#All Time Best Songs of Raaj Kumar

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Lyrics Chhoo Lene Do Naazuk Hothon Ko

Lyrics Chhoo Lene Do Naazuk Hothon Ko

Chhoo Lene Do Naazuk Hothon Ko – Song contents: Lyrics in EnglishHindi LyricsYouTube VideoSong TriviaMore Lyrics in English | Chhoo Lene Do Naazuk Hothon Ko | Kaajal-1965 | Raaj Kumar, Meena Kumari Chhoo Lene DoNaazuk Hothon KoKuchh Aur Nahin HaiJaam Hai Ye Chhoo Lene DoNaazuk Hothon KoKuchh Aur Nahin HaiJaam Hai Ye Kudrat Ne Jo Hum KoBaksha HaiWo Sab Se HaseenInaam Hai YeChhoo Lene DoNaazuk…

[bollywoodirect]

Today marks the 87th birth anniversary of Nadira, the very famous actress of Hindi cinema during 50's and 60's. The "Mud Mud Ke Na Dekh" actress Nadira reigned supreme in the 1950s and 1960s and was one of the busiest actresses of her time. She played princesses and vamps, and was supposedly the first Hindi film star to be chauffeured around in a Rolls-Royce. A Baghdadi Jew hailing from Nagpada in south Mumbai, Nadira was introduced to the film industry by Sardar Begum, wife of film director Mehboob Khan, in the film Aan (1952). She starred in Aan opposite Dilip Kumar, the reigning heart-throb of the times. Nadira rose to cinematic prominence with her role as a Rajput princess in Aan. She is best remembered for her performance in films such as Shree 420 (1955), Pakeezah (1972) and Julie (1975), which won her Filmfare Best Supporting Actress Award. Her role as the seductive temptress Maya in Raj Kapoor's classic Shree 420 where she wooed Kapoor with the evergreen club-dance number "Mud Mud Ke Na Dekh" is etched in the minds of millions of Hindi cinema lovers. The song "Ajeeb Dastaan Hai Yeh" picturised on the trio of Nadira, Raaj Kumar and Meena Kumari in Dil Apna Preet Parayi continues to be popular even now. Nadira was a woman so much ahead of her time -- in fact, she was a woman for all time -- beautiful, bold, truthful. What today's woman strives to be, Nadira was 50 years ago.

[srbachchan]

DAY 3663

Film City, fl 16, Mumbai            Apr 4,  2018          Wed 3:12 PM

APOLOGIES APOLOGIES APOLOGIES APOLOGIES APOLOGIES  !!!!

... and seeking them through folded hands and feet and fingers and heart ..

The late night shoot and studio act ; the early morning reportage for the next day ; the struggle with the shoulder pain ; and work , kept me away from the most important work .. nah .. not work , the ultimate joy of connecting with my Ef ..

The anxious calls and messages and the concern for the absence of the Blog has been addressed and in the middle of TOH shoot at this historic Film City at this historic Fl 16 , your truly has broken for lunch .. but the best lunch is to not devour morsels of much required food, but to make up lost ground of the disappearance of the Blog and do this first before any else ..

My penance ..

.. thats at the recording and setting up the song and its delicacies and drawing its production on the laptop, before actually getting in front of the mike ..

.. and head phones .. and the right mood to catch the notes and .. SING .. 

at 76 that is a demand of incredibly difficult propositions .. but one labours, for the final outcome of giving or trying to give whatever it takes for quality and improvement ..

SO .. there ..

Film City historic , because this vast 350 acre area way past the now freshly developed suburbs of the City, was just a semi mountainous wild forest area. The Film City was developed years ago and it had its first shooting on floor  FL 1, with the Mahurat of my film ‘Barsaat ke ek Raat’  .. later a Lab for processing was put up within the area, and the foundation stone was laid by yours truly ..

Now of course its a bubbling region with immense amounts of film shootings in progress as also TV .. 

FL 16 .. historic because it was a brand new addition to the complex and the first shooting on this Floor was started with the film ‘BLACK’ , and the first shot of the film was done on me at this same floor .. the house set of the film was built on this floor ..

Tragedy struck in the middle of the shoot of BLACK .. after having done several days of work on it .. under very strange circumstances late at night the entire set caught fire ... and everything was destroyed .. Sanjay Leela Bhansali and all of us were simply devastated .. 

BUT .. the same set was re constructed at Mehboob Studios and we finished the film shoot there .. Mehbood Studios named and built by the Legendary Mehbood Khan, director producer and iconic personality of the Industry .. his most famous work - ‘Mother India’ with Nargis, Sunil Dutt, Raaj Kumar, Rajendra Kumar .. historic .. each one a legend in their own right .. 

OK .. the pretty young assistant lady has just walked in to my van and given me a ‘heads up’ on the time for me to be back on set .. 10 mins !!

‘ Heads Up’ is a language and a terminology that I cannot understand .. my head is always up .. so why come and give me those known instructions .. I mean the head hasn’t shifted below my knees .. not yet !

10 mins to grab lunch .. a scarce roll or two of bread .. and back to work .. nothing elaborate in cuisine can be entertained by me just yet .. the beard and the hair and the prosthetics, which take hours to put on, comes in the way !

Good the afternoon , then .. se ya later at night .. !!

And again APOLOGIES .. 

Amitabh Bachchan

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Ask any director who he’s been influenced by and Vijay Anand’s name will feature notably in that list. Because the filmmaker was not just a textbook of cinema. He was an entire curriculum. Not limited by any genre or stymied by his own sensibilities he could flit through comedy, thriller, drama, musical and even masala fare with ease. His directorial excellence was as much about his deft camera work as it was about his nuanced characters. Waheeda Rehman in Guide, despite playing an adulteress, went on to become an iconic symbol of rebellion. Vyjayanthimala went notches further as a dancer after she kept pace with his trailing camera in Jewel Thief. Shammi Kapoor became India’s answer to Elvis Presley as he matched Anand’s vision of a rockstar in Teesri Manzil. So did Mumtaz drape her sexuality in homely cotton sarees to give her best performance in Tere Mere Sapne…

Anand’s songs too outlived his times, most being the pride of satellite TV. Love awakening against a rising sun in Tere mere sapne ab ek rang hai. Dreams lettered in Pal pal dil ke paas… Love scaling heights in Dil ka bhanwar… Vijay Anand’s creative picturisations took the story forward. “My camera listens to the song and moves with it,” he once said. Long shots, lush backdrops and sharp intercutting brought out the poetry in the prose.

Yet Anand’s life was not confined to the boundaries of fame. He was essentially a seeker, his quest leading him to somewhere finding the ultimate answers with guru UG Krishnamurthy. It was also this philosophical side that helped him tide an ebbing career and health. For someone who could almost predict the period of his death, the shenanigans of fate were no threats. Today, Anand’s genius lives on in the cinematic jargon. In fact, Sriram Raghavan’s Johnny Gaddar, a noir thriller, paid a subtle tribute to the master in a scene where his blockbuster Johny Mera Naam played… Memories of an unforgettable man and an extraordinary filmmaker in the words of wife Sushma Anand… THE MAKER Goldie’s (Vijay Anand’s pet name) childhood was spent in Gurdaspur in Punjab. A fair child with blonde curls, he was naughty. Hence, his father called him ‘Goldilocks’. With time, locks nikalgaye, ‘Goldie’ rehgaya! Goldie lost his mother when he was seven. He, along with his two older sisters (they were a family of nine siblings), came to live with Chetan saab (Anand, filmmaker) and Uma bhabhi (Anand) at their ‘shack’ in Juhu. Chetan saab was older to Dev saab (Anand, actor/filmmaker) by 10 years, who in turn was older to Goldie by 10. Uma bhabhi was like a mother to Goldie and had a great influence on him. She urged him to write, given his sharp imagination. Goldie often said, “I owe everything to Bhabhi.”

While Goldie was studying in St Xaviers College in Mumbai, he directed several plays, including the play Rehearsal. It was a takeoff on Hamlet and the catch phrase ‘to be or not to be’. Just out of college, Goldie wrote the script of Navketan’s Taxi Driver (1954), with Uma bhabhi, which Chetan saab directed. He had also written the script of Nau Do Gyarah (1957) and wanted to direct it but didn’t have the courage to tell Dev saab about it. Once when Dev saab was going to Mahableshwar, he asked Goldie for the script to read it on the way. Goldie refused saying he’d narrate it himself. He hopped in the car and narrated the story through the journey. On reaching Mahableshwar, Dev saab called his office and said, “Navektan’s next production will be directed by Vijay Anand. Make an announcement!” From then Goldie’s career as a director took off.

Kala Bazaar (1960) was one film where all the three brothers worked together. Dev saab produced it. Goldie wrote and directed it. Chetan saab acted in it. During his college days, Goldie would see tickets being sold in black at theatres including Metro, Liberty and Empire… That gave birth to this concept. He even included real shots of the premiere of Mehboob Khan’s Mother India with actors including Dilip Kumar, Nargis Geeta Dutt, Guru Dutt, Raaj Kumar and Rajendra Kumar.

Amarjeet, who was a publicist and Goldie’s friend, lived in Chetan saab’s shack with Goldie. Once, Goldie fell sick. Amarjeet nursed him with affection. He’d serve him soup, press his legs, check the temperature… Goldie promised him a directorial assignment. Goldie wrote a detailed script of Hum Dono (1961, had Dev Anand in a double role) with everything marked…. entry, exit, camera placement… so that Amarjeet wouldn’t face difficulty while directing. But yet Amarjeet couldn’t do it. Finally, Goldie directed the film but gave Amarjeet the credit that he’d promised him.

Nutan was one of Goldie’s favourite actresses and suited perfectly in the comedy Tere Ghar Ke Saamne (1963). Dil ka bhanwar had a beautifully filmed song. It was shot in the Qutub Minar to get the feel of Delhi. The duo (Dev-Nutan) climbs up as friends but when they come down, they’re lovers. The song Ek ghar banaaonga had camera tricks – Nutan is seen in the glass of whiskey. Guide (1965) was Navketan’s first film in colour. Based on RK Narayan’s novel The Guide, Tad Danielewski was directing the English version for writer Pearl S Buck. Chetan saab was to shoot the same scenes for the Hindi version He found it frustrating. So when he got a financier for Haqeeqat (1964) he quit. Goldie accepted it on the condition that he’d rewrite the script as a subject like blatant adultery would not be accepted by Indian audiences. Guide became a classic because it excelled in photography (Fali Mistry), acting (Dev Anand-Waheeda Rehman), music (SD Burman), editing (Vijay Anand and Babu Shiekh)… The song Tere Mere Sapne was shot in the early light in Udapiur. It was an emotional mood where Dev saab builds hope in a dejected Waheeda Rehman. Aaj phir jeene ki tamanna hai was filmed in the Chittorgarh Fort in Rajasthan. Her playing with the straw showed her light-heartedness. When she throws the matki singing dil woh chala it spoke of shedding the past and new beginnings. The finest compliment for Goldie came from RK Narayan who said, “The film is more beautiful than my book.” Goldie went on to direct the spy thriller Jewel Thief (1967). For the legendary Hothon pe aisi baat filmed on Vyjayanthimala, three to four cameras were put up including a trolley camera. Later, Dev saab was to do Nasir Hussain’s thriller Teesri Manzil (1966). When he couldn’t, Shammi Kapoor was roped in. Initially, Shammiji came at his own time. But he realised that this man comes at 9 am with a ready script and his cameras are placed beforehand. He too began coming on time. Shammiji and Goldie struck a great rapport. Aaja aaja and Oh haseena zulfonwali will always be remembered for their energy, Shammiji playing a musician in the film. O mere sona re is my favourite because through the song Goldie played interestingly with Shammiji’s briefcase. Later, Johny Mera Naam (1970), an entertainer, further proved Goldie’s versatility. In Pal bhar ke liye… Goldie played with the windows, where the persistent lover (Dev saab) finally woos the heroine (Hema Malini).

A film that remained close to Goldie’s heart was Tere Mere Sapne (1971, based on AJ Cronin’s The Citadel). He was hurt that the ‘sensitive’ film was not a commercial success. It was the story of human relationships amidst materialism. Goldie met doctors to understand the authentic body language for his doctor protagonist (Dev Anand). The songs were unique too. Mumtaz sings Radha ne maala japi when she accepts the hero’s marriage proposal. Hey maine kasam li was filmed on Dev saab and Mumtaz on a bicycle. Jeevan ki bagiya was shot in close-ups and established their intimacy. But the less heard Mera antar ek mandir, a song, which hinted at conceiving a baby, was Goldie favourite. Goldie liked Nutan and Waheeda for their expressive eyes. He found Nanda to be a fine artiste as much as he liked Asha Parekh for her naughtiness. But in Mumtaz, he saw a great dancer and actress. Basically, he liked simplicity in a woman.

My favourite in Blackmail (1973) is Mile mile do badan. It’s the first time that the couple (Dharmendra-Raakhee) have come together. They’re hiding among the wood pile in the jungle even as dogs are sent to hunt them. The danger and intimacy makes the song beautiful. Pal pal dil ke saath is romantic because of the dreamy picturistaion. He directed some more films like Chhupa Rustom (1973), Ram Balram (1980) and Rajput (1982) but didn’t meet with much success. He also happened to act Kora Kagaz(1974) and Main Tulsi Tere Aangan ki (1978), which were huge hits. Goldie was proud of his later films Hum Rahe Na Hum (1984), a relationship saga that featured him with Rehana Sultan and Shabana Azmi and Jaana Na Dil Se Door with newcomers. Sadly, he couldn’t release them and that left him dejected. He’d say, “Perhaps, my time is over.”

THE MAN Goldie and I got married in 1978 during the shoot of Ram Balram. We cared for each other to the extent that we wanted to get married. He liked my simplicity. I understood his temperament. He rarely lost his cool. I was the one who’d lose my temper. I was crazier. I’d deliberately do things to annoy him. Sometimes, he manaoed (cajoled) me, sometimes I manoed him. Yes, women did throw themselves at him. But I never felt jealous or insecure. Rather, I’d tease him, “Main dekh rahi hoon! Maze karo! Enjoy yourself.” He rarely complimented me but when he did it made me happy. He liked me in sarees and sometimes picked up sarees and pieces of jewellery for me.

We loved to travel. Our best holiday was in Hampstead in London just after our marriage. There were theatres across the road. We shopped a lot. Once when we were in Europe, he quietly slipped out. “Yeh lene gaya tha,” he said later showing me a sweater he had bought for me.

He had a passion for ballroom dancing, waltz and fox trot. As a youngster, he’d travel from Chetan saab’s shack to a school in Colaba to learn waltz. He did a dance with Bindu in Chupa Rustom. The song Joh main hota ek toota tara was filmed on the bonnet of a car. He also loved shirts. He’d pick a dozen at a time. He was fond of watches and cologne and had grown fond of horses when he was working with Kalyanji Anandji.

Chetan saab’s shot division was superb. But Chetan saab changed things on the set, he was spontaneous. While Goldie went fully prepared. That’s why actors understood they couldn’t fool with him. They understood he meant business.

Goldie liked Guru Dutt’s realism, Raj Kapoor’s glamour and the existentialism in the works of Satyajit Ray. Meghe Dhaka Tara (1960) by Ritwik Ghatak was his favourite. But as a filmmaker he didn��t want to make realistic movies. He’d say, “This is a media for entertainment!” Goldie was not fond of drinks and nursed a peg throughout the evening. Rather, he was interested in spirituality and astronomy. He had read all religious books – the Gita, the Bible, the Upanishads, the Koran… He became a disciple of Osho Rajneesh but reached a dead end when he couldn’t find answers. Then he met UG Krishnamurthy (spiritual guru) in whom he found solace. UG once said, “If anyone, anywhere has understood me, it’s Goldie.” Instead of revolting, he accepted life as it came. He was against pretence. He never missed his past glory. He’d say it was a closed chapter. He didn’t want to write his biography. He believed, “Joh hoga so hogaya. My work will speak for itself.”

Towards the end he had developed a heart problem. Vaibhav had assisted him in Jaana Na Hum Se Door and then went off to attend a filmmaking course at the Lee Strasburg Institute in New York. Vaibhav returned in January 2004. Goldie passed away in February 2004. In fact, having some knowledge of astrology Goldie had predicted that February 2004 was a bad month for him. His only regret was that he couldn’t do much for our son Vaibhav, who’s inherited his sensibilities. After he passed away you do tend to get isolated. But it’s fine. I’ve taken to singing – something I was always interested in. And in my circle of friends I often sing Tere mere sapne ab ek rang hai…

YOU MUST KNOW…

Taxi Driver was inspired by Hollywood’s noir movement

Nau Do Gyarah was an urban thriller/road film with elements borrowed from Frank Capra’s It Happened One Night (1934).

Vijay Anand filmed Aaja panchi akela hai in a constricted space (a room and a toilet!) in Nau Do Gyarah. The film’s other hits were Hum hain rahi pyar ke and Aankhon mein kya ji.

Rhim jhim ke tarane (Kala Bazar) is remembered for Dev Anand and Waheeda Rehman under an umbrella!

In Tere Ghar Ke Saamne, Anand used camera tricks where Dev Anand imagines Nutan inside his drink! Then Dev’s aide puts an ice cube into the glass causing Nutan to shiver!

Hum Dono with Sahir Ludhianvi’s lyrics and Jaidev’s music gave the immortal gems Allah tero naam and Abhi na jaao choddh kar.

Aaj phir jeene ki tamanna hai (Guide) had Waheeda dancing along the ledge of the temple while Tere mere sapne was canned in just three shots.

RD Burman’s rock n roll inspired score in Teesri Manzil gave Shammi Kapoor his rockstar image.

Jewel Thief’s Hothon pe aisi baat had Vyjayanthimala gliding through an entire stanza in one take.

Johny Mera Naam had Hema Malini riding on a cable T-bar on Dev Aand’s lap

The great music and picturisation of Anand’s films can largely be credited to composer SD Burman, lyricist Shailendra and cinematographer Fali Mistry who translated his vision.

[henry699311869-blog]

5 Tips For Readying For The Mama From The New bride Speech.

Mommy India is a 1957 Indian Hindi-language epic drama film, routed through Mehboob Khan and starring Nargis, Sunil Dutt, Rajendra Kumar, and Raaj Kumar A remake of Khan's earlier movie Aurat (1940), that is actually the story of a needy town lady called Radha (Nargis) that, in the lack from her other half, has a hard time to increase her boys and endure against a shrewd money-lender amidst Ashleeptx68324090.myblog.De many troubles. Attributes the Wonderful Mom symbolizes, (pro) life, nurturance, help, forgiveness, support, determination, as well as compassion attach women to the instinctual power and also internal joy as well as strength from one's feminine attribute. Some girls viewing their planet change off a planet from passion, consistency and peace to a planet from concern, violence and also intimidation began to drop their religion in the Terrific Mommy. Incorporate a terrific meal strategy and some enjoyable and you are goinged to have the amount of time from your lifestyle at Best Shelf Mexican Cantina every night from the full week. I rejoice to recognize that my mama wailed as well, which I believed her soul beat versus mine. 2 years eventually, the death of my mommy put a sudden conclusion to all my high-flown strategies. Early in the early morning, Mom Guts sings a cradlesong to her daughter's remains, has the peasants stash that, and also snags herself to the cart. In Singapore there are a lot of center that deliver the instruction that how you address the trouble during the maternity, they will definitely instruct you ways to produce pregnancy simple for mom and also kid. That's really difficult to create top checklists of the bands that are your favored given that all their songs visit these listings. Our sellers and also our outlet staffs continuously run excellent retail stores as well as continue to get energy. Of course, our team do not become aware of this a lot as courts usually think that all kids are actually better off along with the mother. These ladies, that have actually used their business skill-sets as a route out of scarcity, give an American skin to an economic empowerment device that has taken pleasure in excellent effectiveness in establishing nations. St. Cleophas, daddy from James the Less (from Salome as well as of St. Jude), grand daddy from James the Greater (as well as from John the True love), bro of St. Joseph, other half from the sister from Mary the Mother from God. Wish us! You, Mom Azna, possess caring emotional electrical power to intercept and also create miracles. You do not would like to malfunction in irrepressible weeping given that you have made the effort to compose an outstanding mom eulogy which must be mentioned. She was woken by water incinerating her face and also her buddy's mom placed her in the shower. Purchase these books to embark upon your own sexual quest to uncover your interior Mom Goddess. By the end of the festival, awards are actually provided to the most ideal musicians which possess fantastic representations, best directors, greatest films as well as a lot of other honors.

[sharondelacondam-blog]

The Triple Goddess.

Mother India is a 1957 Indian Hindi-language legendary dramatization movie, driven through Mehboob Khan as well as starring Nargis, Sunil Dutt, Rajendra Kumar, and also Raaj Kumar A remake of Khan's earlier film Aurat (1940), this is the account from a bad off village girl named Radha (Nargis) that, in the absence from her hubby, strains to raise her children as well as survive from an insidious money-lender in the middle of several difficulties. Attributes the Wonderful Mother symbolizes, (pro) creation, nurturance, support, mercy, motivation, kindness, and persistence connect ladies to the instinctual power as well as interior delight and also durability from one's feminine nature. Some ladies viewing their world change off a globe from love, consistency and affection to a planet of anxiety, violence as well as intimidation started to lose their faith in the Great Mother. There is an excellent danger that little ones that witness abuse could mature assuming that brutality is the merely indicates to address emotional and also connection problems. Whether this is actually a bond of husband and wife or enthusiast and also precious or even this is actually bond from mother and also child, all sorts of man-woman connection can be made just through a bond of affection. Mama was the only female in her loved ones, and she entered searching just like high as her siblings carried out. Its opportunity for you to think of the many times as a little one and cassandramulga5.tumblr.com also probably present, that your mommy showered her generous love. It is a good idea not to lug an arrangement on the wedding day; the hands from a bride-to-be's mother should not be actually occupied and also she must manage to invite her attendees. In Singapore there are numerous facility that supply the training that exactly how you take on the problem throughout the pregnancy, they will definitely teach you ways to make maternity quick and easy for mommy along with child. Given that all their tunes go to these listings, it's truly hard to create top listings of the bands that are your preferred. And any sort of Mom's Time gift is a great Mama's Day present provided that that's presented with love. This is a stinging realization to a brand-new mother that of the liquid coming out of her little one (which can occasionally seem to be large!) must get into through her breastmilk. Another one that has incredible offers for your mom for Mother's Day is actually Dexclusive. This mom was actually reconciling in behalf of her kid; this is actually no telling how many godly mother's have actually prayed excellent requests of faith for their children. Huge seizures reduce magically along with a v-neck, scoop neck or even cross-over best along with a camisole underneath. If your mom as well as her buddies are still up for that, make use of a dancing floor as well as permit them all boogie to the songs. The Great Spirits abundance is around our company. The myriad skins and also forms from the body are infinite. She was with me till she breathed her final as well as my older sisters solemnly affirm that she was actually a great mom. As long as a solitary mommy makes an effort however, there are actually several points that she will definitely never have the ability to offer her little ones. Nevertheless, this is a begin in the correct path, and if you don't feel me - simply inquire your Mommy.

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Lyrics Tere Kooche Me Tera Deewana

Lyrics Tere Kooche Me Tera Deewana

Lyrics in English | Tere Kooche Me Tera Deewana | Heer Ranjha (1970) | Mohammed Rafi O (2)Ho (2)Tere Kooche Me Tera DeewanaAaj Dil Kho Baitha (2)Tere Kooche Me Tera DeewanaAaj Dil Kho Baitha (3)Kho Baitha (2)Aaj Dil Kho Baitha ………. Tera Deewana Hoon Inkaar NahiKaise Kah Doon Ke Mujhe Pyar NahiTera Deewana Hoon Inkaar NahiKaise Kah Doon Ke Mujhe Pyar NahiKuchh SharaaratTeri Aankhon Ki Bhi…

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Lyrics Mohabbat Ke Suhane Din

Lyrics Mohabbat Ke Suhane Din

Lyrics in English | Mohabbat Ke Suhane Din | Maryada (1971) | Raaj Kumar | Mala Sinha Mohabbat Ke Suhane DinJawaani Ki Haseen RaatenMohabbat Ke Suhane DinJawaani Ki Haseen RaatenJudaayi Me Nazar Aati Hain YeSab Khwaab Ki BaatenMohabbat Ke Suhane Din………… Antakshari Songs from “M” Ye Tanhaayi Nahi ThiIs Jagah Thi Pyar Ki MehfilYe Tanhaayi Nahi ThiIs Jagah Thi Pyar Ki MehfilTere Gham Se Gale Mil…

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Lyrics Chalo Dildaar Chalo

Lyrics Chalo Dildaar Chalo

Lyrics in English | Chalo Dildaar Chalo Chaand Ke Paar Chalo | Pakeezah (1972) | Mohammed Rafi-Lata Mangeshkar Chalo Dildaar ChaloChaand Ke Paar ChaloHam Hai Taiyyar ChaloChalo Dildaar ChaloChaand Ke Paar ChaloHam Hai Taiyyar Chalo………… Aao Kho JaayeSitaaron Me KahinAao Kho JaayeSitaaron Me KahinChhod De Aaj YeDuniya Ye Zameen (2)Chalo Dildaar ChaloChaand Ke Paar ChaloHam Hai Taiyyar…

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Lyrics Milo Na Tum To Hum Ghabraayen

Lyrics Milo Na Tum To Hum Ghabraayen

Lyrics in English | Milo Na Tum To Hum Ghabraayen | Heer Ranjha (1970) | Lata Mangeshkaar Milo Na Tum To Ham GhabraayenMilo To Aankh ChuraayeHamen Kya Ho Gaya Hai (2)Milo Na Tum To Ham GhabraayenMilo To Aankh ChuraayeHamen Kya Ho Gaya Hai (2)Tumhi Ko Dil Ka Raaz BataayenTumhi Se Raaz ChhupaayenHamen Kya Ho Gaya Hai (2)………… Antakshari Songs from “M” O Bhole SaathiyanDekhi Jo Shokhi Tere Pyar…

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Lyrics Ye Duniya Ye Mehfil

Lyrics Ye Duniya Ye Mehfil

Lyrics in English | Ye Duniya Ye Mehfil | Heer Ranjha (1970) | Mohammed Rafi | Raaj Kumar Ye DuniyaYe MehfilMere Kaam Ki Nahi (2)Ye DuniyaYe MehfilMere Kaam Ki Nahi (2)Ye DuniyaYe MehfilMere Kaam Ki Nahi (2)Ye DuniyaYe MehfilMere Kaam Ki Nahi (2)………. Kis Ko Sunaoo HaalDil-E-Bekarar KaBujhta Hua Charaag HoonApne Mazaar KaAe Kaash Bhool JaoonMagar Bhoolta NahiKis Dhoom Se Utha ThaJanaaza Bahaar…

[bollywoodirect]

Remembering renowned lyricist Indeevar, on his 20th death anniversary. The man who penned the title track for the Rajesh Khanna – Sharmila Tagor hit, ‘Safar’, ‘Zindagi ka safar, Hai yeh kaisa safar Koi samjha nahi … Koi jaana nahi …’ is Indeevar. Unluckily enough, Indeevar didn’t get many opportunities like this to pen down these quality songs. His career span is spread over four decades with a quantum of chartbusters only. The very reason could be his compromise on quality on work for his survival in this Indian Music Industry. Born in Jhansi, Madhya Pradesh as Shyamalal Bahu Rai, he came to the city of dreams, Mumbai with the clear intention of being a lyricist. He got his first assignment for the movie called ‘Double Face’ (1946). To be in the business, he took every assignments and grabbed every film that came his way and didn’t mind working for ‘B’ and ‘C’ grade projects. He got his first big break in the form of ‘Malhaar’ (1951). ‘Bade Armaan Se Rakha Hai Balam Teri Kasam’, a popular composition that retains a refreshing feel even today. But even this song couldn't ensure instant success. He finally shot into the big league with Babubhai Mistry's musical extravaganza, Parasmani (1963), which also launched the career of music duo Laxmikant-Pyarelal. In subsequent years, Indeevar forged a strong bond with a select set of filmmakers and music directors, that resulted in a repertoire of music that was eminently hummable, subtly evocative and definitely unforgettable. Though he got his first break in Justice Choudhury (1946) - he did another film of that name in 1983 - he did not get credit for the song, because by prior arrangement it went to top name Dinanath Madhok. Later he wrote songs like Kaise koi jiye (Baghban) and Aanewale kal ki tum tasveer ho (Chhote Babu), but recognition came only with Roshan s and Mukesh s Malhar with brilliant songs like Tara toote duniya dekhe , Bade armaanon se rakkha hai , Ek baar agar tu keh de and Hota rahaa yun hi gar anjaam wafaa ka . This also helped him being established as a regular lyricist as till then it was only assumed that he could excel in patriotic songs. The learned lyricist however hit big-time only after his association with Kalyanji-Anandji began around the early 60s. But from then on Indeevar never looked back all the way till his death in 1997, tuning with composers from Roshan in the 40s to Viju Shah, Aadesh Shrivastava, Anand Raaj Anand and Jatin-Lalit in the 90s. The only composer with whom I never worked somehow was S.D.Burman. I even recorded a song with Naushad for B.R.Chopra s Chanakya Aur Chandragupta, because Sahir Ludhianvi insisted that I do the film! said the poet. And this honour came to Indeevar because Sahir had called upon him to check the Hindu veracity of the former s lyrics in Chitralekha. I told Sahir that they were perfect! recalled Indeevar. Indeevar s deshbhakti genre did not find much representation in Hindi cinema. Songs like Dulhan chali and Hai preet jahaan ki reet sadaa were used - with necessary modifications over 20 years after he penned them as poems - in Manoj Kumar s Purab Aur Paschim. But there were two kinds of songs that he was best associated with - the intensely passionate passages on beauty and the songs that were loaded with truisms on life. There was a third kind too - the chaalu stuff that he did mainly for Bappi Lahiri s southern films in the 80s, but Indeevar was very clear about them as well. These songs were naughty, not cheap or vulgar. Often the way they were filmed made them seem that way. What shocked most people was that Indeevar could write such stuff. But a good lyricist must be an all-rounder. And I was getting good money to be one! Yes, Indeevar-ji had his idiosyncrasies and over a period of years we learnt how to use them well! For example, he tended to be a bit slow at work, so we wanted a title-song for Safar quickly we goaded him by saying that since he took a month to write a good song we had told the director to get someone else. He was immediately uptight and demanded to know the situation. We told him that it was about how no one understood the meaning of life, and that the mukhda had to include the word Safar or journey, because it was the title of that film. Within 30 minutes, the lyrics and tune of Zindagi ka safar hai yeh kaisa safar was ready and approved! He had his humorous, child-like side too. He wanted to go with us once to London, and we told him that it was pointless for him because he could not even tolerate hill-tation climates. But so determined was he that he installed an airconditioner in his home in the intervening weeks. When he came to the airport in humid July he was already wearing an overcoat and a wig, because someone had also told him that being bald would not look good in Britain! In the flight he kept laughing loudly and when asked why, he stated that according to Freud one must laugh when one is scared! Lyricists tend to have favourite words and phrases and Indeevar-ji s favourite word was kya , but he used this word with innumerable variations, as in Kasme vaade pyar wafa sab baatein hain baaton ka kya , Kya khoob lagti ho , Ek tu na mila saari duniya mili bhi to kya hai and many others. One of his most creative and fruitful alliances was with Manoj Kumar, who first signed him on for Upkar (1967). Indeevar and Kalyanji-Anandji injected the film with a fine blend of soulful emotion and patriotic euphoria through songs like ‘Kasme Vaade Pyaar Wafa’. Equally powerful were compositions like ‘Dulhan Chali, O Pehen Chali’ and ‘Koi Jab Tumhara Hriday Tod De’ from Purab Aur Paschim (1970). Earlier, in 1968, he had culled an awesome collection of soulful lyrics for Govind Saraiya's Saraswati Chandra. Together with his long-standing partners, Kalyanji-Anandji he produced unforgettable numbers such as ‘Chhod De Saari Duniya Kisi Ke Liye’, ‘Chandan Sa Badan’ and ‘Main To Bhool Chali Babul Ka Des’. In direct contrast to this classic score, the trio set an upbeat mood for Vijay Anand's musical hit, Johny Mera Naam (1970) with zany songs like ‘Nafrat Karne Walon Ke’ and ‘Pal Bhar Ke Liye Koi Hame Pyaar Kar Le’ and ‘O, O Mere Raja’. Two of Indeevar's best-remembered films were made the same year. While Manmohan Desai's Sachcha Jhootha produced ‘Meri Pyaari Beheniya Banegi Dulhaniya’, which has since become a permanent fixture in every wedding band, Asit Sen's Safar had Indeevar's poetic juices churning out wonders like ‘Jeevan Se Bhari Teri Aankhen’ and ‘Jo Tumko Ho Pasand’. Throughout the 1970s, his winning combination with Kalyanji-Anandji grew stronger and continued all the way up to Qurbani's' (1980) ‘Hum Tumhe Chaahte Hain Aise’. With the arrival of the disco beat and the Bhappi Lahiri wave, Indeevar put poetry on the backburner and stood up to the task of delivering mindless lyrics. There was a preset combination for all these Southern-style 'pots-n-pans' hits: Jeetendra, Sridevi, Jaya Pradha, Bhappi Lahiri and Indeevar. All the way from Himmatwalas' (1983) ‘Nainon Mein Sapna’ to Tohfa's nonsensical title song, Indeevar willfully accepted and adapted to the changing trends in film music. Towards the end of his career, he notched up a few hits with actor-turned-filmmaker Rakesh Roshan such as Karan Arjun (1995) and Koyla (1997). But even as he was trying to redeem himself as a poet, Indeevar passed away on February 27, 1997.