Full Version: Sahir Ludhianvi: Silver Memories
Sis, you should take up writing on a large scale. There is a whole of lot good reading audience out there on the net. Keep up the good work sis.
Madhavi,
Here is one more reader.
Please post your writings more often.
Hari Ram
Here is one more reader.
Please post your writings more often.
Hari Ram
T, HT and Hari Ram,
I did wallow in that appreciation...
. Thank you for your encouragement.
I did wallow in that appreciation...
. Thank you for your encouragement.
For Ash whose presence I miss and for BC who had requested a response to this particular song...
Sansaar Se Bhage Phirte Ho (Lata) and Man Re Tu Kahe Na Dheer Dhare (Rafi)
Chitralekha (1964)
First, some information about the novel by Bhagwati Charan Verma on whose book the movie was based. Could not confirm the dates but my guess is that it was published between 1933 and 1935. The novel is a period piece set in Chandragupta Maurya's time and, as BC had suggested in his quotation on sin, the novel is at one level a quest for finding out the meaning of sin. It is the story of two disciples of a sage who want to find out about Sin. The sage instead of giving them an answer sends them to the real world to find it out for themselves. One is left with a Samant (worldly life) and the other with a Yogi (ascetic life). The heroine Chitralekha intersects both worlds moving the story to its climax and by the end of the year both the disciples have different views on who the sinner was. Maybe the book sympathizes with one point of view over the other but it does hold out the possibilities of exploring how different contexts can change our perceptions drastically. (Have not read the novel, am extrapolating heavily from accounts of the novel).
Now a few words about the director of Chitralekha: Kidar Sharma, a director known for his original ideas, his superb lyrics and poetic sensibilities seems to have been quite taken up with the idea of Chitralekha. He bought the filming rights for it (read somewhere that Bhagwati Charan Verma was not too happy with the liberties Kidar Sharma took with the novel though)... and directed it in 1941 at the beginning of his career and then at the very end of his career in 1964, he attempted it again with big names (Meena Kumari and Pradeep Kumar), unfortunately the film flopped. Kidar Sharma very often wrote the dialogues for the films he directed and often wrote the lyrics too. (A digression but I found this fascinating...Kidar Sharma wrote the dialogues and lyrics of the Saigal version of Devdas("Dukh Ke Ab Din Beete Nahin" and "Balam Aayo Baso Mere Man Mein" The cameraman of this film was Bimal Roy who remade the classic inspired by Kidar Sharma's lyrics. Bimal Roys's Devdas had Sahir as the lyricist). I am not familiar with the songs of the earlier Chitralekha except for one famous track by Ramdulari "Tum Jao Jao Bhagwan Bane Phirte Ho" (lyrics by Kidar Sharma and music by Khan Sahab Jhande Khan). Apparently Kidar Sharma got all the songs (12) of this movie composed in Raag Bhairavi.
It is worth noting that Kidar Sharma deviated from the norm and chose to get Sahir to write the lyrics for his second production of Chitralekha and Sahir rose to the occasion to pen some of the most philosophical and yet tremendously popular songs for this film. At the heart of this beautifully composed album by Roshan (who had formed a productive partnership with both Kidar Sharma (Neki aur Badi, Bawre Nain) and Sahir(Babar, Barsaat Ki Raat, Dil Hi To Hai..) are the two golden solos by Lata and Rafi, “Sansaar Se Bhaage Phirte Ho” and “Man Re Tu Kahe Na Dheer Dhare”.
Very briefly the film is about a courtesan Chitralekha who is in love with a Samant (Pradeep Kumar) who is engaged to someone else. The father of the bride sends the ascetic (Ashok Kumar) to dissuade the Samant from falling “prey” to Chitralekha’s charms. In the film Chitralekha is impressed by the Sadhu and decides to become his disciple but is later disenchanted with him when she realizes that he himself lusts after her. (Am commenting entirely from very vague memories of the film seen on DD aeons ago…please correct me if I am wrong).
Sansar se bhaage phirte ho, bhagwaan to tum kya paaoge
Is lok ko to apna na sake, us lok mei bhi pachtaaoge
Ye paap hai kya ye punye hai kya, reeton par dharm ki mohren hain
Har yug mei badalte dharmon ko, kaise aadarsh banaaoge
Ye bhog bhi ek tapasya hai, tum tyaag ke maare kya jaano
Apmaan rachaiyta ka hoga, rachna ko agar thukraaoge
Hum kehte hain ye jug apna hai, tum kehte ho jhoota sapna hai
Hum janam bita kar jaayenge, tum janam gawa kar jaaoge
In the contesting philosophies of “Bhog” and “tyaag”, here is Sahir taking the epicurean stance through the eloquent yet simple words of the courtesan. The woman is the epitome of what the ascetic life would consider sinful or evil. She lives a life of pleasure surrounded by wealth and glamour and indulges in all the pleasures of the flesh... The song is a statement of faith in epicurean philosophy and its extremely simple structure (hum and tum) and the counter pointing images that she uses make the ascetic philosophy of renunciation look barren and self centered.
Sansaar se “bhaage phirte” ho Bhagwaan ko tum kya “paoge”/Is lok ko bhi apna na sake us lok mein bhi pachtaoge… the pejorative phrase “bhaage phirte ho” sets the tone of the song … making the ascetic philosophy of renunciation look childishly self centered and escapist and thus grandiloquent in its claim to achieve Truth or God.
The next lines captures such her materialist philosophy so simply… to attempt to explain it any other way seems heavy handed… Sin and Redemption are temporal man made concepts given sanctity and authority by Religion, and yet when religions themselves are subject to time and change… how they can be viewed as ideal, absolute concepts…
She views “bhog” as a meditation too… “tum tyag ke mare kya jano” , to aesthetically appreciate the beauty of life and to accept it is also a way of paying homage to God. She has embraced life in its fullness while they have denounced it as “Maya” … she will leave it having “fulfilled” her life whereas they will leave it with a sense of loss.
Sahir is known for putting the most complex thoughts in the simplest of lines and this song a showcase for his mastery in this skill.
...will post "Man Re" in just a bit.
Sansaar Se Bhage Phirte Ho (Lata) and Man Re Tu Kahe Na Dheer Dhare (Rafi)
Chitralekha (1964)
First, some information about the novel by Bhagwati Charan Verma on whose book the movie was based. Could not confirm the dates but my guess is that it was published between 1933 and 1935. The novel is a period piece set in Chandragupta Maurya's time and, as BC had suggested in his quotation on sin, the novel is at one level a quest for finding out the meaning of sin. It is the story of two disciples of a sage who want to find out about Sin. The sage instead of giving them an answer sends them to the real world to find it out for themselves. One is left with a Samant (worldly life) and the other with a Yogi (ascetic life). The heroine Chitralekha intersects both worlds moving the story to its climax and by the end of the year both the disciples have different views on who the sinner was. Maybe the book sympathizes with one point of view over the other but it does hold out the possibilities of exploring how different contexts can change our perceptions drastically. (Have not read the novel, am extrapolating heavily from accounts of the novel).
Now a few words about the director of Chitralekha: Kidar Sharma, a director known for his original ideas, his superb lyrics and poetic sensibilities seems to have been quite taken up with the idea of Chitralekha. He bought the filming rights for it (read somewhere that Bhagwati Charan Verma was not too happy with the liberties Kidar Sharma took with the novel though)... and directed it in 1941 at the beginning of his career and then at the very end of his career in 1964, he attempted it again with big names (Meena Kumari and Pradeep Kumar), unfortunately the film flopped. Kidar Sharma very often wrote the dialogues for the films he directed and often wrote the lyrics too. (A digression but I found this fascinating...Kidar Sharma wrote the dialogues and lyrics of the Saigal version of Devdas("Dukh Ke Ab Din Beete Nahin" and "Balam Aayo Baso Mere Man Mein" The cameraman of this film was Bimal Roy who remade the classic inspired by Kidar Sharma's lyrics. Bimal Roys's Devdas had Sahir as the lyricist). I am not familiar with the songs of the earlier Chitralekha except for one famous track by Ramdulari "Tum Jao Jao Bhagwan Bane Phirte Ho" (lyrics by Kidar Sharma and music by Khan Sahab Jhande Khan). Apparently Kidar Sharma got all the songs (12) of this movie composed in Raag Bhairavi.
It is worth noting that Kidar Sharma deviated from the norm and chose to get Sahir to write the lyrics for his second production of Chitralekha and Sahir rose to the occasion to pen some of the most philosophical and yet tremendously popular songs for this film. At the heart of this beautifully composed album by Roshan (who had formed a productive partnership with both Kidar Sharma (Neki aur Badi, Bawre Nain) and Sahir(Babar, Barsaat Ki Raat, Dil Hi To Hai..) are the two golden solos by Lata and Rafi, “Sansaar Se Bhaage Phirte Ho” and “Man Re Tu Kahe Na Dheer Dhare”.
Very briefly the film is about a courtesan Chitralekha who is in love with a Samant (Pradeep Kumar) who is engaged to someone else. The father of the bride sends the ascetic (Ashok Kumar) to dissuade the Samant from falling “prey” to Chitralekha’s charms. In the film Chitralekha is impressed by the Sadhu and decides to become his disciple but is later disenchanted with him when she realizes that he himself lusts after her. (Am commenting entirely from very vague memories of the film seen on DD aeons ago…please correct me if I am wrong).
Sansar se bhaage phirte ho, bhagwaan to tum kya paaoge
Is lok ko to apna na sake, us lok mei bhi pachtaaoge
Ye paap hai kya ye punye hai kya, reeton par dharm ki mohren hain
Har yug mei badalte dharmon ko, kaise aadarsh banaaoge
Ye bhog bhi ek tapasya hai, tum tyaag ke maare kya jaano
Apmaan rachaiyta ka hoga, rachna ko agar thukraaoge
Hum kehte hain ye jug apna hai, tum kehte ho jhoota sapna hai
Hum janam bita kar jaayenge, tum janam gawa kar jaaoge
In the contesting philosophies of “Bhog” and “tyaag”, here is Sahir taking the epicurean stance through the eloquent yet simple words of the courtesan. The woman is the epitome of what the ascetic life would consider sinful or evil. She lives a life of pleasure surrounded by wealth and glamour and indulges in all the pleasures of the flesh... The song is a statement of faith in epicurean philosophy and its extremely simple structure (hum and tum) and the counter pointing images that she uses make the ascetic philosophy of renunciation look barren and self centered.
Sansaar se “bhaage phirte” ho Bhagwaan ko tum kya “paoge”/Is lok ko bhi apna na sake us lok mein bhi pachtaoge… the pejorative phrase “bhaage phirte ho” sets the tone of the song … making the ascetic philosophy of renunciation look childishly self centered and escapist and thus grandiloquent in its claim to achieve Truth or God.
The next lines captures such her materialist philosophy so simply… to attempt to explain it any other way seems heavy handed… Sin and Redemption are temporal man made concepts given sanctity and authority by Religion, and yet when religions themselves are subject to time and change… how they can be viewed as ideal, absolute concepts…
She views “bhog” as a meditation too… “tum tyag ke mare kya jano” , to aesthetically appreciate the beauty of life and to accept it is also a way of paying homage to God. She has embraced life in its fullness while they have denounced it as “Maya” … she will leave it having “fulfilled” her life whereas they will leave it with a sense of loss.
Sahir is known for putting the most complex thoughts in the simplest of lines and this song a showcase for his mastery in this skill.
...will post "Man Re" in just a bit.
QUOTE(mmuk2004 @ Jun 15 2007, 01:15 AM) 
For Ash whose presence I miss…
Sansaar Se Bhage Phirte Ho (Lata) and Man Re Tu Kahe Na Dheer Dhare (Rafi)
Chitralekha (1964)
Sansar se bhaage phirte ho, bhagwaan to tum kya paaoge
Is lok ko to apna na sake, us lok mei bhi pachtaaoge
Ye paap hai kya ye punye hai kya, reeton par dharm ki mohren hain
Har yug mei badalte dharmon ko, kaise aadarsh banaaoge
Ye bhog bhi ek tapasya hai, tum tyaag ke maare kya jaano
Apmaan rachaiyta ka hoga, rachna ko agar thukraaoge
Hum kehte hain ye jug apna hai, tum kehte ho jhoota sapna hai
Hum janam bita kar jaayenge, tum janam gawa kar jaaoge
In the contesting philosophies of “Bhog” and “tyaag”, here is Sahir taking the epicurean stance through the eloquent yet simple words of the courtesan. The woman is the epitome of what the ascetic life would consider sinful or evil. She lives a life of pleasure surrounded by wealth and glamour and indulges in all the pleasures of the flesh... The song is a statement of faith in epicurean philosophy and its extremely simple structure (hum and tum) and the counter pointing images that she uses make the ascetic philosophy of renunciation look barren and self centered.
Sansaar se “bhaage phirte” ho Bhagwaan ko tum kya “paoge”/Is lok ko bhi apna na sake us lok mein bhi pachtaoge… the pejorative phrase “bhaage phirte ho” sets the tone of the song … making the ascetic philosophy of renunciation look childishly self centered and escapist and thus grandiloquent in its claim to achieve Truth or God.
The next lines captures such her materialist philosophy so simply… to attempt to explain it any other way seems heavy handed… Sin and Redemption are temporal man made concepts given sanctity and authority by Religion, and yet when religions themselves are subject to time and change… how they can be viewed as ideal, absolute concepts…
She views “bhog” as a meditation too… “tum tyag ke mare kya jano” , to aesthetically appreciate the beauty of life and to accept it is also a way of paying homage to God. She has embraced life in its fullness while they have denounced it as “Maya” … she will leave it having “fulfilled” her life whereas they will leave it with a sense of loss.
Sahir is known for putting the most complex thoughts in the simplest of lines and this song a showcase for his mastery in this skill.
Madhavi,
Chitralekha is a great album.
When I think of Sahir, the first song that comes to my mind is 'sansaar se bhaage phirte ho'.
I feel, sensing the power of this poem, Roshan has produced an equally great song from it.
Your writings are a pleasure to read; thanks very much.
Hari Ram
QUOTE(mmuk2004 @ Jun 15 2007, 02:15 AM)
For Ash whose presence I miss and for BC who had requesed a response to this particular song...
Sansaar Se Bhage Phirte Ho (Lata) and Man Re Tu Kahe Na Dheer Dhare (Rafi)
Chitralekha (1964)
First, some information about the novel by Bhagwati Charan Verma on whose book the movie was based. Could not confirm the dates but my guess is that it was published between 1933 and 1935. The novel is a period piece set in Chandragupta Maurya's time and, as BC had suggested in his quotation on sin, the novel is at one level a quest for finding out the meaning of sin. It is the story of two disciples of a sage who want to find out about Sin. The sage instead of giving them an answer sends them to the real world to find it out for themselves. One is left with a Samant (worldly life) and the other with a Yogi (ascetic life). The heroine Chitralekha intersects both worlds moving the story to its climax and by the end of the year both the disciples have different views on who the sinner was. Maybe the book sympathizes with one point of view over the other but it does hold out the possibilities of exploring how different contexts can change our perceptions drastically. (Have not read the novel, am extrapolating heavily from accounts of the novel).
Now a few words about the director of Chitralekha: Kidar Sharma, a director known for his original ideas, his superb lyrics and poetic sensibilities seems to have been quite taken up with the idea of Chitralekha. He bought the filming rights for it (read somewhere that Bhagwati Charan Verma was not too happy with the liberties Kidar Sharma took with the novel though)... and directed it in 1941 at the beginning of his career and then at the very end of his career in 1964, he attempted it again with big names (Meena Kumari and Pradeep Kumar), unfortunately the film flopped. Kidar Sharma very often wrote the dialogues for the films he directed and often wrote the lyrics too. (A digression but I found this fascinating...Kidar Sharma wrote the dialogues and lyrics of the Saigal version of Devdas("Dukh Ke Ab Din Beete Nahin" and "Balam Aayo Baso Mere Man Mein" The cameraman of this film was Bimal Roy who remade the classic inspired by Kidar Sharma's lyrics. Bimal Roys's Devdas had Sahir as the lyricist). I am not familiar with the songs of the earlier Chitralekha except for one famous track by Ramdulari "Tum Jao Jao Bhagwan Bane Phirte Ho" (lyrics by Kidar Sharma and music by Khan Sahab Jhande Khan). Apparently Kidar Sharma got all the songs (12) of this movie composed in Raag Bhairavi.
It is worth noting that Kidar Sharma deviated from the norm and chose to get Sahir to write the lyrics for his second production of Chitralekha and Sahir rose to the occasion to pen some of the most philosophical and yet tremendously popular songs for this film. At the heart of this beautifully composed album by Roshan (who had formed a productive partnership with both Kidar Sharma (Neki aur Badi, Bawre Nain) and Sahir(Babar, Barsaat Ki Raat, Dil Hi To Hai..) are the two golden solos by Lata and Rafi, “Sansaar Se Bhaage Phirte Ho” and “Man Re Tu Kahe Na Dheer Dhare”.
Very briefly the film is about a courtesan Chitralekha who is in love with a Samant (Pradeep Kumar) who is engaged to someone else. The father of the bride sends the ascetic (Ashok Kumar) to dissuade the Samant from falling “prey” to Chitralekha’s charms. In the film Chitralekha is impressed by the Sadhu and decides to become his disciple but is later disenchanted with him when she realizes that he himself lusts after her. (Am commenting entirely from very vague memories of the film seen on DD aeons ago…please correct me if I am wrong).
Sansar se bhaage phirte ho, bhagwaan to tum kya paaoge
Is lok ko to apna na sake, us lok mei bhi pachtaaoge
Ye paap hai kya ye punye hai kya, reeton par dharm ki mohren hain
Har yug mei badalte dharmon ko, kaise aadarsh banaaoge
Ye bhog bhi ek tapasya hai, tum tyaag ke maare kya jaano
Apmaan rachaiyta ka hoga, rachna ko agar thukraaoge
Hum kehte hain ye jug apna hai, tum kehte ho jhoota sapna hai
Hum janam bita kar jaayenge, tum janam gawa kar jaaoge
In the contesting philosophies of “Bhog” and “tyaag”, here is Sahir taking the epicurean stance through the eloquent yet simple words of the courtesan. The woman is the epitome of what the ascetic life would consider sinful or evil. She lives a life of pleasure surrounded by wealth and glamour and indulges in all the pleasures of the flesh... The song is a statement of faith in epicurean philosophy and its extremely simple structure (hum and tum) and the counter pointing images that she uses make the ascetic philosophy of renunciation look barren and self centered.
Sansaar se “bhaage phirte” ho Bhagwaan ko tum kya “paoge”/Is lok ko bhi apna na sake us lok mein bhi pachtaoge… the pejorative phrase “bhaage phirte ho” sets the tone of the song … making the ascetic philosophy of renunciation look childishly self centered and escapist and thus grandiloquent in its claim to achieve Truth or God.
The next lines captures such her materialist philosophy so simply… to attempt to explain it any other way seems heavy handed… Sin and Redemption are temporal man made concepts given sanctity and authority by Religion, and yet when religions themselves are subject to time and change… how they can be viewed as ideal, absolute concepts…
She views “bhog” as a meditation too… “tum tyag ke mare kya jano” , to aesthetically appreciate the beauty of life and to accept it is also a way of paying homage to God. She has embraced life in its fullness while they have denounced it as “Maya” … she will leave it having “fulfilled” her life whereas they will leave it with a sense of loss.
Sahir is known for putting the most complex thoughts in the simplest of lines and this song a showcase for his mastery in this skill.
...will post "Man Re" in just a bit.
Nice write-up, Madhavi, as usual.
Read this:-
On November 11, the demolition men finally made sure that the last brick that held the bungalow built by the great poet, Sahir Ludhianvi was smashed to rubble. With it one more landmark was wiped off from the face of Mumbai, which Chief Minister Vilasrao Deshmukh dreams of turning into another Shanghai and is only too willing to destroy others’ dreams to realise his own.
Sahir’s bungalow was the place where he sat and wrote some of his immortal poems and lyrics. He had an entire bungalow to himself (he was a bachelor). But he spent his best time in a corner where he worked on his masterpieces. This was the bungalow which was visited by some of the all time great film makers like B R Chopra, Guru Dutt, Yash Chopra and music directors like S D Burman, Khayyam and N Dutta and singers like Lata Mangeshkar, Mohhamad Rafi, Mahendra Kapoor, Mukesh and Suman Kalyanpur who sat waiting for him to come up with the kind of poetry that only he could write. This was the bungalow he spent most of his time even after he had built his own apartment in Juhu called ‘Aashiyan,’ the name of the most popular collection of his poems and this was the bungalow where he returned home one evening and breathed his last.
Sahir’s bungalow has now become a part of history and in its place will come another monstrosity of a multi-storeyed building blocking the sea, which was one of Sahir’s major source of inspiration.
This demolition came just after the apartment he lived in at ‘Aashiyana’ was taken over by the society of the building because he had no heir. His most valuable collection of books and volumes of unpublished writings were sold to the raddiwala. All that lives on now are his poems in any number of books and his songs for films that will live forever.
All the best bungalows built by men who came to Mumbai with nothing are being demolished or converted into some place else one by one. The bungalow Kishore Kumar built which has stories that can go into one of the most interesting books, has been turned into a spa where there is a gym where reiki and other health related classes are held.
Padmashri Rajinder Singh Bedi had his own bungalow in Matunga in Central Mumbai. He sold it when he made up with his son, director Narendra Bedi and shifted to his son’s own bungalow on Mumbai’s famous Linking Road. His son died suddenly and Bedi saab who couldn’t take the shock followed him soon after. The bungalow has now been razed to the ground for a posh executive club to stand in its place.
The palatial home Manoj Kumar built has vanished from the map of Juhu. Mr Bharat
(Manoj) now lives in an apartment while a huge complex is coming up in a great hurry.
The sprawling bungalow of the late film maker Pramod Chakravorty was nowhere just three months after his death. He had plans to convert the same bungalow into a better bungalow to be named after his wife, Lakshmi, but his dream died with him and in the place of his bungalow, a bungalow built by a man who was once just a typist is now being built.
The bungalow the late Sunil Dutt and Nargis Dutt built at a cost of just Rs 8 lakh almost 50 years ago has made way for twin towers called Imperial Heights. Their children, Sanjay Dutt, Priya and her husband, Owen, Namrata and her husband, one time actor Kumar Gaurav and their children live in different apartments in these towers.
Dimple Kapadia who was born and brought up at Samudra Mahal, a palace facing the sea at Juhu, has shifted to her own apartment in Vastu, while Samudra Mahal stands like a haunted palace, with estate agents eyeing it like vultures.
Dimple’s estranged husband Rajesh Khanna’s bungalow ‘Aashirwad’ on Carter Road in Bandra, facing the sea, where thousands once thronged every day to seek the aashirwad, of the once upon a time superstar, is one of the most haunted homes today. The ex-superstar occupies one corner of his own bungalow which is in a mess in many ways.
The original underground bungalow of Jitendra on the posh Pali Hill is a home of the past for the family, who have now shifted into a virtual Buckhingham Palace like bungalow in Juhu. Only recently there was talk about the bungalow of the greatest ever Indian showman, Raj Kapoor’s famed bungalow going up for sale, but his sons immediately smashed the rumour.
The bungalow Dilip Kumar built on Pali Hill now has only one man living there, his younger brother, Ehsaan Khan. The legendary actor has been living in the sprawling mansion of his wife, Saira Banu and visits his own bungalow once in a way. The bungalows of the veteran actor, Pran, actors Vinod Mehra and Ranjit and Hrishikesh Mukherjee, the veteran director who died recently were brought down some years ago.
The only bungalows that still stand in all their splendour are the bungalows of Dr B R Chopra, his brother, Dr Yash Chopra, the brothers Feroz Khan and Sanjay Khan, the two bungalows of Amitabh Bachchan, Rekha, Hema Malini, Rishi Kapoor, Shakti Samantha, Dharmendra and Shahrukh Khan, the only star of the new generation to have a massive bungalow called `Mannat’ at the Lands End in Bandra. All the other stars are or seem to be satisfied with their apartments in all the high rises which have come up all over for reasons of security and to maintain their privacy, according to them.
Tourists and visitors from outside who have always had a peep at the bungalows of stars and other celebrities, will miss some of these bungalows which have vanished. And I wonder if there will be any more bungalows if Vilasrao’s dream of changing Mumbai to Shanghai comes true.
http://content.msn.co.in/Entertainment/Bol...106_312.htm#top
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I was extremely upset & shocked to read this.
Raddiwala?
If, by any chance anyone happens to come across this RADDIWAALA please let me know.
QUOTE
Chitralekha is a great album.
When I think of Sahir, the first song that comes to my mind is 'sansaar se bhaage phirte ho'.
I feel, sensing the power of this poem, Roshan has produced an equally great song from it.
When I think of Sahir, the first song that comes to my mind is 'sansaar se bhaage phirte ho'.
I feel, sensing the power of this poem, Roshan has produced an equally great song from it.
Hari Ram,
I wish someone would elucidate on the music of these songs too... I am very shaky when it comes to understanding the nuances of classical music, or any music for that matter basically depending on my untrained ear and a passion for music... If someone could talk about the musical composition of the songs alongside the analysis it would present a much more complete picture. If you have any sort of knowledge of classical music, please please elucidate... (e.g. how did Roshan bring out the mood of the song...is it based on any specific raga etc... and I also wondered why Kidar Sharma chose Raag Bhairavi for all the twelve songs for his previous version of Chitralekha...
QUOTE
This demolition came just after the apartment he lived in at ‘Aashiyana’ was taken over by the society of the building because he had no heir. His most valuable collection of books and volumes of unpublished writings were sold to the raddiwala. All that lives on now are his poems in any number of books and his songs for films that will live forever.
Anupama,
Thank you for the article... had no idea about this... sad indeed. While one realises that change does occur and it is with a sense of loss and sadness that we see older things pass away... what is really more upsetting it the kind of utter callousness with which we treat our national figures... I almost cannot believe the raddiwala story... It seems like a wierd replay of Pyaasa...
I cannot believe that people just let go of Sahir's unpubished works in such a crass fashion... it seems surreal!!!
QUOTE(mmuk2004 @ Jun 16 2007, 12:47 AM)
Hari Ram,
I wish someone would elucidate on the music of these songs too... I am very shaky when it comes to understanding the nuances of classical music, or any music for that matter basically depending on my untrained ear and a passion for music... If someone could talk about the musical composition of the songs alongside the analysis it would present a much more complete picture. If you have any sort of knowledge of classical music, please please elucidate... (e.g. how did Roshan bring out the mood of the song...is it based on any specific raga etc... and I also wondered why Kidar Sharma chose Raag Bhairavi for all the twelve songs for his previous version of Chitralekha...
Madhavi,
I have a common man's approach to music appreciation.
For me, any music that makes a good listening and that never get bored of listening is good music. The Chitralekha song is well above these criteria. I too would be interested if someone would enlighten us on the music compositions of Chitralekha; perhaps, Mandrake?
Very saddened to hear the fate of Sahir's bugalow in Anupama's post. BTW, what is meant by 'Raddiwala'?
Hari Ram
QUOTE
BTW, what is meant by 'Raddiwala'?
Raddiwalas are guys who go door to door buying old newpapers and magazines...
Kabhi Kabhi mere dil mein khayal aata hai...
I went back to Kabhi Kabhi after such a long time impelled by a random, definitive rejection of the film at a party..."What an a-jhel movie"...
Yes, the movie is quite melodramatic at times, especially in the last fire scene, yes, Shashi Kapoor as Rakhee's genial, liberal, large-hearted husband seems too hearty at times, and his inviting his son to a drink in front of his disapproving wife does not seem particularly hip now, and Amitabh Bachchan does not seem so awesomely handsome in his fur-lined jacket, and alas, superimposed on Rishi Kapoor's youthful flair in "pyar kar liya to kya/pyar hai gila nahin/teri meri umar mein/kisne ye kiya nahin" is my recent mental image of an ageing star with bags under his eyes... And yes, apart from suhaag raats themselves being passe, a suhaag raat where the husband asks his wife to read a poem by an ex-lover does not strike one as being the height of tragic irony.
And yet...have a little patience with the movie, as you have to, with a lot of older hindi films, and you can be rewarded with so many surprising insights and many radical and complex ideas that many of today's film tend to lose track of in their super slick presentations.
The movie is literally centered around this song... it expresses itself as a longing, a desire, a bitterness, a regret and all these are subtlely woven together to create the word love. The movie deals with many kinds of love, and to its credit, imbues it with a richness and complexity rarely seen in hindi films. The love between Rakhee and Amitabh is compared and contrasted to so many other kinds of love, cutting across generations and across relationships. In the older generation there is the love between Rakhi and Shashi Kapoor, between Waheeda and her fiance, amongst the younger generation, there is the love between Rishi and Neetu and the infatuation of the young and slightly spoilt Pinky for Rishi which Rishi exploits a little cruelly to get back at Neetu. There is also the relationship between Shashi and Rishi, between Amitabh and Pinky, between Neetu and her adopted parents and the tentative, delicate one between her and Waheeda. All these complex relationships are finely textured and interwoven into the film which is framed in the opening sequence of the developing attraction between Rakhee and Amitabh and finds its closure in the tentative developing relationship between Waheeda and Amitabh.
I went back to Kabhi Kabhi after such a long time impelled by a random, definitive rejection of the film at a party..."What an a-jhel movie"...
Yes, the movie is quite melodramatic at times, especially in the last fire scene, yes, Shashi Kapoor as Rakhee's genial, liberal, large-hearted husband seems too hearty at times, and his inviting his son to a drink in front of his disapproving wife does not seem particularly hip now, and Amitabh Bachchan does not seem so awesomely handsome in his fur-lined jacket, and alas, superimposed on Rishi Kapoor's youthful flair in "pyar kar liya to kya/pyar hai gila nahin/teri meri umar mein/kisne ye kiya nahin" is my recent mental image of an ageing star with bags under his eyes... And yes, apart from suhaag raats themselves being passe, a suhaag raat where the husband asks his wife to read a poem by an ex-lover does not strike one as being the height of tragic irony.
And yet...have a little patience with the movie, as you have to, with a lot of older hindi films, and you can be rewarded with so many surprising insights and many radical and complex ideas that many of today's film tend to lose track of in their super slick presentations.
The movie is literally centered around this song... it expresses itself as a longing, a desire, a bitterness, a regret and all these are subtlely woven together to create the word love. The movie deals with many kinds of love, and to its credit, imbues it with a richness and complexity rarely seen in hindi films. The love between Rakhee and Amitabh is compared and contrasted to so many other kinds of love, cutting across generations and across relationships. In the older generation there is the love between Rakhi and Shashi Kapoor, between Waheeda and her fiance, amongst the younger generation, there is the love between Rishi and Neetu and the infatuation of the young and slightly spoilt Pinky for Rishi which Rishi exploits a little cruelly to get back at Neetu. There is also the relationship between Shashi and Rishi, between Amitabh and Pinky, between Neetu and her adopted parents and the tentative, delicate one between her and Waheeda. All these complex relationships are finely textured and interwoven into the film which is framed in the opening sequence of the developing attraction between Rakhee and Amitabh and finds its closure in the tentative developing relationship between Waheeda and Amitabh.
To come back to the poem/song...
There are three versions of the poem. The original, darker and more difficult urdu version by Sahir in Talkhiyan, the less difficult and less bitter version of the original that Amitabh recites in the movie when Rakhi is married off to Shashi Kapoor and the more romantic version by Mukesh when the lovers, Rakhee and Amitabh, are shown romancing amidst gorgeous locales. The romantic version is sung again by Lata interspersed by some lines by Mukesh, when she sings it to Shashi Kapoor on their wedding night.
The original poem from Talkhiyan
(with the meanings of difficult words in brackets in the poem itself)
Kabhi Kabhi mere dil mein khayal aata hai
Ke zindagi teri zulfon ki narm chaon mein
Guzarne pati to shadaab(pleasant) ho bhi sakti thi
ye teergi(darkness) jo meri zeest(life) ka muqaddar hai
teri nazar ki shuaaon(brighness) mein kho bhi sakti thi
Ajab na tha ke main begaana-e-alam(stranger to the world) ho kar
Teri jamaal(beauty) ke ranaaiyon(elegance) mein kho rehta
tera gudaaz(tender) badan teri neembaaz(half-open) aankhen
Inhee haseen fasaanon mein mahv(drowned) ho rehta
Pukarti mujhe jab talkhiyaan(bitternesses) zamaane ki
Tere labon se halaavat(sweetness) ke ghoont pee leta
Hayaat(life) cheekhti phirti barhanaa(naked) sar aur main
Ghaneri zulfon ke saaye mein chhup ke jee leta
Magar ye ho na saka aur ab ye aalam hai
Ke tu nahin, tera gham, teri justjoo bhi nahin
Guzar rahi hai kuch is tarah zindagi jaise
Ise kisi ke sahaare ki arzoo bhi nahin
Zamane bhar ke dukhon ko laga chuka hun gale
Guzar raha hun kuch anjaani rahguzaaron se
Muheeb(dreadful) saaye meri samt(towards) badhte aate hain
Hayaat-o-maut(life and death) ki purhaul(deceitfully) khaarzaaron(a place full of thorns) se
Na koi jadaa(road), na manzil, na roshni ka suraag
Bhatak rahi hai khalaaon(darkness) mein zindagi meri
Inhi khalaaon mein rah jaoonga kabhi kho kar
Main jaanta hoon meri hamnafas(companion) magar yun hi
Kabhi kabhi mere dil mein khayaal aata hai...
Amitabh's rendition for the movie (simplified version)
(after Rakhee gets married to Shashi Kapoor)
Kabhi kabhi mere dil mein khayal aata hai
Ke zindagi tere zulfon ke narm chaon mein guzarne pati
To shadaab(pleasant) ho bhi sakti thi
Ye ran-jo-gham ki siyahi jo dil pe chaayi hai
Teri nazar ke shuaaon(brightness) mein kho bhi sakti thi
Magar ye ho na saka, magar ye ho na saka
Aur ab ye aalam hai
ke tu nahin, tera gham, teri justjoo bhi nahin
Guzar rahi hai zindagi aise
Ke ise kisi ke sahare ki arzoo bhi nahin
Na koi raah, na manzil, na roshni ka suraag
Bhatak rahi hai andheron mein zindagi meri
Inhi andheron main reh jaoonga kabhi khokar
Main janta hoon meri hamnafaz magar yunhi
Kabhi kabhi mere dil mein khayal aata hai...
Mukesh/Lata Romantic version
Kabhi kabhi mere dil mein khayal aata hai
Ke jaise tujhko banaya gaya hai mere liye
Tu abse pehle sitaron mein bas rahi thi kahin
Tujhe zameen pe bulaya gaya hai mere liye
Kabhi kabhi mere dil mein khayal aata hai
Ke ye badan ye nigahen meri amaanat hain
Ye gesuon ki ghani chaon hai meri khatir
Ye honth aur ye baahen meri amaanat hain
Kabhi kabhi mere dil mein khayal aata hai
Ke jaise bajti hain shehnayiyan si raahon mein
Suhaag raat hai ghunghat utha raha hoon main...
Simat rahi hai tu sharma ke apni bahon mein...
Kabhi kabhi mere dil mein khayal aata hai
Ke jaise tu mujhe chahegi umar bhar yun hi
Uthegi meri taraf pyar ki nazar yunhi
Main janta hoon ke tu gair hai magar yunhi...(2)
Kabhi kabhi mere dil mein khayal aata hai...
There are three versions of the poem. The original, darker and more difficult urdu version by Sahir in Talkhiyan, the less difficult and less bitter version of the original that Amitabh recites in the movie when Rakhi is married off to Shashi Kapoor and the more romantic version by Mukesh when the lovers, Rakhee and Amitabh, are shown romancing amidst gorgeous locales. The romantic version is sung again by Lata interspersed by some lines by Mukesh, when she sings it to Shashi Kapoor on their wedding night.
The original poem from Talkhiyan
(with the meanings of difficult words in brackets in the poem itself)
Kabhi Kabhi mere dil mein khayal aata hai
Ke zindagi teri zulfon ki narm chaon mein
Guzarne pati to shadaab(pleasant) ho bhi sakti thi
ye teergi(darkness) jo meri zeest(life) ka muqaddar hai
teri nazar ki shuaaon(brighness) mein kho bhi sakti thi
Ajab na tha ke main begaana-e-alam(stranger to the world) ho kar
Teri jamaal(beauty) ke ranaaiyon(elegance) mein kho rehta
tera gudaaz(tender) badan teri neembaaz(half-open) aankhen
Inhee haseen fasaanon mein mahv(drowned) ho rehta
Pukarti mujhe jab talkhiyaan(bitternesses) zamaane ki
Tere labon se halaavat(sweetness) ke ghoont pee leta
Hayaat(life) cheekhti phirti barhanaa(naked) sar aur main
Ghaneri zulfon ke saaye mein chhup ke jee leta
Magar ye ho na saka aur ab ye aalam hai
Ke tu nahin, tera gham, teri justjoo bhi nahin
Guzar rahi hai kuch is tarah zindagi jaise
Ise kisi ke sahaare ki arzoo bhi nahin
Zamane bhar ke dukhon ko laga chuka hun gale
Guzar raha hun kuch anjaani rahguzaaron se
Muheeb(dreadful) saaye meri samt(towards) badhte aate hain
Hayaat-o-maut(life and death) ki purhaul(deceitfully) khaarzaaron(a place full of thorns) se
Na koi jadaa(road), na manzil, na roshni ka suraag
Bhatak rahi hai khalaaon(darkness) mein zindagi meri
Inhi khalaaon mein rah jaoonga kabhi kho kar
Main jaanta hoon meri hamnafas(companion) magar yun hi
Kabhi kabhi mere dil mein khayaal aata hai...
Amitabh's rendition for the movie (simplified version)
(after Rakhee gets married to Shashi Kapoor)
Kabhi kabhi mere dil mein khayal aata hai
Ke zindagi tere zulfon ke narm chaon mein guzarne pati
To shadaab(pleasant) ho bhi sakti thi
Ye ran-jo-gham ki siyahi jo dil pe chaayi hai
Teri nazar ke shuaaon(brightness) mein kho bhi sakti thi
Magar ye ho na saka, magar ye ho na saka
Aur ab ye aalam hai
ke tu nahin, tera gham, teri justjoo bhi nahin
Guzar rahi hai zindagi aise
Ke ise kisi ke sahare ki arzoo bhi nahin
Na koi raah, na manzil, na roshni ka suraag
Bhatak rahi hai andheron mein zindagi meri
Inhi andheron main reh jaoonga kabhi khokar
Main janta hoon meri hamnafaz magar yunhi
Kabhi kabhi mere dil mein khayal aata hai...
Mukesh/Lata Romantic version
Kabhi kabhi mere dil mein khayal aata hai
Ke jaise tujhko banaya gaya hai mere liye
Tu abse pehle sitaron mein bas rahi thi kahin
Tujhe zameen pe bulaya gaya hai mere liye
Kabhi kabhi mere dil mein khayal aata hai
Ke ye badan ye nigahen meri amaanat hain
Ye gesuon ki ghani chaon hai meri khatir
Ye honth aur ye baahen meri amaanat hain
Kabhi kabhi mere dil mein khayal aata hai
Ke jaise bajti hain shehnayiyan si raahon mein
Suhaag raat hai ghunghat utha raha hoon main...
Simat rahi hai tu sharma ke apni bahon mein...
Kabhi kabhi mere dil mein khayal aata hai
Ke jaise tu mujhe chahegi umar bhar yun hi
Uthegi meri taraf pyar ki nazar yunhi
Main janta hoon ke tu gair hai magar yunhi...(2)
Kabhi kabhi mere dil mein khayal aata hai...
Sahir fans sometimes see the changes in the original version as a selling out to the commercial demands of Bollywood. Sahir has, they further argue, much better nazms to his credit, and this one gets undue attention because it is rendered in Amitabh's mesmerizing baritone. I don't think in the arguments the romantic one even gets the minimal attention it deserves at least as a counterpoint to, or even as an extension of, the bitter version of the song.
To deal with the first two versions first... I am attempting a comment on the original version of "Talkhiyan" without doing much reference on the composition of the nazm itself, so it is open to corrections and additions. The persona in the original nazm is surrounded in stupefying and frightening darkness, and from there he remembers with regret that his life might have been different if he had let himself adore his beloved and had allowed himself to be protected from harsh reality in the brighness of her company. He might have avoided the screams of naked reality, he asserts, hiding behind her beautiful tresses. But it was not possible.... and he has embraced much of the sadness of the world and now that she is not there in his life, he does not even feel the tragedy of her loss, or the desire for her... life is frighteningly bare and dark and yet, lost in that barrenness he sometimes remembers...
Amitabh's version does not refer to the original poem's more complex perception of the romantic space. The original poem refers to the romantic space too as escapist and an evasion of reality and the irony of his situation lies in the fact that rejecting that for the real world has pushed him into further, illusory darkness. The film version is simpler, it remains at the level of a desire for the beloved which is not allowed to the hero and hence the bitterness, the rejection of those memories and the slide into darkness and denial. While this rendition does not yield the complexity of the original version, it is tailored to the demands of the character of Amitabh and furthermore to the story of the film.
The song belongs to the fleshed out story of the film. It is about a sensitive poet, who can sing lines such as "main pal do pal ka shayar hoon", it is about a passionate romance that does not culminate in marriage, changing the poet's career. He becomes much more cynical, more involved in succeeding in the world as a rich businessman, and he too gets married to a girl his parents have chosen for him and he has a daughter with her who he adores. But the film is not just his story, it is the story of Rakhee too, she was in love with Amitabh but she gets married to Shashi, a well-to-do businessman who adores her but cannot compose poetry to save his live. She falls in love with her easy-going and adoring husband and they have a son who they love. It is also the story of Waheeda, who was in love with her fiance and has an illegitimate child who she is forced to give away for adoption, before she gets married to Amitabh, an aspect of her life about which Amitabh is totally unaware. It is also the story of two young, carefree lovers, Rishi and Neetu who decide to marry with no clouds in sight until the girl realises that she is adopted and unaccountably wants to find out about her real mother. And she does that in the face of a great deal of opposition, she hurts her adopted parents who cannot understand why she needs to do that, her fiance is upset that she needs to leave the loving protection of her adopted parents to disrupt the life of another household. And disrupt it she does, she arrives at Waheeda and Amitabh's house, a surprise and unwanted guest after having fought with her fiance. Rishi, follows her to the place and creates another confusion when Amitabh and Waheeda's daughter, Pinky falls for him, and who he uses as a bait to annoy Neetu and to stay on in the house. And it is at this point that all the stories come to a head. For Amit, so passionate towards Rakhee and so cold towards his wife it is a journey of discovery. I find it amazing that Yash Chopra could give such negative overtones to Amitabh's character, in a commercial set up where playing negative characters is certainly not the norm. Amitabh's behaviour towards his wife is mean compared to Shashi's reaction and it is definitely underlined in the film. And kudos to Amitabh for playing it in a low-key fashion rather than with aplomb.
And to come back one more time to the song, it is not the bitter song in the movie that reminds one of the complexity of love...it is the romantic song... the passionate song of the lover...
"Kabhi kabhi mere dil mein khayal aata hai
Ke jaise tujhko banaya gaya hai mere liye
Ye gesuon ki ghani chhaon hai meri khatir
Ye honth aur ye bahen meri amaanat hain...
So passionate, so confident in asserting that his beloved has been made for the sole purpose of being in love with him.
"Tu abse pehle sitaron mein bas rahi thi kahin
Tujhe zamin pe bulaya gaya hai mere liye..."
Beautiful, exaggerated lines underscoring the intensity and passion of their love and the perfection of their relationship. And yet, the twist at the end of the song gives it a completely different mood.... "Main janta hoon ke tu gair hai magar yun hi..." It does not shatter the previous passionate assertions of the song with bitter irony, itstead it imbues it with an intense regret, as a moment that remains unfulfilled... In the film, the bitterness of Amitabh's position as the unfulfilled lover is not the final solution, it is more a coming to terms with life's uncertainties in unpredictable ways and affirming the complexities of other relationships. The film is about moving on, about keeping the faith of other relationships and yet does not negate the emotion of the passionate lovers...through the song, it takes a look back into older, forbidden passions with a wonderful line "Main janta hoon ki tu gair hai magar yunhi..."
To deal with the first two versions first... I am attempting a comment on the original version of "Talkhiyan" without doing much reference on the composition of the nazm itself, so it is open to corrections and additions. The persona in the original nazm is surrounded in stupefying and frightening darkness, and from there he remembers with regret that his life might have been different if he had let himself adore his beloved and had allowed himself to be protected from harsh reality in the brighness of her company. He might have avoided the screams of naked reality, he asserts, hiding behind her beautiful tresses. But it was not possible.... and he has embraced much of the sadness of the world and now that she is not there in his life, he does not even feel the tragedy of her loss, or the desire for her... life is frighteningly bare and dark and yet, lost in that barrenness he sometimes remembers...
Amitabh's version does not refer to the original poem's more complex perception of the romantic space. The original poem refers to the romantic space too as escapist and an evasion of reality and the irony of his situation lies in the fact that rejecting that for the real world has pushed him into further, illusory darkness. The film version is simpler, it remains at the level of a desire for the beloved which is not allowed to the hero and hence the bitterness, the rejection of those memories and the slide into darkness and denial. While this rendition does not yield the complexity of the original version, it is tailored to the demands of the character of Amitabh and furthermore to the story of the film.
The song belongs to the fleshed out story of the film. It is about a sensitive poet, who can sing lines such as "main pal do pal ka shayar hoon", it is about a passionate romance that does not culminate in marriage, changing the poet's career. He becomes much more cynical, more involved in succeeding in the world as a rich businessman, and he too gets married to a girl his parents have chosen for him and he has a daughter with her who he adores. But the film is not just his story, it is the story of Rakhee too, she was in love with Amitabh but she gets married to Shashi, a well-to-do businessman who adores her but cannot compose poetry to save his live. She falls in love with her easy-going and adoring husband and they have a son who they love. It is also the story of Waheeda, who was in love with her fiance and has an illegitimate child who she is forced to give away for adoption, before she gets married to Amitabh, an aspect of her life about which Amitabh is totally unaware. It is also the story of two young, carefree lovers, Rishi and Neetu who decide to marry with no clouds in sight until the girl realises that she is adopted and unaccountably wants to find out about her real mother. And she does that in the face of a great deal of opposition, she hurts her adopted parents who cannot understand why she needs to do that, her fiance is upset that she needs to leave the loving protection of her adopted parents to disrupt the life of another household. And disrupt it she does, she arrives at Waheeda and Amitabh's house, a surprise and unwanted guest after having fought with her fiance. Rishi, follows her to the place and creates another confusion when Amitabh and Waheeda's daughter, Pinky falls for him, and who he uses as a bait to annoy Neetu and to stay on in the house. And it is at this point that all the stories come to a head. For Amit, so passionate towards Rakhee and so cold towards his wife it is a journey of discovery. I find it amazing that Yash Chopra could give such negative overtones to Amitabh's character, in a commercial set up where playing negative characters is certainly not the norm. Amitabh's behaviour towards his wife is mean compared to Shashi's reaction and it is definitely underlined in the film. And kudos to Amitabh for playing it in a low-key fashion rather than with aplomb.
And to come back one more time to the song, it is not the bitter song in the movie that reminds one of the complexity of love...it is the romantic song... the passionate song of the lover...
"Kabhi kabhi mere dil mein khayal aata hai
Ke jaise tujhko banaya gaya hai mere liye
Ye gesuon ki ghani chhaon hai meri khatir
Ye honth aur ye bahen meri amaanat hain...
So passionate, so confident in asserting that his beloved has been made for the sole purpose of being in love with him.
"Tu abse pehle sitaron mein bas rahi thi kahin
Tujhe zamin pe bulaya gaya hai mere liye..."
Beautiful, exaggerated lines underscoring the intensity and passion of their love and the perfection of their relationship. And yet, the twist at the end of the song gives it a completely different mood.... "Main janta hoon ke tu gair hai magar yun hi..." It does not shatter the previous passionate assertions of the song with bitter irony, itstead it imbues it with an intense regret, as a moment that remains unfulfilled... In the film, the bitterness of Amitabh's position as the unfulfilled lover is not the final solution, it is more a coming to terms with life's uncertainties in unpredictable ways and affirming the complexities of other relationships. The film is about moving on, about keeping the faith of other relationships and yet does not negate the emotion of the passionate lovers...through the song, it takes a look back into older, forbidden passions with a wonderful line "Main janta hoon ki tu gair hai magar yunhi..."
Madhavi,
Mujhe Susan Sontag yaad aa rahin hain...
Aur 'Chakle' ka adaptation yaad aa raha hai...
Mujhe Susan Sontag yaad aa rahin hain...
Aur 'Chakle' ka adaptation yaad aa raha hai...
QUOTE
Aur 'Chakle' ka adaptation yaad aa raha hai...
Ajay, shayad aap ya Anu, ya koi aur Sahir stalwart bata sakenge "Mataa-e-Ghair" ka publication date. As usual there is very little information available online on the nazm. I have included the meanings of some of the words that I found tough to understand (available online)
Mataa-e-Ghair(Someone else's property)
Mere khwabon ke jharokhon ko sajane wali
Tere khwabon mein kahin mera guzar hai ke nahin
Poochkar apni nigahon se bata de mujhko
Meri raton ke muqaddar mein sehar(dawn ) hai ke nahin
Char din ki ye rafaaqat(company ) jo rafaaqat bhi nahin
Umr bhar ke liye azaar(illness ) hui jaati hai
Zindagi yun to hamesha se pareshan si thi
Ab to har sans giranbaar(unbearable ) hui jaati hai
Meri ujadi hui neendon ke shabistanon(place to pass the night ) mein
Tu kisi khwaab ke paikar(form ) ki tarah ayee hai
Kabhi apni si, kabhi ghair nazar aati hai
Kabhi ikhlaas(sincerity) ki moorat, kabhi harjai hai
Pyar par bas to nahin hai mera, lekin phir bhi
Tu bada de ke tujhe pyar karoon ya na karoon
TUne khud apne tabassum(smile) se jagaya hai jinhen
Un tammannaon kaa izhaar karoon ya na karoon
TU kisi aur ke daman ki kali hai lekin
Meri raatein teri khushboo se basi rehti hain
Tu kahin bhi ho tere phool se aariz(cheeks) ki kasam
Teri palkein meri aankhon pe jhuki rehti hain
Tere haathon ki haraarat(warmth), tere saanson ki mehak
Tairti rehti hai ehsaas ki pahnai(clothing) mein
Dhoondhi rehti hain takhayeel(imagination) ki bahein tujhko
Sard raaton ki sulagti hui tanhai mein
Tera altaaf-o-karam(favors and kindness) ek haqueeqat hai magar
Ye haqeeqat bhi haqeeqat main fasana hi na ho
Teri maanoos(intimate) nigahein ka ye mohtaat(guarded) payaam
Dil ke khoon karne ka ek aur bahana hi na ho
Kaun jane mere imroz(today) ka farda(tomorrow) kya hai
Qurbatein(closeness) badhke pashemaan(ashamed) bhi ho jati hain
Dil ke daman se lipati hui rangeen nazrein
Dekhte dekhte, anjaan bhi ho jaati hain
Meri darmaanda(helpless) jawani ki tamannaon ki
Muzmahil(exhausted) khwaab ki taabeer(result) bata de mujhko
Tere daaman mein gulistaan bhi hain, veraane bhi
Mera haasil, meri taqdeer bata de mujhko.
Sone Ki Chidiya(1960): Talat version:
Pyar pe bas to nahi to hai mera lekin phir bhi
Tu bata de ke tujhe pyar karoon ya na karoon
Mere khwabon ke jharokhon ko sajane wali(2)
Tere khwabon mein kahin mera guzar hai ke nahin
Pooch kar apni nigahon se bata de mujhko
Mere raaton ke muqaddar mein sehar ke nahin
Pyar pe bas to nahin hai ...
Kahin aisa na ho paon mere tharra jayen(2)
Aur teri marmari baahon ka sahara na milen
Ashk behte rahen khamosh siyah raaton mein
Aur tere reshmi aanchal ka kinara na mile...
Pyar par bas to nahin hai...
Sone Ki Chidiya(1960): Asha version
Pyar par bas to nahin hai mera lekin phir bhi
Tu bata de ke tujhe pyar karoon ya na karun
Pyar par bas...
Tune khud apni nigahon se jagaya tha jinhen(2)
Un tamannaon ka izhaar karun ya na karun
Tune jis dil ko bade pyar se apnaya tha(2)
Usko shikwon ka gunahgaar karoon ya na karoon(2)
Pyar par bas to...
Jis tamanna ke sahare pe thi jeene ki ummeed(2)
Wo tammanna bhi pasheman(ashamed) hui jaati hai
Zindagi yun to hamesha se pareshaan si thi(2)
Ab to kuch aur bhi veeran hui jaati hai(2)
Pyar par bas to...
Once again, Sahir spins his mesmeric words and emotions around unrequited love in this nazm. He brings a vulnerability to it that is poignant, as the lover seems to be in the very process of tentatively, urgently, questioning his mistress about her emotions even while the title sets that relationship in an ironic context as already doomed to failure. The nazm begins with such beautiful romantic lines, "Mere khwabon ke jharokhon ko sajane wali" and yet it is full of images of dread, of the fear that the emotions and promises that he hopes for, will slip away from him. "Pyar pe bas to nahin hai mera lekin/Tu bata de ke main tujhe pyar karoon ya na karoon" captures his vulnerability, in the throes of of his emotions, he is aware that he has no control over them and yet, inevitably, looks for some certainty from the very person who might take it away from him.
The nazm is reworked in Sone Ki Chidiya(1960) as tandem songs of two stanzas each, sung by Talat and Asha. Have not seen the movie, but considering it features Nutan and Balraj Sahni in the lead roles with Talat himself sporting an appearance, it should be interesting to watch. From what I could glean from the blurb, the story is about Nutan (the "sone ki chidiya") who is exploited by her family when she gets a chance to become a famous actress. She falls for her co-star (Talat!) who, she later comes to realise, is also mainly interested in exploiting her. Finally, she does find happiness with Balraj Sahni (a poet...what else can he be ) who makes her realise that there is more to human relationships than those based on greed. The story is by Ismat Chugtai, in fact she produced the film.
I am assuming the Talat rendition is the romantic version, so the nazm is tamed to the romantic situation of the film. Sahir changes the order of the lines beginning with the lines "Pyar pe bas to nahin mera lekin", not really out of line with innumerable hindi film song situations where the man wonders whether his love is returned or not. Sahir retained the beautiful first stanza of the nazm intact for the song, and in the second stanza compressed the darker, multiple images of dread of his original nazm to basically a couple of lines:"kahin aisa na ho paon mere tharra jayen" and "Ashk behte rahen khamosh siyah raaton mein". The image (khamosh siyah raaton mein) in the last line does counterpoint the question posed in the earlier stanza: "Mere raaton ke muqaddar mein sehar hai ke nahin." While the song is, naturally, not as complexly wrought as the original nazm (not by a long shot), one cannot help enjoying the melancholy melody of Talat's voice, and savoring the beautiful lines penned by Sahir, for the sheer beauty of the words. OPN has not added much orchestration, (Talat's voice would get completely drowned competing with the instruments) and it sounds so ... beautifully hushed.
I prefer Talat's rendition over Asha's but that is really a matter of personal preference. The Asha version is much more interesting in terms of how Sahir reworked the nazm. Apart from the two main lines, "Pyar bar bas to nahin hai mera lekin/Tu bata de ke tujhe pyar karun ya na karun" the words are completely different from the nazm. It is rendered by a woman who has been abandoned by her lover and the nazm is now styled as a complaint/accusation referring to past promises that have not been fulfilled and the question"Tu bata de ke main tujhe pyar karoon ya na karun" becomes more of a judgement. The complaint is measured, not really agonised, and becomes a quiet understatement of disappointment. "Zindagi yun to hamesha se pareshaan si thi/Ab to kuch aur bhi veeran hui jaati hai." The only other reference to the original nazm is the use of the words "pasheman" and "tamanna" in the song. Here is how "pasheman" was used in the original: "Kaun jane mere imroz(today) ka farda(tomorrow) kya hai/Qurbatein(closeness) badhke pashemaan(ashamed) bhi ho jati hain." The man is unsure of his future, he knows that any intimacy can later become an embarrassment (for the girl...he seems to suggest). He pleads with her "Meri darmaanda(helpless) jawani ki tamannaon ki/Muzmahil(exhausted) khwaab ki taabeer(result) bata de mujhko." The tables are turned in the film version, "Jis tamanna ke sahare pe thi jeene ki ummeed/Wo tammanna bhi pasheman(ashamed) hui jaati hai" What is a vulnerable plea of the male lover riddled with the irony of the situation in the nazm, has become in the film, a situation where the woman is the betrayed one, disillusioned by her trust in the lover's desire. She is, indeed, "ashamed," but the meaning of the word has changed. I wonder if Ismat Chugtai had something to do with the feminist perspective given to the nazm....
Seriously though, that is typically Sahir, turning something into a strength even while working in a medium which often did not allow much scope for originality. Here it is not really the words of the song that are original, but Sahir's creativity lies in the fact that he could go back to an original, complex work and rework it in the context of mainstream cinema and still manage to suggest an original thought and a different point of view while remaining firmly within the constraints of that medium.
Will upload both the songs in just a bit.
The nazm is reworked in Sone Ki Chidiya(1960) as tandem songs of two stanzas each, sung by Talat and Asha. Have not seen the movie, but considering it features Nutan and Balraj Sahni in the lead roles with Talat himself sporting an appearance, it should be interesting to watch. From what I could glean from the blurb, the story is about Nutan (the "sone ki chidiya") who is exploited by her family when she gets a chance to become a famous actress. She falls for her co-star (Talat!) who, she later comes to realise, is also mainly interested in exploiting her. Finally, she does find happiness with Balraj Sahni (a poet...what else can he be
) who makes her realise that there is more to human relationships than those based on greed. The story is by Ismat Chugtai, in fact she produced the film.I am assuming the Talat rendition is the romantic version, so the nazm is tamed to the romantic situation of the film. Sahir changes the order of the lines beginning with the lines "Pyar pe bas to nahin mera lekin", not really out of line with innumerable hindi film song situations where the man wonders whether his love is returned or not. Sahir retained the beautiful first stanza of the nazm intact for the song, and in the second stanza compressed the darker, multiple images of dread of his original nazm to basically a couple of lines:"kahin aisa na ho paon mere tharra jayen" and "Ashk behte rahen khamosh siyah raaton mein". The image (khamosh siyah raaton mein) in the last line does counterpoint the question posed in the earlier stanza: "Mere raaton ke muqaddar mein sehar hai ke nahin." While the song is, naturally, not as complexly wrought as the original nazm (not by a long shot), one cannot help enjoying the melancholy melody of Talat's voice, and savoring the beautiful lines penned by Sahir, for the sheer beauty of the words. OPN has not added much orchestration, (Talat's voice would get completely drowned competing with the instruments) and it sounds so ... beautifully hushed.
I prefer Talat's rendition over Asha's but that is really a matter of personal preference. The Asha version is much more interesting in terms of how Sahir reworked the nazm. Apart from the two main lines, "Pyar bar bas to nahin hai mera lekin/Tu bata de ke tujhe pyar karun ya na karun" the words are completely different from the nazm. It is rendered by a woman who has been abandoned by her lover and the nazm is now styled as a complaint/accusation referring to past promises that have not been fulfilled and the question"Tu bata de ke main tujhe pyar karoon ya na karun" becomes more of a judgement. The complaint is measured, not really agonised, and becomes a quiet understatement of disappointment. "Zindagi yun to hamesha se pareshaan si thi/Ab to kuch aur bhi veeran hui jaati hai." The only other reference to the original nazm is the use of the words "pasheman" and "tamanna" in the song. Here is how "pasheman" was used in the original: "Kaun jane mere imroz(today) ka farda(tomorrow) kya hai/Qurbatein(closeness) badhke pashemaan(ashamed) bhi ho jati hain." The man is unsure of his future, he knows that any intimacy can later become an embarrassment (for the girl...he seems to suggest). He pleads with her "Meri darmaanda(helpless) jawani ki tamannaon ki/Muzmahil(exhausted) khwaab ki taabeer(result) bata de mujhko." The tables are turned in the film version, "Jis tamanna ke sahare pe thi jeene ki ummeed/Wo tammanna bhi pasheman(ashamed) hui jaati hai" What is a vulnerable plea of the male lover riddled with the irony of the situation in the nazm, has become in the film, a situation where the woman is the betrayed one, disillusioned by her trust in the lover's desire. She is, indeed, "ashamed," but the meaning of the word has changed. I wonder if Ismat Chugtai had something to do with the feminist perspective given to the nazm....
Seriously though, that is typically Sahir, turning something into a strength even while working in a medium which often did not allow much scope for originality. Here it is not really the words of the song that are original, but Sahir's creativity lies in the fact that he could go back to an original, complex work and rework it in the context of mainstream cinema and still manage to suggest an original thought and a different point of view while remaining firmly within the constraints of that medium.
Will upload both the songs in just a bit.
OPN-Sone Ki Chidiyan(1958)-Pyar par bas to(TM_Sahir).mp3
128/4:15
OPN-Sone Ki Chidiyan(1958)-Pyar Par Bas To Nahin-cd(AB_Sahir).mp3
128/3:11
128/4:15
OPN-Sone Ki Chidiyan(1958)-Pyar Par Bas To Nahin-cd(AB_Sahir).mp3
128/3:11
Shukriya Madhavi,
Depth badti ja rahi hai.
Likhna ab apne liye likhne me badalta jaa raha hai.
Shubhamasti!
Depth badti ja rahi hai.
Likhna ab apne liye likhne me badalta jaa raha hai.
Shubhamasti!
Thank you Ajay, always look forward to your comments. What does "Shubhamasti" mean? Do you know the date of the publication of Mataa-e-ghair?
QUOTE(mmuk2004 @ Oct 14 2007, 04:08 AM)
Thank you Ajay, always look forward to your comments. What does "Shubhamasti" mean? Do you know the date of the publication of Mataa-e-ghair?
Welcome Madhavi,
Mere paas jo Qulliyaat hai usme dates nahin hain. Poems alphabetical di huyi hain. Isliye Mataa-e-Ghair ke dates ke baare mein mere liye kuch kahna mushkil hai. Doosare sources se kuchh pata laga to zaroor bataooga.
Shubhamasti=Shubham+Asti=It is Auspicious
QUOTE(mmuk2004 @ Jul 25 2006, 06:39 PM)
QUOTE(visuja @ Jul 5 2006, 06:38 AM)
Khuda-e-Bartar - Lata - Taj Mahal - Roshan - Sahir
Khuda-e-Bartar Teri Zamiin Par, Zamiin Ki Khaatir Ye Jung Kyun Hai
Har Ek Fateh-o-Zafar Ke Daaman Pe Khoon-e-Insaan Ka Rang Kyun Hai
Khuda-e-Bartar Teri Zamiin Par, Zamiin Ki Khaatir Ye Jung Kyun Hai...
bartar = surpassing ; fatah = conquest by means of jihad ;
zafar = Conquest, Gain, Triumph, Victory
Zamiin Bhi Teri, Hain Hum Bhi Tere, Ye Milkiyat Ka Sawaal Kya Hai
Ye Qatl-o-Khoon Ka Rivaaz Kyun Hai, Ye Rasm-e-Jang-o-Jadaal Kya Hai
Jinhein Talab Hai Jahaan Bhar Ki, Unhiin Ka Dil Itna Tang Kyun Hai
Khuda-e-Bartar Teri Zamiin Par, Zamiin Ki Khaatir Ye Jung Kyun Hai
milkiyat = Keeping/possession/property ; jadaal = list
talab = quest/Pursuit/demand/search ; tang = Limited
Gareeb Maaon Shareef Behnon Ko Amn-o-Izzat Ki Zindagi De
Jinhein Ataa Kii Hai Tu Ne Taaqat, Unhein Hidaayat Ki Roshni De
Saron Mein Kibr-o-Ghuroor Kyun hai, Dilon Ke Sheeshe Pe Zang Kyun Hai
Khuda-e-Bartar Teri Zamiin Par, Zamiin Ki Khaatir Ye Jung Kyun Hai
amn = peace ; ataa = gift ; hidaayat = Guidance/Instruction/Righteousness
kibr = arrogance/grandness
Khazaa Ke Raste Pe Jaanewaalon Ko Bachke Aane Ki Raah Dena
Dilon Ke Gulshan Ujad Na Jaaye, Mohabbaton Ko Panaah Dena
Jahaan Mein Jashn-e-Wafaa Ke Badle, Ye Jashn-e-Teer-o-Tafang Kyun Hai
Khuda-e-Bartar Teri Zamiin Par, Zamiin Ki Khaatir Ye Jung Kyun Hai
kazaa = death; panaah = protection/shelter
jashn = party/celebration ; tafang = musket
Came across a discussion on this song at HF some time ago while googling...The meanings in bold interspersed in the body of the poem are all from posts on that discussion.
An anti war song that transcends time to be tragically relevant even today. It is imbued with Sahir's secular and humanistic consciousness and has resonating lines such as: "Har ek Fateh-o-Zafar ke daman pe khoone-e-insaan ka rang kyun hai". Why is it that (the lap of) every religious war/victory is stained with humar blood?
The use of the word "daaman"(lap/suggesting shelter/protection) highlights a sense of betrayal (the "lap" of religious wars not providing succor and protection but brutal murders), that tends to get lost in the translation.
"Zamin bhi teri,hain hum bhi tere/Ye milkiyat ka sawal kyun hai" This is not the iconclastic Sahir of "Aasman pe hai khuda aur zamin pe hum/Aaj kal wo is taraf dekhta hai kam". Here he positions himself within the religious consciousness and argues that if as believers we believe that the world is yours and we are yours then how does the issue of possession/ownership and wresting of property come in?
"Jinhen talab hai jahan bhar ki/Unhi ka dil itna tang kyun hai" (Those who are worried about the whole world...this is radical Sahir again bitterly hitting out against religious leaders, actually all demagogues...)
From the larger issues, Sahir comes down to individual traits that fan these larger issues..."Saron me kibr-o-ghuroor kyun hai" "Dilon ke sheeshe pe zang kyun hai" These are situations and charateristics that one faces in everyday, ordinary life that escalate into bloodshed and violence... "Jahan mein jashn-e-wafa ke badle ye jashn-e-teer-o-tafang kyun hai"...
It is a dark poem exposing the futility of war and the human expense at which such wars are fought and is posited as a series of protests to the Almighty in the form of rhetorical questions. However, interspersed in the protests are also some requests by the poet to the almighty...
Gareeb Maaon Shareef Behnon Ko Amn-o-Izzat Ki Zindagi De
Jinhein Ataa Kii Hai Tu Ne Taaqat, Unhein Hidaayat Ki Roshni De
Khazaa Ke Raste Pe Jaanewaalon Ko Bachke Aane Ki Raah Dena
Dilon Ke Gulshan Ujad Na Jaaye, Mohabbaton Ko Panaah Dena
The poet has not given up all hope, he requests for peace, he asks that those who have power use is correctly, he wants those who face death to be able to come back safely... "Mohabbaton ko panaah dena"...beautiful lines, even though he reverts back to the darker questioning by the end of the poem. The poem precariously hangs between despair and hope...
As I have said before, a discussion of the lyrics with some sort of infomation about the musical composition would enhance one's appreciation of a song tremendously. Am including a comment from a friend whose views and analyses I respect tremendously:
QUOTE
archimoz:
For me, two composers were just outstanding. Roshan & Jaidev. Roshan, with his unhurried & lilting style of composition was a true genius. That he had chosen to full blooded raagas to compose two great poems of Sahir in Taj Mahal, requires mind-boggling skills. 'jurm-e-ulfat' & 'khuda-e-barter' in raags 'nat' & 'miyan ki todi'. Roshan's grasp over HCM (he was a student of the great Srikrishna Narayan Ratanjankar, the greatest musicologist of India & the Principal of Marris College at Lucknow).
For me, two composers were just outstanding. Roshan & Jaidev. Roshan, with his unhurried & lilting style of composition was a true genius. That he had chosen to full blooded raagas to compose two great poems of Sahir in Taj Mahal, requires mind-boggling skills. 'jurm-e-ulfat' & 'khuda-e-barter' in raags 'nat' & 'miyan ki todi'. Roshan's grasp over HCM (he was a student of the great Srikrishna Narayan Ratanjankar, the greatest musicologist of India & the Principal of Marris College at Lucknow).
A Roshan-Sahir combination that raises "Ishq" to dizzying heights using a form that was difficult to use in its traditional form in mainstream cinema...
Check out the video of the song:
Barsaat Ki Raat(1960):Na To Karvaan Ki Talash Hai
(Rafi_Mannadey_SDBatish_AshaBhonsle_SudhaMalhotra)
The lyrics are from this link:
http://mbm1983pet1.blogspot.com/2007/08/ka...aalok-jain.html
Na To Caarvaan Ki Talaash Hai, Na To Humsafar Ki Talaash Hai
Mere Shauq-E-Khaana Kharaab Ko, Teri Rehguzar Ki Talaash Hai
Mere Naamuraad Junoon Ka Hai Ilaaj Koi To Maut Hai
Jo Dava Ke Naam Pe Zehar De Usi Chaaraagar Ki Talaash Hai
Tera Ishq Hai Meri Aarzoo, Tera Ishq Hai Meri Aabroo
Dil Ishq Jism Ishq Hai Aur Jaan Ishq Hai
Imaan Ki Jo Poochho To Imaan Ishq Hai
Tera Ishq Hai Meri Aarzoo, Tera Ishq Hai Meri Aabroo,
Tera Ishq Maein Kaise Chhod Doon, Meri Umra Bhar Ki Talaash Hai
Jaansoz Ki Haalat Ko Jaansoz Hi Samjhega
Maein Shamaa Se Kehta Hoon Mehfil Se Nahin Kehta Kyonki
Ye Ishq Ishq Hai Ishq Ishq, Ye Ishq Ishq Hai Ishq Ishq
Sahar Tak Sabka Hai Anjaam Jal Kar Khaak Ho Jaana,
Bhari Mehfil Mein Koi Shammaa Ya Parvaana Ho Jaye Kyonki
Ye Ishq Ishq Hai Ishq Ishq, Ye Ishq Ishq Hai Ishq Ishq
Vehshat-E-Dil Rasm-O-Deedaar Se Roki Na Gayi
Kisi Khanjar, Kisi Talvaar Se Roki Na Gayi
Ishq Majnu Ki Vo Aavaz Hai Jiske Aage
Koi Laila Kisi Deewaar Se Roki Na Gayi, Kyonki
Ye Ishq Ishq Hai Ishq Ishq, Ye Ishq Ishq Hai Ishq Ishq
Vo Hanske Agar Maangen To Hum Jaan Bhi Deden,
Haan Ye Jaan To Kya Cheez Hai Imaan Bhi Deden Kyonki
Ye Ishq Ishq Hai Ishq Ishq, Ye Ishq Ishq Hai Ishq Ishq
Naaz-O-Andaaz Se Kehte Hain Ki Jeena Hoga,
Zehar Bhi Dete Hain To Kehte Hain Ki Peena Hoga
Jab Maein Peeta Hoon To Kehten Hai Ki Marta Bhi Nahin,
Jab Maein Marta Hoon To Kehte Hain Ki Jeena Hoga
Ye Ishq Ishq Hai Ishq Ishq, Ye Ishq Ishq Hai Ishq Ishq
Mazhab-E-Ishq Ki Har Rasm Kadi Hoti Hai,
Har Kadam Par Koi Deewaar Khadi Hoti Hai
Ishq Aazad Hai, Hindu Na Musalmaan Hai Ishq,
Aap Hi Dharm Hai Aur Aap Hi Imaan Hai Ishq
Jis Se Aagaah Nahi Shekh-O-Barahaaman Dono,
Us Haqeeqat Ka Garajtaa Hua Ailaan Hai Ishq
Ishq Na Puchhe Deen Dharm Nu, Ishq Na Puchhe Jaataan
Ishq De Haathon Garam Lahu Vich, Doobiyaan Lakh Baraataan Ke
Ye Ishq Ishq Hai Ishq Ishq, Ye Ishq Ishq Hai Ishq Ishq
Raah Ulfat Ki Kathin Hai Ise Aasaan Na Samajh
Ye Ishq Ishq Hai Ishq Ishq, Ye Ishq Ishq Hai Ishq Ishq
Bahut Kathin Hai Dagar Panghat Ki
Ab Kya Bhar Laun Maein Jamuna Se Matki
Maein Jo Chali Jal Jamuna Bharan Ko
Dekho Sakhi Ji Maein Jo Chali Jal Jamuna Bharan Ko
Nandkishor Mohe Roke Jhaadon To
Kya Bhar Laun Maein Jamuna Se Matki
Ab Laaj Raakho More Ghoonghat Pat Ki
Jab Jab Krishn Ki Bansi Baaji, Nikali Raadha Saj Ke
Jaan Ajaan Ka Maan Bhula Ke, Lok Laaj Ko Taj Ke
Janak Dulaari Ban Ban Doli, Pahan Ke Prem Ki Maala
Darshan Jal Ki Pyaasi Meera Pi Gai Vishh Ka Pyaala
Aur Phir Araj Kari Ke
Laaj Raakho Raakho Raakho, Laaj Raakho Dekho Dekho,
Ye Ishq Ishq Hai Ishq Ishq, Ye Ishq Ishq Hai Ishq Ishq
Allah Rasool Ka Farmaan Ishq Hai
Yaane Hafeez Ishq Hai, Quraan Ishq Hai
Gautam Kaa Aur Maseeh Ka Armaan Ishq Hai
Ye Kaaynaat Jism Hai Aur Jaan Ishq Hai
Ishq Sarmad, Ishq Hi Mansoor Hai
Ishq Moosa, Ishq Koh-E-Noor Hai
Khaaq Ko But, Aur But Ko Devta Karta Hai Ishq
Intaha Ye Hai Ke Bande Ko Khuda Karta Hai Ishq
Haan Ishq Ishq Tera Ishq Ishq
Tera Ishq Ishq, Ishq Ishq
Check out the video of the song:
Barsaat Ki Raat(1960):Na To Karvaan Ki Talash Hai
(Rafi_Mannadey_SDBatish_AshaBhonsle_SudhaMalhotra)
The lyrics are from this link:
http://mbm1983pet1.blogspot.com/2007/08/ka...aalok-jain.html
Na To Caarvaan Ki Talaash Hai, Na To Humsafar Ki Talaash Hai
Mere Shauq-E-Khaana Kharaab Ko, Teri Rehguzar Ki Talaash Hai
Mere Naamuraad Junoon Ka Hai Ilaaj Koi To Maut Hai
Jo Dava Ke Naam Pe Zehar De Usi Chaaraagar Ki Talaash Hai
Tera Ishq Hai Meri Aarzoo, Tera Ishq Hai Meri Aabroo
Dil Ishq Jism Ishq Hai Aur Jaan Ishq Hai
Imaan Ki Jo Poochho To Imaan Ishq Hai
Tera Ishq Hai Meri Aarzoo, Tera Ishq Hai Meri Aabroo,
Tera Ishq Maein Kaise Chhod Doon, Meri Umra Bhar Ki Talaash Hai
Jaansoz Ki Haalat Ko Jaansoz Hi Samjhega
Maein Shamaa Se Kehta Hoon Mehfil Se Nahin Kehta Kyonki
Ye Ishq Ishq Hai Ishq Ishq, Ye Ishq Ishq Hai Ishq Ishq
Sahar Tak Sabka Hai Anjaam Jal Kar Khaak Ho Jaana,
Bhari Mehfil Mein Koi Shammaa Ya Parvaana Ho Jaye Kyonki
Ye Ishq Ishq Hai Ishq Ishq, Ye Ishq Ishq Hai Ishq Ishq
Vehshat-E-Dil Rasm-O-Deedaar Se Roki Na Gayi
Kisi Khanjar, Kisi Talvaar Se Roki Na Gayi
Ishq Majnu Ki Vo Aavaz Hai Jiske Aage
Koi Laila Kisi Deewaar Se Roki Na Gayi, Kyonki
Ye Ishq Ishq Hai Ishq Ishq, Ye Ishq Ishq Hai Ishq Ishq
Vo Hanske Agar Maangen To Hum Jaan Bhi Deden,
Haan Ye Jaan To Kya Cheez Hai Imaan Bhi Deden Kyonki
Ye Ishq Ishq Hai Ishq Ishq, Ye Ishq Ishq Hai Ishq Ishq
Naaz-O-Andaaz Se Kehte Hain Ki Jeena Hoga,
Zehar Bhi Dete Hain To Kehte Hain Ki Peena Hoga
Jab Maein Peeta Hoon To Kehten Hai Ki Marta Bhi Nahin,
Jab Maein Marta Hoon To Kehte Hain Ki Jeena Hoga
Ye Ishq Ishq Hai Ishq Ishq, Ye Ishq Ishq Hai Ishq Ishq
Mazhab-E-Ishq Ki Har Rasm Kadi Hoti Hai,
Har Kadam Par Koi Deewaar Khadi Hoti Hai
Ishq Aazad Hai, Hindu Na Musalmaan Hai Ishq,
Aap Hi Dharm Hai Aur Aap Hi Imaan Hai Ishq
Jis Se Aagaah Nahi Shekh-O-Barahaaman Dono,
Us Haqeeqat Ka Garajtaa Hua Ailaan Hai Ishq
Ishq Na Puchhe Deen Dharm Nu, Ishq Na Puchhe Jaataan
Ishq De Haathon Garam Lahu Vich, Doobiyaan Lakh Baraataan Ke
Ye Ishq Ishq Hai Ishq Ishq, Ye Ishq Ishq Hai Ishq Ishq
Raah Ulfat Ki Kathin Hai Ise Aasaan Na Samajh
Ye Ishq Ishq Hai Ishq Ishq, Ye Ishq Ishq Hai Ishq Ishq
Bahut Kathin Hai Dagar Panghat Ki
Ab Kya Bhar Laun Maein Jamuna Se Matki
Maein Jo Chali Jal Jamuna Bharan Ko
Dekho Sakhi Ji Maein Jo Chali Jal Jamuna Bharan Ko
Nandkishor Mohe Roke Jhaadon To
Kya Bhar Laun Maein Jamuna Se Matki
Ab Laaj Raakho More Ghoonghat Pat Ki
Jab Jab Krishn Ki Bansi Baaji, Nikali Raadha Saj Ke
Jaan Ajaan Ka Maan Bhula Ke, Lok Laaj Ko Taj Ke
Janak Dulaari Ban Ban Doli, Pahan Ke Prem Ki Maala
Darshan Jal Ki Pyaasi Meera Pi Gai Vishh Ka Pyaala
Aur Phir Araj Kari Ke
Laaj Raakho Raakho Raakho, Laaj Raakho Dekho Dekho,
Ye Ishq Ishq Hai Ishq Ishq, Ye Ishq Ishq Hai Ishq Ishq
Allah Rasool Ka Farmaan Ishq Hai
Yaane Hafeez Ishq Hai, Quraan Ishq Hai
Gautam Kaa Aur Maseeh Ka Armaan Ishq Hai
Ye Kaaynaat Jism Hai Aur Jaan Ishq Hai
Ishq Sarmad, Ishq Hi Mansoor Hai
Ishq Moosa, Ishq Koh-E-Noor Hai
Khaaq Ko But, Aur But Ko Devta Karta Hai Ishq
Intaha Ye Hai Ke Bande Ko Khuda Karta Hai Ishq
Haan Ishq Ishq Tera Ishq Ishq
Tera Ishq Ishq, Ishq Ishq
First some information on Qawwali as a form.
Have only been recently introduced to it, so am basically using information from these websites that I found useful:
http://www.osa.co.uk/qawwali_history.html
http://www.arigoldfilms.com/qawwali.html
Qawwali is a form associated with the Sufi tradition in Islam, and the particular practices that the Sufi saints developed to get close to god. It developed from a variety of roots such as philosophy, science, mathematics,musicology and literature... at around the 11th century A.D. The Muslim philosopher Al-Ghazali is credited with codifying it in his book "The Book of the Right Usages of Audition and Trance," written in the beginning of the 12th century. It is considered an important book on the traditions of Sufism.
Sama : was an important element of Sufism which is a kind of spiritual concert where the music was sung by a soloist or a chorus using instrumental elements of varying importance. The audience listened and and let themselves become involved in a trance like state and the return to a normal state would again be brought about by appropriate music..
"a mode which brings one closer to the experience of this inner truth by presenting the words (kalam) in the vehicle of music, thus providing an intangible; interplay between form and content, dwelling on certain words to give them a wider context, creating great depth in the apparently simple language of certain Sufic texts. The qawwals often dwell on one phrase or sentence, indicating both the obvious and hidden content by emphasizing and repeating various words and syllables, taking the audience into the discovery of hitherto not obvious meanings. A spinning wheel thus changes from a household instrument into the wheel of life or the wheel of hope depending on the shift of emphasis in one sentence. Repeating a sentence until all meaning is exhausted and it becomes meaningless is another technique for bringing the audience closer to the elusive ma'rifat. Through this technique, semantic reality is negated and a purity of form is created. It is often this element that transcends linguistic barriers."
Have only been recently introduced to it, so am basically using information from these websites that I found useful:
http://www.osa.co.uk/qawwali_history.html
http://www.arigoldfilms.com/qawwali.html
Qawwali is a form associated with the Sufi tradition in Islam, and the particular practices that the Sufi saints developed to get close to god. It developed from a variety of roots such as philosophy, science, mathematics,musicology and literature... at around the 11th century A.D. The Muslim philosopher Al-Ghazali is credited with codifying it in his book "The Book of the Right Usages of Audition and Trance," written in the beginning of the 12th century. It is considered an important book on the traditions of Sufism.
Sama : was an important element of Sufism which is a kind of spiritual concert where the music was sung by a soloist or a chorus using instrumental elements of varying importance. The audience listened and and let themselves become involved in a trance like state and the return to a normal state would again be brought about by appropriate music..
"a mode which brings one closer to the experience of this inner truth by presenting the words (kalam) in the vehicle of music, thus providing an intangible; interplay between form and content, dwelling on certain words to give them a wider context, creating great depth in the apparently simple language of certain Sufic texts. The qawwals often dwell on one phrase or sentence, indicating both the obvious and hidden content by emphasizing and repeating various words and syllables, taking the audience into the discovery of hitherto not obvious meanings. A spinning wheel thus changes from a household instrument into the wheel of life or the wheel of hope depending on the shift of emphasis in one sentence. Repeating a sentence until all meaning is exhausted and it becomes meaningless is another technique for bringing the audience closer to the elusive ma'rifat. Through this technique, semantic reality is negated and a purity of form is created. It is often this element that transcends linguistic barriers."
History of qawwali: contd. 
In India, the Chishti school is associated with the spread of Sufism and its propogation of its message through the form of the qawwali. One of its most respected saints was Khwaja Moinuddin Chisti(1143-1234) who lived in Delhi and later retired to Ajmer. Nizamuddin Auliya(1236-1325) was another Sufi saint who lived in Delhi and was famous for his use of music to spread the message of sufism. Khusrau(1254-1324) whose inspiration was Nizamuddin Aulia, is credited with mixing the Persian and Indian elements in the Qawwali.
"The languages of South Asia were freely used by Amir Khusraw in his compositions - Purbi (the language of Bihar) and Braj Bhasha. In Pakistan today, traditional qawwal still start their performance with a Farsi invocation, moving on to the South Asian language, Panjabi and moving further eastwards vvith Hindi, Urdu and Purbi. This west to east transition is also reflected in many Sufi texts of this region. This sequence is not followed in India, where the transitional link is not as strong."
The mystical underpinnings of Sufism went hand in hand with the secular orientation of its message of tolerance... and when the form of the Qawwali was appropriated by the film industries of both India and Pakistan, it was glamorized to shed its religious roots. Qawwalis focussed instead on love(even that can be traced back to the mystical tradition of using the love of the beloved as a metaphor of love for god), and other elements such as social commentary, satire and humor.
http://www.osa.co.uk/qawwali_history.html
The mystic imagery of qawwali began to be used for secular purposes: for examples;: the concept of wine in sufism indicates the secret knowledge ma’rifat), but this concept was effectively used in an orgiastic qawali by ths Sabri Btothers:,. "men sharabi" ("I am a drinker"). This was done so skillfuly as to make the interpretation open to the audience, while a (loose religious symbolism was retained. The film industry in Pakistan, realising the potential of qawwali, began to use it as a form of entertainment. Starting as performances in the traditional context at a sacred shrine (such as the memorable qawwali scene in the experimental film "samundar" (the Ocean in which a quasi-religious atmosphere is created), it moved on to humour. In the latter case, the qawwali form was used as a satire and the content was so disparate with traditional mystic imagery that laughter resulted. Such an inversion of religious content to create a comic effect is generally frowned upon by the orthodoxy and not accepted by qawwal themselves.
Going one step ahead after the secularization of qawwali, it began to emerge in stage shows at urban centres as a dialogue. Humourous exchanges between opposed groups of male and female performers respectively became a feature of entertaining programmes staged by young students at college functions.
The latest development of the qawwali form in this context has been the use of Pashto qawwali as a form of dialogue and social criticism. Qawwali cassettes in the Pashto language talk about the travails of Pushtun migrant ,labour in the major urban centres and Pakistan Television airs humourous dialogues between opposing groups (such as truckdrivers and the general public). Qawwali exists in most languages of Pakistan (with the exception of Sindhi and perhaps Baluchi) and continues to grow vigorously; the form being retained and the content changing with need and use.
Okay, only this much for today...
will hopefully complete this by the weekend... In the meantime, if anyone has a good audio copy of "Ye Ishq Ishq Hai" please do upload.
In India, the Chishti school is associated with the spread of Sufism and its propogation of its message through the form of the qawwali. One of its most respected saints was Khwaja Moinuddin Chisti(1143-1234) who lived in Delhi and later retired to Ajmer. Nizamuddin Auliya(1236-1325) was another Sufi saint who lived in Delhi and was famous for his use of music to spread the message of sufism. Khusrau(1254-1324) whose inspiration was Nizamuddin Aulia, is credited with mixing the Persian and Indian elements in the Qawwali.
"The languages of South Asia were freely used by Amir Khusraw in his compositions - Purbi (the language of Bihar) and Braj Bhasha. In Pakistan today, traditional qawwal still start their performance with a Farsi invocation, moving on to the South Asian language, Panjabi and moving further eastwards vvith Hindi, Urdu and Purbi. This west to east transition is also reflected in many Sufi texts of this region. This sequence is not followed in India, where the transitional link is not as strong."
The mystical underpinnings of Sufism went hand in hand with the secular orientation of its message of tolerance... and when the form of the Qawwali was appropriated by the film industries of both India and Pakistan, it was glamorized to shed its religious roots. Qawwalis focussed instead on love(even that can be traced back to the mystical tradition of using the love of the beloved as a metaphor of love for god), and other elements such as social commentary, satire and humor.
QUOTE
http://www.osa.co.uk/qawwali_history.html
The mystic imagery of qawwali began to be used for secular purposes: for examples;: the concept of wine in sufism indicates the secret knowledge ma’rifat), but this concept was effectively used in an orgiastic qawali by ths Sabri Btothers:,. "men sharabi" ("I am a drinker"). This was done so skillfuly as to make the interpretation open to the audience, while a (loose religious symbolism was retained. The film industry in Pakistan, realising the potential of qawwali, began to use it as a form of entertainment. Starting as performances in the traditional context at a sacred shrine (such as the memorable qawwali scene in the experimental film "samundar" (the Ocean in which a quasi-religious atmosphere is created), it moved on to humour. In the latter case, the qawwali form was used as a satire and the content was so disparate with traditional mystic imagery that laughter resulted. Such an inversion of religious content to create a comic effect is generally frowned upon by the orthodoxy and not accepted by qawwal themselves.
Going one step ahead after the secularization of qawwali, it began to emerge in stage shows at urban centres as a dialogue. Humourous exchanges between opposed groups of male and female performers respectively became a feature of entertaining programmes staged by young students at college functions.
The latest development of the qawwali form in this context has been the use of Pashto qawwali as a form of dialogue and social criticism. Qawwali cassettes in the Pashto language talk about the travails of Pushtun migrant ,labour in the major urban centres and Pakistan Television airs humourous dialogues between opposing groups (such as truckdrivers and the general public). Qawwali exists in most languages of Pakistan (with the exception of Sindhi and perhaps Baluchi) and continues to grow vigorously; the form being retained and the content changing with need and use.
Okay, only this much for today...
will hopefully complete this by the weekend... In the meantime, if anyone has a good audio copy of "Ye Ishq Ishq Hai" please do upload.QUOTE(mmuk2004 @ Nov 30 2007, 07:07 PM)
Okay, only this much for today...
will hopefully complete this by the weekend... In the meantime, if anyone has a good audio copy of "Ye Ishq Ishq Hai" please do upload.Madhavi,
I have the following three audios of this song:
yeh ishq ishq hai ishq ishq - 7:08 min
naa to kaarwaan ki talaash hai - 7:22 & 11:53min
The audio of 11:53 duration might be from Sukesh.
I can upload any of the above audios.
Hari Ram
Even I have the 11:53 one. Will share, if required.
QUOTE(mmuk2004 @ Jul 26 2006, 09:56 PM)
Thanks Vivek, and please call me Madhavi. Ji gives me some "ji"tters
Setting the scene for romance... Weather and the ambience permitting, the lovers gear up to admit to the great emotion...
Jaal:1952:SDB
Ye raat ye chandni phir kahan
Sun ja dil ki dastaan..
Joru Ka Bhai:1955:Jaidev
Surmai raat hai sitare hain...aaj dono jahan hamare hain
Subah ka intezaar kaun kare
Phir ye rut ye sama mile na mile
Aarzoo ka chaman khile na khile
Waqt ka aetbaar kaun kare..
House No.44 : 1955:SDB
Chup hai dharti chup hain chand sitare
Mere dil ki dhadkan tujhko pukare
Vaasna:1968:Chitragupt
Ye parbaton ke daere ye shaam ka dhuaan
Aise mein kyun na ched de dilon ki dastaan...
Girlfriend:1960:HK
Kashti ka khamosh safar hai shaam bhi hai tanhai bhi
Door kinare par bajti hain lehron ki shehnai bhi
Aaj mujhe kuch kehna hai
Love this Kishore gem from the sixties. Interesting song, the lover sets the scene for the song, and the girl is impatient to hear him confess to his love, and yet by the end of the song, he has not said the "kuch" that he sets out to say at the beginning. A teaser of a confession, he manages to get the girl to admit to the emotion, gets a commitment for the relationship and then... "Chodo ab kya kehna hai" ... Smart man...
Sahir playing with words again, setting the scene and then undermining it, suggesting that commitment does not really need verbal expression...Do add on more "ambience" songs to this list...
Am uploading two of the above songs from Girlfriend and Joru ka Bhai.
Plz Re-Upload all songs from Joru Ka Bhai
thanx a lot in Advance
Regards
Yasmin.
QUOTE(Yasmin @ Dec 7 2007, 08:11 AM)
Plz Re-Upload all songs from Joru Ka Bhai
thanx a lot in Advance
Regards
Yasmin.
I have uploaded Joru Ka Bhai album here:
http://www.hamaraforums.com/index.php?s=&a...st&p=444844
Since not all songs were written by Sahir Ludhianvi, it was uploaded in Jaidev's thread.
Hari Ram
oh great upload Hari Ram 
thanx a lot
Regards
Yasmin.
thanx a lot
Regards
Yasmin.
i cudnt find Sahir's Songs from Azadi ki raah par anywhere on earth
can u help me in it sir ?
can u help me in it sir ?
QUOTE(Yasmin @ Dec 7 2007, 10:11 AM)
oh great upload Hari Ram
thanx a lot
Regards
Yasmin.
You are welcome
QUOTE(Yasmin @ Dec 7 2007, 10:23 AM)
i cudnt find Sahir's Songs from Azadi ki raah par anywhere on earth
can u help me in it sir ?
Yasmin,
I don't have any. Anjvajay recently uploaded ' dil fida karte hain' song; but it is not written by Sahir.
Hari Ram
QUOTE(Hari Ram @ Dec 1 2007, 08:40 AM)
QUOTE(mmuk2004 @ Nov 30 2007, 07:07 PM)
Okay, only this much for today...
will hopefully complete this by the weekend... In the meantime, if anyone has a good audio copy of "Ye Ishq Ishq Hai" please do upload.Madhavi,
I have the following three audios of this song:
yeh ishq ishq hai ishq ishq - 7:08 min
naa to kaarwaan ki talaash hai - 7:22 & 11:53min
The audio of 11:53 duration might be from Sukesh.
I can upload any of the above audios.
Hari Ram
Hari Ram and Aurous,
Sorry for the late reply, just saw this. Yes please, would really like either of you to upload the long version of "ye ishq ishq hai". (11:53mts).
Madhavi,
Here is your requested song.
Film: Barsaat Ki Raat (1960)
Music: Roshan
Lyrics: Sahir Ludhianvi
Singers: Manna Dey, S. D. Batish, Asha Bhosle, Sudha Malhotra, Mohammad Rafi
Title: na to kaarvan ki talaash hai, na to hamsafar ki talaash hai ... yeh ishq ishq hai, ishq ishq
Click to view attachment
Hari Ram
Here is your requested song.
Film: Barsaat Ki Raat (1960)
Music: Roshan
Lyrics: Sahir Ludhianvi
Singers: Manna Dey, S. D. Batish, Asha Bhosle, Sudha Malhotra, Mohammad Rafi
Title: na to kaarvan ki talaash hai, na to hamsafar ki talaash hai ... yeh ishq ishq hai, ishq ishq
Click to view attachment
Hari Ram
Thank you Hari Ram, for your prompt upload.
Madhavi
Madhavi
Coming back to this thread after a while:
For Ajay: Miss his contributions in this forum and elsewhere.
Doraha(1952_Anil Biswas)
Mohabbat tark ki maine (abandoned/given up)
Gareban (outer clothers/cloak) see liya maine
Zamane ab to khush ho
Zehar ab ye bhi pee liya maine
Abhi zinda hoon lekin sochta rehta hoon ye dil mein(2)
Ke ab tak is tamanna ke sahare jee liya maine
Mohabbat tark...
Tujhe apna nahin sakta magar itna bhi kya kam hai(2)
Ke kuch ghadiyan tere khwabon mein khokar jee liya maine
Mohabbat...
Bas Ab to mera daman chhod do bekar umeedon
Bahut dukh seh liye maine bahut din ji liya maine
Mohabbat tark
Thus he begins his successful film career, resplendent with songs of love, stating in the very first line of his very first song, that he has abandoned it. This tussle with the emotion, the tension between desire and despair, is one of the central motifs of Sahir's poetry. It is in expressing this that he is at his most personal.
The lover has abandoned love, he has covered his vulnerability (gareban see liya...) and he turns to the rest of the world... are you satisfied, now that I have taken this poison... Sahir's lover still seems involved with the world, even when he is in the throes of rejecting it...
In fact the song has a number of themes that are central to Sahir's poems/lyrics. The loneliness of the lover, the "antagonistic" world, the woman who can never be his etc.
I have a question. I was closely following the lyrics of the song when I realised that it differs slightly from the lyrics of the poem,(I checked a couple of places on the web). Could not find much information on it apart from the fact that this was his first song for films, and that he got the job with the help of Prem Dhawan, who recommended him to Anil Biswas, and who penned the other Talat song in the film. The third Talat solo was written by someone else (am forgetting his name). Back to my question: Was the song previously part of some collection, that Sahir used for the film later? He has done that with some other poems too.
Here are the lyrics of the poem
Mohabbat Tark Ki Main Ne Garebaan Si Liyaa Main Ne
Zamaane Ab To Khush Ho Zahar Ye Bhee Pi Liyaa Main Ne
Abhee Zindaa Hun Lekin Sochataa Rahataa Hun Khalvat Mein
Ki Ab Tak Kis Tamannaa Ke Sahaare Ji Liyaa Main Ne
[Khalvat=solitude]
Unhen Apanaa Nahin Sakataa Magar Itanaa Bhee Kyaa Kam Hai
Ki Kuchh Muddat Hasin Khvaabon Mein Kho Kar Ji Liyaa Main Ne
Bas Ab To Daaman-E-Dil Chhod Do Bekaar Ummido
Bahut Dukh Sah Liye Main Ne Bahut Din Ji Liyaa Main Ne
In the last stanza, he calls upon his hope to let him go, he is tired of this struggle and beautifully captures it in the simple repetion of the word "bahut": "Bahut dukh seh liye maine/Bahut din ji liya maine" Sahir has this knack of delivering his punch lines with incredible simplicity: Bahut dukh seh liye maine/Bahut din ji liya maine... you cannot analyse these lines to death, they are what they mean and yet they form the core of Sahir's existential angst. They take me straight to another incredible song: "Teri duniya main jeene se/To behtar hai ke mar jayen..." You cannot get more direct than this and yet what resonances the song sets up!
And Talat's rendition... that direct vulnerability is so appealing.
Of the many copies of Mohabbat Tarq Ki Maine that I have, I could not find a single clear one. Can someone upload a good copy of the song?
For Ajay: Miss his contributions in this forum and elsewhere.
Doraha(1952_Anil Biswas)
Mohabbat tark ki maine (abandoned/given up)
Gareban (outer clothers/cloak) see liya maine
Zamane ab to khush ho
Zehar ab ye bhi pee liya maine
Abhi zinda hoon lekin sochta rehta hoon ye dil mein(2)
Ke ab tak is tamanna ke sahare jee liya maine
Mohabbat tark...
Tujhe apna nahin sakta magar itna bhi kya kam hai(2)
Ke kuch ghadiyan tere khwabon mein khokar jee liya maine
Mohabbat...
Bas Ab to mera daman chhod do bekar umeedon
Bahut dukh seh liye maine bahut din ji liya maine
Mohabbat tark
Thus he begins his successful film career, resplendent with songs of love, stating in the very first line of his very first song, that he has abandoned it. This tussle with the emotion, the tension between desire and despair, is one of the central motifs of Sahir's poetry. It is in expressing this that he is at his most personal.
The lover has abandoned love, he has covered his vulnerability (gareban see liya...) and he turns to the rest of the world... are you satisfied, now that I have taken this poison... Sahir's lover still seems involved with the world, even when he is in the throes of rejecting it...
In fact the song has a number of themes that are central to Sahir's poems/lyrics. The loneliness of the lover, the "antagonistic" world, the woman who can never be his etc.
I have a question. I was closely following the lyrics of the song when I realised that it differs slightly from the lyrics of the poem,(I checked a couple of places on the web). Could not find much information on it apart from the fact that this was his first song for films, and that he got the job with the help of Prem Dhawan, who recommended him to Anil Biswas, and who penned the other Talat song in the film. The third Talat solo was written by someone else (am forgetting his name). Back to my question: Was the song previously part of some collection, that Sahir used for the film later? He has done that with some other poems too.
Here are the lyrics of the poem
Mohabbat Tark Ki Main Ne Garebaan Si Liyaa Main Ne
Zamaane Ab To Khush Ho Zahar Ye Bhee Pi Liyaa Main Ne
Abhee Zindaa Hun Lekin Sochataa Rahataa Hun Khalvat Mein
Ki Ab Tak Kis Tamannaa Ke Sahaare Ji Liyaa Main Ne
[Khalvat=solitude]
Unhen Apanaa Nahin Sakataa Magar Itanaa Bhee Kyaa Kam Hai
Ki Kuchh Muddat Hasin Khvaabon Mein Kho Kar Ji Liyaa Main Ne
Bas Ab To Daaman-E-Dil Chhod Do Bekaar Ummido
Bahut Dukh Sah Liye Main Ne Bahut Din Ji Liyaa Main Ne
In the last stanza, he calls upon his hope to let him go, he is tired of this struggle and beautifully captures it in the simple repetion of the word "bahut": "Bahut dukh seh liye maine/Bahut din ji liya maine" Sahir has this knack of delivering his punch lines with incredible simplicity: Bahut dukh seh liye maine/Bahut din ji liya maine... you cannot analyse these lines to death, they are what they mean and yet they form the core of Sahir's existential angst. They take me straight to another incredible song: "Teri duniya main jeene se/To behtar hai ke mar jayen..." You cannot get more direct than this and yet what resonances the song sets up!
And Talat's rendition... that direct vulnerability is so appealing.
Of the many copies of Mohabbat Tarq Ki Maine that I have, I could not find a single clear one. Can someone upload a good copy of the song?
QUOTE(mmuk2004 @ Feb 26 2009, 03:47 AM)
Coming back to this thread after a while:
For Ajay: Miss his contributions in this forum and elsewhere.
Doraha(1952_Anil Biswas)
Mohabbat tark ki maine (abandoned/given up)
Gareban (outer clothers/cloak) see liya maine
Zamane ab to khush ho
Zehar ab ye bhi pee liya maine
Abhi zinda hoon lekin sochta rehta hoon ye dil mein(2)
Ke ab tak is tamanna ke sahare jee liya maine
Mohabbat tark...
Tujhe apna nahin sakta magar itna bhi kya kam hai(2)
Ke kuch ghadiyan tere khwabon mein khokar jee liya maine
Mohabbat...
Bas Ab to mera daman chhod do bekar umeedon
Bahut dukh seh liye maine bahut din ji liya maine
Mohabbat tark
Thus he begins his successful film career, resplendent with songs of love, stating in the very first line of his very first song, that he has abandoned it. This tussle with the emotion, the tension between desire and despair, is one of the central motifs of Sahir's poetry. It is in expressing this that he is at his most personal.
The lover has abandoned love, he has covered his vulnerability (gareban see liya...) and he turns to the rest of the world... are you satisfied, now that I have taken this poison... Sahir's lover still seems involved with the world, even when he is in the throes of rejecting it...
In fact the song has a number of themes that are central to Sahir's poems/lyrics. The loneliness of the lover, the "antagonistic" world, the woman who can never be his etc.
I have a question. I was closely following the lyrics of the song when I realised that it differs slightly from the lyrics of the poem,(I checked a couple of places on the web). Could not find much information on it apart from the fact that this was his first song for films, and that he got the job with the help of Prem Dhawan, who recommended him to Anil Biswas, and who penned the other Talat song in the film. The third Talat solo was written by someone else (am forgetting his name). Back to my question: Was the song previously part of some collection, that Sahir used for the film later? He has done that with some other poems too.
Here are the lyrics of the poem
Mohabbat Tark Ki Main Ne Garebaan Si Liyaa Main Ne
Zamaane Ab To Khush Ho Zahar Ye Bhee Pi Liyaa Main Ne
Abhee Zindaa Hun Lekin Sochataa Rahataa Hun Khalvat Mein
Ki Ab Tak Kis Tamannaa Ke Sahaare Ji Liyaa Main Ne
[Khalvat=solitude]
Unhen Apanaa Nahin Sakataa Magar Itanaa Bhee Kyaa Kam Hai
Ki Kuchh Muddat Hasin Khvaabon Mein Kho Kar Ji Liyaa Main Ne
Bas Ab To Daaman-E-Dil Chhod Do Bekaar Ummido
Bahut Dukh Sah Liye Main Ne Bahut Din Ji Liyaa Main Ne
In the last stanza, he calls upon his hope to let him go, he is tired of this struggle and beautifully captures it in the simple repetion of the word "bahut": "Bahut dukh seh liye maine/Bahut din ji liya maine" Sahir has this knack of delivering his punch lines with incredible simplicity: Bahut dukh seh liye maine/Bahut din ji liya maine... you cannot analyse these lines to death, they are what they mean and yet they form the core of Sahir's existential angst. They take me straight to another incredible song: "Teri duniya main jeene se/To behtar hai ke mar jayen..." You cannot get more direct than this and yet what resonances the song sets up!
And Talat's rendition... that direct vulnerability is so appealing.
Of the many copies of Mohabbat Tarq Ki Maine that I have, I could not find a single clear one. Can someone upload a good copy of the song?
Excellent write-up Madhavi, as usual! Great 2 have you back on your lovely thread. Keep posting. I really enjoy reading your insightful posts. Even I'm looking for a good copy of Mohabbat Tarq Ki Maine
Click to view attachmentto ma fav. poet, Sahir!
mp3 file is from TalatMahmood.net digitally remastered version.
m4a file is my cleaning of it. both sound terrible on headphone
but fine on my laptop speaker.
Third lyricist was Josh Malihabadi.
P.S. do you guys remember when priyaji posted some cartoon images
(scences from ramayana)
making fun of Unniji. Well the whole movie is released now.
Sita Sings the Blues. Probably not for Traditionalists.
Download the mpeg4 file.
http://www.archive.org/details/Sita_Sings_the_Blues
or see streamed version
http://www.thirteen.org/sites/reel13/blog/...ues-online/347/
m4a file is my cleaning of it. both sound terrible on headphone
but fine on my laptop speaker.
Third lyricist was Josh Malihabadi.
P.S. do you guys remember when priyaji posted some cartoon images
(scences from ramayana)
making fun of Unniji. Well the whole movie is released now.
Sita Sings the Blues. Probably not for Traditionalists.
Download the mpeg4 file.
http://www.archive.org/details/Sita_Sings_the_Blues
or see streamed version
http://www.thirteen.org/sites/reel13/blog/...ues-online/347/
thx r&d
Thanks Anu
Thanks Rajnish. Your version is certainly cleaner than mine.
Will check out the movie. Is it very long?
Thanks Rajnish. Your version is certainly cleaner than mine.
Will check out the movie. Is it very long?
QUOTE(mmuk2004 @ Mar 8 2009, 11:48 PM)
Thanks Anu
Thanks Rajnish. Your version is certainly cleaner than mine.
Will check out the movie. Is it very long?
haven't downloaded it yet. just read blog posting about it.
Run time: 01:21:31
Summary:
Sita is a goddess separated from her beloved Lord and husband Rama. Nina is an animator whose husband moves to India, then dumps her by email. Three hilarious shadow puppets narrate both ancient tragedy and modern comedy in this beautifully animated interpretation of the Indian epic Ramayana. Set to the 1920's jazz vocals of Annette Hanshaw, Sita Sings the Blues earns its tagline as "the Greatest Break-Up Story Ever Told."
QUOTE(r&d @ Mar 8 2009, 10:53 PM)
mp3 file is from TalatMahmood.net digitally remastered version.
m4a file is my cleaning of it. both sound terrible on headphone
but fine on my laptop speaker.
Third lyricist was Josh Malihabadi.
P.S. do you guys remember when priyaji posted some cartoon images
(scences from ramayana)
making fun of Unniji. Well the whole movie is released now.
Sita Sings the Blues. Probably not for Traditionalists.
Download the mpeg4 file.
http://www.archive.org/details/Sita_Sings_the_Blues
or see streamed version
http://www.thirteen.org/sites/reel13/blog/...ues-online/347/
Thanks a lot for the better versions, Rajnishji!
Downloading the movie file. Will check it out this weekend! Thanks for the links!
Chaahe Dekhe Ghur Ke Chaahe De Gaaliya Humein Pasand Hai
Film : Sachche Moti (1962)
Singer : Mohd.Rafi & Asha Bhosle
Music : N. Dutta
Lyrics : Sahir Ludhianvi
Duration : 3.24mins
Film : Sachche Moti (1962)
Singer : Mohd.Rafi & Asha Bhosle
Music : N. Dutta
Lyrics : Sahir Ludhianvi
Duration : 3.24mins
QUOTE(r&d @ Mar 9 2009, 02:05 AM)
QUOTE(mmuk2004 @ Mar 8 2009, 11:48 PM)
Thanks Anu
Thanks Rajnish. Your version is certainly cleaner than mine.
Will check out the movie. Is it very long?
haven't downloaded it yet. just read blog posting about it.
Run time: 01:21:31
Summary:
Sita is a goddess separated from her beloved Lord and husband Rama. Nina is an animator whose husband moves to India, then dumps her by email. Three hilarious shadow puppets narrate both ancient tragedy and modern comedy in this beautifully animated interpretation of the Indian epic Ramayana. Set to the 1920's jazz vocals of Annette Hanshaw, Sita Sings the Blues earns its tagline as "the Greatest Break-Up Story Ever Told."
Rajnish,
Finally saw the movie. Thanks for recommending it. I have written a few lines on it here, in the Hollywood review section : http://www.hamaraforums.com/index.php?show...mp;#entry590144
Did you manage to see it?
QUOTE
cinemaniac2Aug 10 2006, 12:59 PM
BC-ur new avtaar- neither do u look like a bawla nor a chintu
u look like a experienced suave seducer.
and Mmuk-ur one side lat looks superb.
now back to business
Aaj Ki Raat Nahin shikwe shikayat ki raat
aaj har lamha mohabbat ke liye
reshmi.......
...........
...........
subah ne aaj na aane ki kasam khayi hai
aaj ki raat......
a top class suhaag raat song.
another SL classic
BC-ur new avtaar- neither do u look like a bawla nor a chintu
u look like a experienced suave seducer.
and Mmuk-ur one side lat looks superb.
now back to business
Aaj Ki Raat Nahin shikwe shikayat ki raat
aaj har lamha mohabbat ke liye
reshmi.......
...........
...........
subah ne aaj na aane ki kasam khayi hai
aaj ki raat......
a top class suhaag raat song.
another SL classic
CM2ji, here is your request...
Aaj Ki Raat (Dharamputra:1961:Mahendra Kapoor)
Aaj ki raat nahin shikwe shikayat ke liye
Aaj har lamha har ek pal hai mohabbat ke liye
Reshmi sej hai mehki hui tanhai hai
Aaj ki raat muraadon ki baraat aayi hai
Aaj ki raat...
Har gunaah aaj muqaddas hai farishton ki tarha
Kaapte haathon ko mil jane do rishon ki tarha
Aaj milne mein na uljhan hai na rusvai hai
Aaj ki raat muraadon ki baraat aayi hai
Aaj ki raat...
Apni zulfein mere shaaney pe bikhar jane do
Is haseen raat ko kuchh aur nikhar jane do
Subha na aaj na aane ki kasam khayi hai
Aaj ki raat...
A pure moment dedicated to love...
from "Mohabbat tark ki maine, gareeban see liya maine..." to this declaration, that no complaints, no dissatisfaction will be allowed to mar this pure moment of love. The lover insists that every second, every moment be dedicated to love.
"Aaj ki raat nahin shikwe shikayat ke liye
Aaj har lamha har ek pal hai mohabbat ke liye"
The stage is set, silken and lavish for the lovers, filled with the fragrance of solitude... This night comes filled with desires.
Note how often the phrase "Aaj Ki raat" and "Aaj" are repeated in the song...the lover wants to hold this moment, this night and Sahir stretches the moment by the insistent repetition of the phrase "Aaj ki raat" and "Aaj."
The lover wants to keep this moment free from any blemish...
Har gunaah aaj muqaddas(sanctified) hai farishton ki tarha
Kaapte haathon ko mil jane do rishon ki tarha
Aaj milne mein na uljhan hai na rusvai hai
Aaj ki raat muraadon ki baraat aayi hai
Aaj ki raat...
Every crime is sanctified like the angels
Let the trembling hands meet like relationships...
There is nothing to stop this union, no complications, no dishonor,
This night comes filled with desires...
And in the third stanza, he sets the stage for the pure, iconic pose of love. Spread your hair over my shoulders to make the night even more beautiful(Sahir's romantic poetry is replete with sensuous images of "bikhri zulfein") and after he has captured this moment... time holds still. "Subha na aaj na aane ki kasam khayi hai..."
Apni zulfein mere shaaney pe bikhar jane do
Is haseen raat ko kuchh aur nikhar jane do
Subha na aaj na aane ki kasam khayi hai
Aaj ki raat...
QUOTE
another SL classic
CM2ji, will remember you when this song is played...
Here is the Youtube link to the song. Can someone please upload this song.
In memory of Cinemaniac2ji.
Dharamputra (1961) - Aaj Ki Raat
Singer- Mahendra Kapoor
MD- N. Dutta
Lyrics- Sahir Ludhianvi
Duration- 3:07 mins
Bitrate- 192kbps
Format- mp3
Click to view attachment
Dharamputra (1961) - Aaj Ki Raat
Singer- Mahendra Kapoor
MD- N. Dutta
Lyrics- Sahir Ludhianvi
Duration- 3:07 mins
Bitrate- 192kbps
Format- mp3
Click to view attachment
Thanks Ittefaq ji.
Was checking my files from this movie, and heard the Asha "Kya dekha naino wali naina kyun bhar aaye" carefully for the first time. Could not catch some of the words. Does someone have them, the lyrics, I mean? Will jot down them down and ask for specific words that I could not decipher, later.
Was checking my files from this movie, and heard the Asha "Kya dekha naino wali naina kyun bhar aaye" carefully for the first time. Could not catch some of the words. Does someone have them, the lyrics, I mean? Will jot down them down and ask for specific words that I could not decipher, later.
QUOTE(mmuk2004 @ May 12 2009, 05:32 PM)
Thanks Ittefaq ji.
Was checking my files from this movie, and heard the Asha "Kya dekha naino wali naina kyun bhar aaye" carefully for the first time. Could not catch some of the words. Does someone have them, the lyrics, I mean? Will jot down them down and ask for specific words that I could not decipher, later.
http://thaxi.hsc.usc.edu/rmim/giitaayan/files/rmim0104.isb
http://www.giitaayan.com/search.asp?s=Dhar...amp;browse=Film
Thanks Rajnish,
You just made life easier for me. I was listening to the qawwalis also and was dreading the prospect of trying to transcribe them!
You just made life easier for me. I was listening to the qawwalis also and was dreading the prospect of trying to transcribe them!
QUOTE(mmuk2004 @ May 12 2009, 08:31 PM)
Thanks Rajnish,
You just made life easier for me. I was listening to the qawwalis also and was dreading the prospect of trying to transcribe them!
madhavi the seducer,
if you are talking about mere dilbar mujhpar.
The DVD version has following stanza missing from the above link. probably you are talking about "Chahe Yeh Mano". I will paste it anyway.
Kahon kyon ke duniya raqib hai
Mera apna dil hi ajeeb hai
Na ye dushman hai na habeeb hai
mein kabhi na isko samajh saka
kabhi apno se bhi hua khafa
kabhi begano se bhel gaya
QUOTE(r&d @ May 12 2009, 10:50 PM)
madhavi the seducer,
I am rediscovering this album and each song is a gem. I would love to comment on all the songs, slowly. Thanks for the extra stanza, Rajnish.
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