jolly good fellow”. They take him to a fake graveyard haunted by Sheela clad in a black saree and they tell him that all the people killed by Asha are burried in this graveyard.

She hates Managers and there’s a slot especially reserved for Managers. At this Mr. Chatterjee runs away from there and is never heard of again.

Seema was out of town all this while and Ashok had never met her. One evening he’s sitting in his room typing his story and reciting some lines (he has quite a shayarana andaaz, the way he flirts around with Asha, the lines he uses – ¬†they are very poetic and very very romantic), a dog happens to sneak in and Seema comes following the dog. He’s pleasantly surprised to discover another pretty lady in the house. And she’s a very sweet girl and they get along very well from the very beginning. When he notices Asha observing them, he makes fun of Asha and she walks away in a rage.

At the Jalsa, when Mahesh spots Ramdas sitting with Ashok, he drapes a dupatta over him and Sheela introduces him as Roopmati, her widowed friend to Ramdas. Ramdas falls madly in love with Roopmati. He continues pretending to be Roopmati at few more occassions.

¬†At one of them he flirts with Ramdas as Roopmati and then fools him and sneaks out of the house with Sheela singing Main tere pyaar mein kya kya na bana and at another Roopmati agrees to marry him provided that he gets Sheela married first. But some Astrologer had told Ramdas that he would die if Sheela gets married and has a child. When Mahesh discovers this, he confides in Ashok about it. And Ashok decides to help Mahesh, ¬†disguised as a Sadhu baba, he¬† tells Ramdas to get his daughter married within seven days or else he’ll die. Ramdas’s in a dilemma now…one astroger told him that he’ll die if he gets Sheela married and now another is telling him that he would die if he doesn’t get her married.

Asha happens to cross by just then and Ashok, disguised as Sadhu baba, takes advantage of the situation,¬†tells her few things about her at which she’s shocked (a Sadhu who knows so much about her) then tells her that she should dress properly…she’s a girl and should behave like one, mustn’t go around hunting tigers all the time…blah blah and at the end he says if she goes on this way, Ashok might choose Seema over her.

She goes back home and sits infront of the mirror, tries on a little make up and even wears a saree. The she goes down hoping Ashok would see her.

She gets mad at Ashok when she sees him sitting and talking so sweetly to Seema.

Seema is going for a picnic with her friends and invites Ashok to join them. He happily accepts the invitation and asks Asha if she would like to come along as well….

Asha : Jahannum mein jao! (Go to hell!)

Ashok : Akele jaane mein mazaa nahina ayega, aap bhi chaliye na (it won’t be fun going alone, why don’t u come along as well)

At the picnic, Ashok and Seema are busy with their sheron-shayari when her friends ask him to sing a song. He says : “If I knew how to sing, wouldn’t I have become an actor?” And then he hears Majnu and realizes that Asha is somewhere around. So he jumps around singing Janu kya mera dil ab kahan kho gaya.

By the end of the song, Asha ties some balloons to the basket in which Seema’s doggy is sitting and the basket flies away. Seema gets all hysteric seeing her doggy so helpless up in the air.

¬†Ashok scolds Asha and she replies saying : “Badla lena hai na, toh mere Majnu ko gubbare se bandhke suraj pe bhejde. Kutta bahut romantic ho raha tha isi liye maine usse chand pe bhej diya romance karne” (¬†Take revenge , do the same thing with my Majnu, tie balloons to him and send him to the¬†sun. Your dog was getting very romantic, that’s why I sent him to the moon to romance).

Ramdas gives in and gets Sheela married to Mahesh.

Ashok continues flirting with Seema, even more when Asha is around, just to make her feel jealous. But Seema, unaware¬†of Ashok’s intention, takes everything he says seriously and actually falls in love with him. ¬†They go out one day and¬†Asha sees Seema very happy with Ashok. At this sight, Asha loses her control and shoots Ashok. He falls down in the lake.

He doesn’t appear on the surface….it’s then that she realizes what she has done. Full of regret, she goes running back to the place where she had met Sadhu baba to seek his help. When she deosn’t find him there, she confesses her love for Ashok and starts talking to herself. Ashok, knowing she would come there, swims out and comes right there. For a while he converses with her from behind the bush as the Sadhu baba but after a while he comes out of his hiding and they declare their love for each other and sing Champakali dekho chhu ke jaadu kiya mere pyaar ne.

Ashok writes to his parents about Asha and asks them to come over. Thakur Mahendra Singh and his wife also find out that they are in love with each other and they readily accept Ashok into their family. Only Seema is heart-broken.

Just after Mahesh and Sheela get married, the first Astrologer comes and scolds Ramdas for not listening to him. He tells him the Sadhu who told him to get Sheela married was a fake. Ramdas gets very scared and doesn’t even let Mahesh¬†touch Sheila. Mahesh is so sad –¬† Pyaar ki aag mein tan badan jal gaya.

Ashok’s family comes over to Ooty and all is well….

¬†…but¬†how can we have such a simple and smooth climax, right?….So here comes the twist –¬†Judge sees a photo hung on the wall of Thakur Mahendra Singh’s house and that triggers a lot of memories – he immediately refuses to get Ashok married to Asha as he knows of Asha’s parentage – ¬†a father who is an escaped convict, in jail for murder, and a mother whose profession was: prostition. And then everybody¬†is surprised to see¬†Asha drunk¬†– singing and¬†dancing to Yeh meri zindagi ek pagal hawa¬†at a party.

And in between all this, Moti (Madan Puri) makes an entry.

Who is Moti? What’s the secret behind Asha’s family? How will Seema react to all this? Will she take revenge? What happens to Mahesh and Sheela? Does Ramlal ever get to know¬†the truth behind¬†Roopmati?

Not a hard ending to guess at all ūüôā

I really like Joy Mukherjee and it’s Rafi’s songs and Joy that made me watch this movie. If you are not very fond of Joy Mukherjee, be content listening to or¬†watching the songs on Youtube for Rafi. Well,¬†I am not scaring anybody away….but there’s nothing much in the movie to like. I did like few things like the scene between Ashok and Mohan Choti in the train, Ashok flirting with both the sisters but it wasn’t right of him to play with Seema’s emotions the way he did, Mahesh and Sheela’s romance which was very cute ( I really like this couple and it wasn’t irritatingly OTT), can’t say the same about Ashok and Asha though, it was too short. Ashok spent more than half the movie pursuing Asha, the rich, spoilt-brat. Everybody looked good, so that was one consolation but other than that, I didn’t find the movie all that great. It was average and one time watchable, but¬†I don’t see myself watching this movie again.

I do adore Asha Parekh but in this movie she was very screechy and irritating. Missed the Love in Tokyo chemistry. But Nazima made up for that, she was very cute and sweet. Wonder how and why Joy didn’t fall for her. I hardly said anything good about the movie….it isn’t all that bad either and I don’t regret watching it. I would rate it 6 (only 5 for the story, extra point for all the other things I liked about the movie. Had Asha been better, it would definitely have scored 7 + for me).

Ten of my Favourite Manna Dey Songs

May 1, 2010

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

Akashdeep (1965)

November 29, 2009

Mujhe dard-e-dil ka pata na tha…..this song led me to this movie. Had heard it on radio first, then watched the video on youtube.¬† I just couldnt take my eyes off Dharmendra. And when I checked the other songs in the movie, I liked them as well.¬† So I ended up buying the DVD.

Though¬†it’s more of Ashok Kumar movie (the fact that¬†I wasnt aware of till I sat down to watch the movie), I wasnt disappointed. Dharamji makes his entry¬†almost after¬†half way through.

It begins with young Shankar staring at the chimney of a mill. He’s a troubled and disturbed guy. He leaves his brother Madhu at home to study only to¬†find Madhu ordering people at their father’s Tea-stall.

Bipin, their father has taken to drinking. When Mamaji comes home and sees Bipin leaving:

Mamaji : Kahan jaa rahe ho, Bipin?
Wife : Naali mein girne
Bipin : Nahin, sab kuch bhoolne
Mamaji : kya bhoolna chahate ho, Bipin?
Bipin : Woh din jo beet gaye, woh din jo beet rahe hai, woh din jo kabhi nahin aayenge
Mamaji : Bhool sakte ho kya?
Bipin : Nahin, yehi toh musibat hai
Mamaji : Zindagi se bhagna aasan nahin hai
Bipin : Haan, yeh bhi thik hai. par zindagi hai toh maut bhi toh aayegi ek din, phir….phir kya karegi zindagi

Kya shey banayi hai aadmi ne peene ko
dekhne mein pani
paani ke andar aag, aag ke baad chingari, phir raag,
phir ban jaati hai samadhi, jispe koi phool nahin chadhata, koi phool nahin chadhayega

Accha toh main chala shankar ke mamu, abhi kuch paise baanki hai , kahin yeh (pointing towards his wife) phool na khareed laaye mere samadhi pe chadhane

Mamaji, seeing Shankar brooding, tells him that Bipin always wanted to become a poet, but then he had to do¬†something to earn a livlihood and look after the family. That’s when he opened the tea-shop. But¬†he was never happy about it.¬† He couldnt live his dream and to forget the pain, he drowned himself in liquor every evening.¬† The title track is played in the background

Bipin, before dying tells Shankar that he had a dream but could never make it come true. After father’s death, Shankar takes up the family responsibility. He works and works very hard. He does all kind of jobs.

One day, Mr. Sinha spots him and asks him what he does.


Shankar : I work
Mr. Sinha : Will you work in my Mill?
Shankar : No
Mr. Sinha : Why? Is the place where you work better than my Mill?
Shankar : No, but I can atleast think of buying the shop where I work, but your Mill….the chimneys are too high

And Shankar actually buys that shop, names it “Shankar Bhandar” and this is followed by a chain of his stores and business : Shankar Hardware House, Shankar and Co. Building Contractors, Shankar Timber Mart, Shankar Trading Corporation and so on. He grows up to be a very rich and successful businessman.

 Mamaji has a very important role, the only person whom Shankar turns to everytime he needs an advice, suggestions. Mamaji is a voice of conscince throughout, tries his best to keep Shankar grounded to his roots.

While Shankar has progressed so much, lives in a grand house, Madhu (Mehmood) still works in the same tea-shop,¬†with Ramu (Kesto Mukherjee) as his helper. Wonder why the name of the¬† tea-shop is Cha Cha Cha ūüėõ

¬†Shankar hates poverty and tries to make Madhu the General Manager of one of his firms but Madhu rejects his offer. When Shanker complains to Mamaji about it, Mamaji says may be Madhu is happy owning the tea-shop, and living in their old house.¬† And happy he is though he lives a very plain and simple life! He’s married to Sheila (Shubha Khote) and has a little daughter too. They keep fighting most of the times but in a very sweet way and¬†must say that they both make a wonderful couple.¬† And this is not¬†over-the-board comedy with Mehmood, he doesnt look forced into the script. He does it just right. And I love Mehmood in such roles.

¬†Roma (Nanda), their sister is studying in Shimla. After completing her studies she comes back home. Madhu goes to receive her at the airport. But she disguises herself as a pathan and Madhu doesnt recognize her. He comes back to Shankar’s house to tell him that he could find Roma at the airport when he sees the same pathan again. Pathan tries to bully Madhu and they have a small fight where Madhu tries to defend himself. In this process pathan’s turban falls and Madhu finally recognizes Roma.

Shankar buys the shares of Mr. Sinha’s mill. When he goes to meet Mr. Sinha to his house, he sees Vani (Nimmi) outside and asks if Mr. Sinha is home but Vani doesnt answer him. He asks her a couple of times but she doesnt respond to any of his questions. Furious, he asks if she’s dumb. He finally¬†walks away and is driving out,¬†when Vani comes running, stops him and hands him a note. After reading it he realizes that she’s actually dumb and cant speak (She wanst born dumb, she could speak when she was small, but loses her voice due to some reason. She can however hear everything. She can read and write as well).

He feels really sorry for her. When he meets Mr. Sinha he asks him if he can marry his daughter.  Shankar says that he knows Vani cant speak but he still wants to marry her, Mr. Sinha has no objection. On hearing this conversation Vani is so happy, that she goes to her room and starts singing. I want to point out that unlike other movies, she doesnt actually sing the song. She plays the record on a gramophone and just does lip-synch, smart girl! Dil ka diya jalake gaya

In a very quiet ceremony Shankar and Vani get married. Shankar takes over Mr. Sinha’s mill after his death. But the employees, union, board of directors dont accept him as their owner. As predicted, Tarun (Dharmendra) is the union leader.¬† Roma, dressed up as a pathan again, meets Tarun on her way to Madhu’s house. Her scooter breaks down and Tarun helps her fix it.

Tarun comes to Shankar’s house to meet him. Roma, when she goes to open the door and finds Tarun standing there, she’s surprised. He finds Roma familiar too but cant figure out where he’s seen her before. But the next time he sees her dressed as a pathan, he points out that he knows a girl who looks like him. Roma falls in love with Tarun and we are treated to another wonderful song here Mile to phir jhuke nahin.

There are lots of problems going on in the mill. The union decides to go on a strike and they need fund. All this discussion goes on in Madhu’s tea-shop and Shankar overhears the conversation.¬† They do a show (after lot of drama) to raise fund where Mehmood performs and this song is hilarious – Jaa raha hoon main zindagi se.

Back at the mill and board of directors meeting, Mr. Desai, also a board member,  opposes to everything that Shankar says or proposes.  There are lots of clashes.

In the meantime, Roma and Tarun are busy romancing. Finally my initial reason behind watching this movie comes…yes, the song: Mujhe dard-e-dil ka pata na tha.

Shankar initially has no problem with Tarun, inspite of him being the union leader.¬† When he comes to know that Roma is in love with him, he proposes a promotion to Tarun but being the typical egoistic hero, he refuses.¬† Lots of misunderstandings crop in and Shankar turns totally against Tarun. Roma leaves the house and goes to live with Madhu and Sheila. Vani, who’s expecting, falls down and has a miscarriage. Doctor says that she can never have a child again. Seeing Vani totally depressed, Madhu convinces Sheila to give their daughter to Vani. But Shankar doesnt like it.

The union is almost at war with Shankar. Vani desparately tries to convince Shankar to cool down, shows him the pictures where her father was distributing sweets to the employees in the mill. But Shankar is disappointed that even Vani thinks he’s wrong. She finally leaves the house and goes.

Filomina (Achala Sachdev), who had come to the house with Vani after her marriage decides to leave the house as well

Shankar is all alone.

When Mr. Tiwari (Ramayan Tiwari), Tarun’s father, who’s mentally ill,¬†finds out about Tarun and Roma, he goes to Shankar to talk about their marriage. Shankar is too disturbed with the happenings¬†at the mill to think about it. Tarun bunks work and goes to meet Roma one afternoon and there’s another lovely track – Suniye kya pyaar mein sharmana.¬†During Tarun’s absence, an accident occurs in the mill. In another accident, Shankar gets hurt badly. Nothing seems to be going right.

When Tarun discovers that pathan and Roma are the same person, he feels that she’s been fooling around with him just to pass on the union secrets on to her brother, Shankar.¬† And they part ways as well. Vani learns that Shankar’s life is in danger and comes back home to stop him from going out. But doesnt find him home. She leaves a note for him and goes to the mill.

I feel really sad for Shankar. Everybody misunderstands him. It’s not that he doesnt like poor people or is dominating. It’s the poverty that he hates.¬† He has progessed so much, his dream to to take his employees, his family along and move ahead in life but nobody understands him. All his ideas to do so are taken wrongly. For instance, he decides to build houses for all his employees near the mill¬†so that they wont have to travel long, and can come to work inspite of¬†harsh¬†weather. But Desai opposes to this saying he’s trying to take¬†people under his control.¬†¬†He’s left all alone ūüė¶

After a lot of drama at the climax, the lawyer announces that Shankar has turned the mill into a cooperative soceity, where each employee is an equal shareholder and says :

“Jab tak mehnat karne wala haath aur sapna dekhne wala dimag saath nahin ho jaate, hum mein se koi aaghe nahin badh sakta”

Finally everyone is convinced that Shankar has been doing things for their good all along. He lights an Akashdeep and the movie ends.¬† And as the saying goes – All’s well that ends well!!!

Akashdeep lights up the sky and shows the way in the dark, similarly Ashok Kumar tries to lead the entire soceity towards a better livelihood, hence the name.

There’s nothing great about the movie (except for the music, of course) it’s still a nice watch. Story sounds extremely predictable and repetitive, but this could have been one of the first movies of it’s kind.¬† All in all, I enjoyed watching the movie.