DILIP KUMAR'S THOUGHTFULNESS AND RESPECT FOR HIS MOTHER-IN-LAW, NASEEM BANU (REVISED).

Naseem Banu, in her heydays, was known as “Pari Chehra” (fairy-face). In Eastern folklores and Muslim literatures, fairies are supposed to be the most beautiful and desirable females on earth, just as a howri (‘Hoor’) is a desirable species of Paradise (‘Jannat’) Coming from a wealthy family, Naseem Banu was endowed with beauty, grace and elegance that charmed the people around her. She was “the most ravishingly beautiful actress ever” and had the most gorgeous eyes: large, round-shaped and heavy lidded. She did not need any fine silk or satins or jewels to attract attention but was the original Beauty Queen. Beginning her filmy career in 1935, (KHOON KA KHOON) she went on playing the heroine roles for almost twenty years, till 1953 (BAGHI). Being one of the finest actresses of her time, Naseem Banu left her imprints in many movies, including KHOON KA KHOON or HAMLET, TALAAQ, BASANTI, ANOKHI ADA, CHANDNI RAAT, CHAL CHAL RE NAUJAWAN, SHEESH MAHAL, AJEEB LADKI, SHABISTAN, and a swashbuckling adventure movie, SINBAD THE SAILOR (remember the song ADAA SE JHOOMTE HUWE?) and of course the classic 1939 flick, PUKAR, where she portrayed the role of Empress Noor Jehan and wife to Jehangir (the grey-green eyed Chandramohan). She was the first female Super Star of her time.

The second phase of Naseem Banu's filmy career began with her donning important supporting roles from NAUSHERWAN-E-ADIL (1957) where she played the role of the mother of actor Rajkumar, but still looking beautiful as the Mallika-e-Iran and wife to Nausherwan (Sohrab Modi,) till 1972 (PAKEEZAH) and beyond (KABHIE KABHIE - 1976). In the meantime, beginning 1964 (APRIL FOOL) she took charge of costume designing and the costume and wardrobe department for her daughter, Saira Banu, in many memorable movies, such as PADOSAN, JHUK GAYA AASMAAN, PURAB PACHHIM, VICTORIA 203, JWAR BHATA, POCKETMAAR, RESHAM KI DORI, CHAITALI, BAIRAAG right up to KALA AADMI (1978). The sarees, the mini-sarees, the mini-skirts, the bathroom towels, two-piece towel wear, the pearl strings, the mink stoles, chokers, the tom-boyish pants and shirts, silver anklets, the daring décolletage, that we have seen Saira Banu wearing in most of her movies, were all designed by Naseem Banu. In the early Sixties, Naseem Banu also dabbled in film production along with her son, Sultan Ahmed. As a teenager I remember seeing in "Screen" and "Cine Advance" (both prestigious Weekly film Papers) an entire page being devoted to the promotion of that film called PALKON KI CHAAON MEIN. Unfortunately, for some reasons or the other this film never took off.

It was Naseem Banu who had taken active steps in getting Saira Banu married to Dilip Kumar, who certainly needs no introduction. Besides being an inspiration for generation of actors in India, he is also a philanthropist, a great human being, and one of the most revered and multi-dimensional personalities in India. Dilip Kumar being the most eligible bachelor of his time, Saira Banu was thrilled beyond words at the marriage prospects. She was so thrilled that she did not mind surrendering the 35 movie projects , including the English version of the film GUIDE, and JEWEL THIEF, as well as Mehboob Khan’s (d.1964) HABBA KHANTUN, that she had in her hands.


Soon after the marriage, Dilip Kumar, too, for the love of his wife, spent most of his free time or rather began living in Saira Banu’s Bungalow where his mother-in-law, Naseem Banu, also resided.
Dilip Kumar’s own landmark Bungalow is at a distance of couple of minutes’ walk or so from Saira’s. By the way, Dilip Kumar’s Bungalow (48/B, Pali Hills) has always been a reference point for the traffic moving about the Pali Hills which had acquired the equivalence of Hollywood’s Beverley Hills. As for Naseem Banu, she remained with them till her dying day and as long as she was alive, she supervised the going-abouts in their home, including the repairing of the wear and tear of the walls and bricks and furniture. She was a past-master at selecting the right colour for painting the walls and often gave tips to the contractors and painters on how to arrive at the correct shades of the desired colours – much to their surprise and delight. She was also an expert in interior designing, and in fact, the spacious foyer inside the Bungalow was designed by Naseem Banu.

Naseem Banu used to celebrate Dilip Kumar’s birthday in a grand style, by decorating their home with fragrant flowers and inviting guests to a sumptuous feast and making every bit of supervision to make that occasion a great success. She and Saira Banu would pamper Dilip Kumar silly. Saira Banu’s devotion to her hubby, Dilip Kumar, is well known. But some aspects of that devotion are not known and should in fact make for interesting reading in a separate blog article.

That Dilip Kumar is a doting husband is universally known. What is generally not known about one of the facets of Dilip Kumar is his thoughtfulness and care for his mother-in-law, Naseem Banu, too. Of course, Saira Banu was very fond of her mother and looked after her with great care and affection. Dilip Kumar had great respects for his mother-in-law whom he used to address as “Aapa Ji”. He used to listen to her whenever the occasions demanded. Whenever he came to come out of his room in order to go down the hall, he, like an obedient son-in-law, never failed to wish Salaam to Aapa Ji: “Salaam Alaykum Aapa Ji”. Naturally, what would appear as insignificant and mundane, assumes significance for us when it is associated with the original On-Screen Legend, Thespian Dilip Kumar. In this regard, I would like to bring on record an incident of the late 1970’s, that was narrated by a friend of mine.

It appears that one day Naseem Banu wanted to go out somewhere for which she needed a car. To her dismay, she found that all the cars had been taken and she was left with no car. So much unhappy was she at her plight, that this piece of news instantly reached Dilip Kumar. That was the time when Dilip Kumar used to sit in his office which was located in his own Bungalow. As soon as he learnt that Naseem Banu had no car to take her out, he came to her immediate rescue like the knight in the shining armour. He began making phone-calls from his office. Within no time, a fleet of 19 cars were lined up outside the Bungalow. More were coming. Word was sent to Naseem Banu that the cars were ready. Naseem Banu was pleasantly surprised at the fleet of cars at her disposal. She selected one and went away happily, elated at the thoughtful gesture of her son-in-law, Yusuf Khan – also known as The Dilip Kumar.

Naseem Banu was born on 4th July, 1916 and died on 18th June, 2002. On this occasion of the death anniversary of Naseem Banu, we pray that may her soul rest in everlasting heavenly peace.

NASIR

STORIES OF MYSTERIOUS ENCOUNTERS -2.

In Mumbai, not only some film studios, some hotels, burnt-down Mills, old buildings, dilapidated structures and houses, but even some roads appear to be haunted by ghosts. It also appears that ghosts can move about from their dwellings to which they will lure their victims. This is a story about a driver who escaped death by the skin of his teeth on the night between 18th and 19th June, 2009. No, he was not involved in any traffic accident but in a mysterious encounter about which I heard directly from him.

Many Call Centres have sprung up all over the city of Mumbai. Almost all of them work round the clock. There are morning shifts, afternoon shifts and night shifts in which employees are rotated. For those who finish their job late nights, Companies make arrangements to drop their employees near their residence. For this, they hire transport vehicles that are manned by the drivers of the company offering transportation Services. Bhootnath (name changed) works as a driver for a Call Centre that is located in the heart of the Mumbai – Mumbai Central to be exact. It is his duty to pick up employees at 1 A.M., every night and then drop them near their respective homes.

On the fateful night, he left the office at 1 A.M. with his “drops”. He made the last drop near the Bandra Railway Station. All alone, he took off for his home which is located in a populous suburban area, just outside the city limit. Thanks to the many flyovers in the city, the flow of traffic has comparatively improved on the Highways. He used the Andheri Link Road. It was almost 3 A.M., and the unearthly hours had reduced the vehicular traffic considerably on the main road. Bhootnath had been recently married to a young, pretty girl and he was very eager to reach home.

While he was on his way via the Andheri Link Road, he came to a place where there is a famous Mall. There he swerved into a bye-lane which is generally deserted at late nights. This was not the first time that he had used this lane, this being the shortest route to his home. To his surprise, he saw a man ahead who was signalling for a lift. Bhootnath stopped the car near him. The stranger asked Bhootnath whether he could drive him to a building which was located on the way. The man appeared to be normal. Taking a pity on his plight, Bhootnath asked him to step into the rear seat of the car. Without a word, the stranger got into the car and did not speak a word.

After some time, the car reached a place where that man told him to stop the car. Then he got down near a building which appeared to be at the rear of some company (name suppressed). There was an eerie silence around the area. The man then suggested why not have a cup of tea with him at his home. Bhootnath was dead tired but maybe due to some hypnosis he welcomed the suggestion of the stranger. A cuppa was what he needed then. This building looked like a co-operative housing society, but there were no security guards. Nor there was any elevator to go up. This man lived on the third floor as that was what he told him. They took the stairs, the man leading him. On and on they went up the stairs and Bhootnath was surprised that climbing up to the third floor could take up so much time. He was panting for breath. At last they came to what appeared to be the terrace of the building.

The man got on to the terrace, inviting him. Bhootnath told him that this was no apartment but just a terrace. Thereafter he noticed a distinct change in the voice of that man who now commanded him to step on the terrace. But by this time, Bhootnath had sensed that all was not right. He realized that there were no lights on the stairs. He was awfully frightened. Without losing any time, he turned his back and began running downstairs. On and on he ran downstairs, wishing that he could reach the ground-floor soon. To his horror, he found that he was being chased by the dogs who had appeared out of nowhere. Fortunately, they did not harm him. At last he reached the ground floor, and dashed towards his car. Before that, he had one last fleeting look at the building. He was shocked to notice that it was not some residential premises that he had seen while entering the compound but some dilapidated and deserted structure. The dogs were staring at him from building compound. Fumbling with his keys, he started his car and took off with a great speed. Heaving a sigh of relief, he soon made his way back home.

By the time he got home, he was shivering with cold and fever.
Yes, that was a night which Bhootnath will always remember all his life. He had given a ride to a ghost and if he had stepped on the terrace he himself would have never made his way back home. And who knows whether there was a terrace at all! No more pickups or drops, for it could have been just a dead drop!

NASIR

Mehboob Khan's Epic: AAN - The Untold Story, Part 2.

Continued...

Destiny herself plays strange roles. As is well-known, Mehboob Khan wanted Nargis to be his leading heroine in AAN. It was he who had first introduced and directed Nargis in TAQDEER (1943) and also later in HUMAYUN (1945) and ANDAZ (1949). However, with her busy schedule for RK’s AWAARA, (1951), Nargis could not give dates to Mehboob Khan. (In fact, she would be working exclusively for Raj Kapoor for the next five years and returning to Mehboob Khan only in 1956.) As such, there was some misunderstanding between the two. But the details regarding nature of this “misunderstanding” cannot be openly divulged for obvious reasons. The fact remains that Mehboob Khan was pissed off and he swore that he would bring in a new girl in place of Nargis to do that challenging role. It was under these circumstances that Mehboob Khan set out to find the heroine for his movie and thus discovered a reluctant Jewish girl of Iraqi descent, Farhat Ezekiel, better known as Nadira, who was to be coerced, cajoled and groomed as the “dream heroine” by Sardar Akhtar, the wife of Mehboob Khan. The blockbuster AAN would zoom Nadira to the star-status in her very first movie.

Comedian Mehmood whose fortunes would change only after 1960-1961 (CHHOTI BAHEN and SASURAL) was almost on the verge of landing the plum role of prince Shamsher Singh but for Premnath’s sudden interest to do a negative role for which he chose AAN. Mehboob Khan was glad to oblige the famous hero the negative role of a villain.


AAN’s shooting began in or about 1949. Mehboob Khan made it a point that the dream sequence in AAN would be more opulent and spectacular than the one in AWAARA. He ensured that AAN had a stunning scenery and so the outdoor shots were taken at different locales having the background of the rugged mountain, peaceful lakes, cascading waterfalls, floating clouds, blue skies, the crimson and orange sunrise and sunsets, beautiful flowers, lush greenery, water-logged paths in the woods, and golden harvest. If memory serves me right, most of the shooting was done in western MP’s Narsinghgarh in District Rajgarh. The song, AAJ MERE MAN MEIN KOI... was shot in the Devgarh village. DIL MEIN CHHUPA KE PYAAR KA...was shot on a small bridge near Indore.


As the shooting progressed, a time came when Mehboob Khan completely forgot about the warning of the Seer. The readers will surely remember the scene where Nadira is shown precariously hanging by the cliff. There is a waterfall in the background, which falls down the cliff. During the shooting of this song, Nadira actually slipped and fell down into the stream and was carried away by the currents. She was ultimately rescued and admitted to the hospital where she soon recovered. Mehboob then remembered what the Seer had said.
He blurted out: “O SAALA HAMM BHOOL GAYAA THAAH. O SAALA HAMM BHOOL GAYAA THAAH. SAYYED SAAB BOLA THAAH KE HEROINE MARTE MARTE BACHEGEE...” (Mehboob Khan used to frequently say “SAALA” while talking).


At last the shooting was completed. AAN was India’s first full-length technicolour movie and had its premiere at the newly opened Liberty Cinema, Bombay, in 1952. AAN was out and out a swashbuckling adventure movie of epic proportions, with an enthusing story of romance and revolution, highlighting a new politico-socio order where the subjects become the rulers and good triumphs over evil. Additionally, fabulous sets, exquisite jewellery, colourful costumes, imaginative camera work, strong direction, the tight script, crusty editing, brilliant dialogues, attractive choreography and art direction, the riots of colour, backed by the fine performances of the main actors and thousands of extras and even animals such as snarling lions and tigers, and scores of camels and stallions and the object of dispute – a mare, ensured that AAN was made in the mould that rivalled top Hollywood cinema of its golden era.


The magnetic presence and charm of the matinee idol, Dilip Kumar, who was then appearing for the first time in a dashing, swashbuckling role, further ensured that the picture was a thunderous success all over the sub-continent of India and Pakistan. In this new Avatar, in addition to exhibiting a streak of masochism vis-a-vis the fiery princess, he combines in himself the derring-do’s of Errol Flynn and Burt Lancaster, leaping around the balconies, battling the palace guards who attempt to thwart his entry to the bedroom of the savage princess, and then engaging in a gruelling sword-fight with the villain, Premnath, who comes off as the suavest of villains in the role of prince Shamsher Singh. By the way, Aan was the first film to have fight coordinators for action sequences, and S. Azeem and M.H. Douglas had done a good job of coordinating action sequences, including fisticuffs and fencing for the movie stars.



Nadira, as the savage princess, has her finest moment only towards the climax of the movie when she loses Jai Tilak. That scene, where she had nearly lost her life in real life, is to impact the viewers about the heroine’s moment of truth that she found true love only to lose object of desire: MOHABBAT MILEE AUR TUU KHO GAYAA which is from the song: TUJHE KHO DIYAA HAMNE PAANE KE BAAD... After having realised the murderous intent of her brother Shamsher, she lets everyone know whose side she is by exposing him and his plan to the people by shouting out repeatedly to the point of becoming hoarse that Maharaja is alive. Shamsher orders that she be burnt alive at the stake. The climax showing the princess tied at the stake and her own brother lighting the fire to the huge pile of dry wood, while the hero Jai Tilak fights the villain in a breathtaking sword-fight in the arena is surcharged with emotions and is the piece de resistance of the movie. The scene where after the villain is killed, Jai Tilak rescues the princess when for the first time she breaks into a genuine smile in the arms of Jai Tilak, saying: JAY TUM JEET GAYE is very touching indeed! No more the perpetually raised eye-brows and no more popping out the eyes there by Nadira – no more The Savage Princess.



Nimmi’s performance as Mangala in jilting the lusty overtures of prince Shamsher Singh and throwing herself out of the window to save her honour and dying at the feet of her childhood sweetheart, Jai Tilak, is outstanding. No doubt, the European crowd was impressed by her performance so that she was called the “Unkissed Indian Beauty” by the Londoners, while the French knew AAN by her name, Mangala. Her innocence shines out in the early scene when the Maharaj asks her: “Jai Tilak Tumhaara Kaun Hai,” (who is Jai Tilak to you?) and she hesitantly blurts out: “Hai naheen. Ho Jaayegaa” (He’s not mine at present but soon will be) is not without the many compelling humour that the movie has.


Songs and music had their own influence too in the success of the movie. Music Director Naushad had introduced a 100-piece orchestra for the first time in AAN. The playback songs of Mohammed Rafi, Lata Mangeshkar and Shamshad Begum became super-hits. There were nine songs! DIL MEIN CHHUPAAKE PYAAR KA TOOFAAN sung for the charismatic Dilip Kumar, is still vivid in public memory. The song, MAIN RAANEE HOON RAAJA KI (Shamshad Begum singing for Nimmi) was picturized very imaginatively, showing Mangala’s defiance of Shamsher Singh who calls her “Janglee Phool” and shows off a Cadillac in the countryside. The song also has the background bleating of the cattle that brings the countryside atmosphere alive. Then Dilip Kumar singing TAKRA GAYAA TUMSE while tied to the post after being whipped was also a trend-setter. Even as later as 33 years, a same sort of scene was enacted by Amitabh Bachchan in MARD. MOHABBAT CHOOME JINKE HAATH is a delightful song sung by Rafi Sahaab for Dilip Kumar who adds sexuality to the scene by holding an arm of Sheela Naik, telling her that his songs are not for the princess. As for MAAN MERAA EHSAAN ARRE NAADAAN..it meaningfully advances the story. However, the camera focuses on the Nadira’s shapely posterior in her jodhpurs for quiet sometime, adding erotic symbolism.

And the earlier song, AAG LAGEE TANN-MANN MEIN is lip-synched by Sheela Naik who plays the princess’ maid-in-waiting, while the princess bathes in her fancy royal pool. The bare shoulders of the princess and a huge floating flower, shown hiding her breasts, must have sired the erotic fantasies of the people who were not used to seeing such scenes in an Indian movie of that era. Both those scenes must have luckily escaped the scissors of the draconian Censor Board at a time when the moralist Morarji Desai became the Chief Minister of the Bombay State in 1952.


AAN was the first film to gross over Rupees 15 Million in India and thus was highest grosser for the year, 1952 – the time when the price of tickets were 5 Annas (31 paise), 10 Annas (62 paisa), One Rupee and Five Annas, and Two Rupees and Four Annas – i.e. the time when even “Duanni’s” and “Chavanni’s” had the purchasing power.


AAN was also the first Indian movie to have a huge release in U.S. and U.K with English subtitles, though with the shortened version called THE SAVAGE PRINCESS. AAN was also the first film to be dubbed in Tamil. The Japanese release was the shortest version. In UK and France, it was Nimmi in her role of Mangala who stole the thunder from Nadira. The London premiere show won her countless fans who nicknamed Nimmi as the “The Unkissed Indian Beauty.”
The French version was distributed in Europe, and the movie was known as MANGALA, FILLE DES INDES,
i.e. Mangala the daughter of India. No doubt, AAN attracted commendations from various quarters of the world, including Hollywood. Cecil B. DeMille, the famous director of the blockbuster Hollywood movies wrote to Mehboob Khan an effusive letter of praise about the film that he enjoyed and where he foresaw the potentials of the Indian Motion Pictures for securing world markets what with all the romance and magic of India. Orson Welles, despite being busy with his OTHELLO, found time to see the rushes of AAN and hear its music too.


Without doubt, AAN (which means PRIDE) is the Pride of India, and one of the greatest Indian classic movies of all times rivalled only by the fabulous MUGHAL-E-AZAM of K. Asif, notwithstanding Mehboob Khan’s own MOTHER INDIA. It’s a pity that the Filmfare Award was instituted two years later in 1954; otherwise, AAN would have surely won many Filmfare Awards for the actors and for its various departments of the film-making.


This article is dedicated to the memory of the Seer, Sayyad Mohammed Ali, who had got the story of AAN changed. He hailed from Rampur and used to stay in the Vanjawadi area of Mahim in Mumbai. He died in or about 1988 at the ripe age of eighty years. He was the maternal grandfather of my friend’s wife. His house still stands at the same place, above Cafe Meraj, near the Paramount Restaurant, where his daughter Farida resides with her family.

NASIR.

Mehboob Khan's Epic: AAN - The Untold Story,Part I

AAN - THE UNTOLD STORY by Nasir.

One Mr. Sayyad Mohammed Ali was renowned for his “Ilm-e-Jafar”. This is the science of numerology and it is said that through Ilm-e-Jafar the past and the future of a person or an incident or occurrence can be accessed and known. He was a sage who had spiritual insight and intuitive powers Many film personalities, including Mehboob Khan and Naushad used to consult him off and on. Madhubala’s father, Ataullah Khan, also used to visit him at his Mahim residence in Bombay.

When the story of AAN was completed, Mehboob Khan requested Sayyad Mohammed Ali to come to the Mehboob Studio to hear the story and give his advice and comments. At the appointed time, Sayyad Mohammed Ali went to the Mehboob Studio which was under construction. There he met Mehboob Khan. The story-writer, R.S. Choudhary, was also present in the Studio-room. Mehboob Khan made a motion of his hand and the story-writer began narrating the original story to Sayyad Mohammed Ali who listened with rapt attention, with his closed eyes. After the narration was over, Mehboob Khan looked at the pensive face of the Seer. He asked, “What’s your verdict?”

The Seer exclaimed, “Flop!” Mehboob Khan was shocked.

“So what should be done?” he asked the Seer.

“Make some changes in the story,” said the Seer. He advised:

“Keep the hero alive.” He was referring to the character Jai Tilak (Dilip Kumar).

“Kill one heroine.” This was the character of Mangala (Nimmi) that he was referring to.

“One thing more,” cautioned the Seer. “You must be careful. One heroine will meet with near-fatal accident.”

Mehboob Khan instructed the story-writer to make the suitable changes in the story. The main star-cast included Dilip Kumar as Jai Tilak of the Hada tribe; Nimmi as Mangala; Nadira as Princess Rajshree; Premnath as Prince Shamsher Singh; Murad as Bhaiji Maharaj. Camera work was by Faredoon Irani – the usual one with Mehboob Khan. Naushad was the Music Director and was assisted by Ghulam Mohammed. S.Ali Reza penned the dialogues while the story was of course by R.S. Choudhary. AAN was produced at the Central Studios.

Briefly, the real flashing point which sets the trend of the story by bringing all the lead actors are the challenges thrown in the arena. The duel between Jai Tilak and Shamsher; Jai Tilak taming the princess’s mare and riding her and then claiming the mare as his reward; the princess refusing to give the mare and her consequent hatred of Jai Tilak; the plea of Mangla before Bhaiji Maharaj that the mare should be given to Jai Tilak fairly and squarely and the acceptance of the plea, all this brings the characters in confrontation with one another. Jai Tilak is smitten by the fiery princess despite the fact that Mangala his childhood friend is head over heals in love with him, Shamsher falls for the rustic charm of Mangala whom he wants to deflower, Jai Tilak and Shamsher become sworn enemies, the princess snobbishly hides her feelings for Jai Tilak by sadistically having Jai Tilak whipped physically, while Bhaiji Maharaj is sought to be killed by his own brother Shamsher for not naming him as his successor but handing the kingdom to his subjects – the ‘Praja’.

One also finds the elements of sexual fetishism as the scarf of the princess makes the round from the princess to Jai Tilak, then to Mangala and back to the Princess and Jai Tilak’s bravado in facing the palace guards to get the scarf for himself, then actually entering the chamber of the princess and draping both himself and the princess with that scarf. The high passion is amplified in the colour of riots on the day of Holi against the song KHELO RANGG HAMAARE SANGG. Jai Tilak’s masochistic tendencies are also exposed when he takes the whipping and sings DIL KO HUWAA TUMSE PYAAR, AB HAI TUMEH IKHTIYAAR, CHAAHE BANAA DOH, CHAAHE MITAA DOH.....while tied to a post. This tendency is further exposed when he keeps the dagger as “Sharafat ki Deewar” or a partition of harmless intention in the wilderness despite having kidnapped the princess. The princess flings that very dagger on his back, seriously injuring him. Even later, when he survives, he gives her a gun so that she may shoot him. Anyway, this requires a separate article for a detailed explanation of the characters of AAN. During the climax of the story, Mangala dies saving her honour, impelling Jai Tilak to kidnap the princess in order to make a Mangla of her in which he finally succeeds. He also avenges Mangala by killing Shamsher in a sword-fight. The story ends with Bhaiji Maharaj handing over his kingdom to his subjects with the words, JAI PRAJA.

AAN thus topically highlighted the development of the independent India where the former princely states were asked or coerced into joining the Indian Union although at a price – the “privy purse”.

TO BE CONCLUDED:

NASIR

344. Translation of Sad Songs of Rafi: Akele mein Woh Ghabraate Toh Honge...

Movie: BIWI (1950)
Lyrics: Wali Sahab
Music: Azeez Hindi


Rafi Sahaab’s Memorable Gem: Akele Me.n Voh Ghabraate Toh Honge....

Roman Transliteration/English Translation of the original Urdu/Hindi Lyrics:


Akele me.n, voh ghabraate toh honge,
IN SOLITUDE, UNEASY SHE MAY BE FEELING,

Akele me.n voh ghabraate toh honge,
IN SOLITUDE, UNEASY SHE MAY BE FEELING,

miTaa ke mujhko, pachhtaate toh honge...
AFTER RUINING ME, SHE MAY BE REPENTING

Akele me.n.....
IN SOLITUDE...


hamaaree yaad, aa jaatee toh hogee
ABOUT ME, SHE MAY BE REMINISCING,

Hamaaree yaad, aa jaatee toh hogee,
ABOUT ME, SHE MAY BE REMINISCING,

Achaanak voh, ta.dap jaate toh honge,
SHE MAY BE SUDDENLY AGITATING,

Achaanak voh, ta.dap jaate toh honge,
SHE MAY BE SUDDENLY AGITATING

Akele me.n.....
IN SOLITUDE...


Voh din, haay voh din, haay~~re voh din,
THOSE DAYS, OH, THOSE DAYS, OH, THOSE DAYS!

Voh din, haay voh din, haay~~ re voh din,
THOSE DAYS, OH, THOSE DAYS, OH, THOSE DAYS!

Voh din un ko bhee, yaad aate toh honge,
THOSE DAYS, EVEN SHE MAY BE RECALLING,

Voh din un ko bhee, yaad aate toh honge,
THOSE DAYS, EVEN SHE MAY BE RECALLING

Akele me.n...
IN SOLITUDE...


Patange Apne dono.n, parr jalaa kar
THE MOTHS, WITH BOTH THEIR WINGS SEARING,

Patange apne dono.n, parr jalaa kar,
THE MOTHS, WITH BOTH THEIR WINGS SEARING,

Hamaaree yaad, dilwaate toh honge,
ABOUT ME, THEY MAY BE REMINDING,

Hamaaree yaad, dilwaate toh honge,
ABOUT ME, THEY MAY BE REMINDING.

Akele me.n voh ghabraate toh honge,
IN SOLITUDE, UNEASY SHE MAY BE FEELING,

miTaa ke mujhko, pachhtaate toh honge...
AFTER RUINING ME, SHE MAY BE REPENTING

Akele me.n.
IN SOLITUDE...

NASIR.
translation

Perhaps a great love is never returned. Had it been given warmth and shelter by its counterpart in the Other, perhaps it would have been hindered from ever growing to maturity. It "gives" us nothing. But in its world of loneliness it leads us up to the summits with wide vistas - of great insights. - Dag Hammarskjöld

343. Translation of Sad Songs of Rafi: Hamm Apne Dil Ka Fasaana Unhen....

Movie: ACTRESS (1948)
Music: Shyam Sunder
Lyrics: Naqshab


Young Rafi’s early nugget: Hamm apne dil kaa fasaana unhen sunaa naa sake...

Roman Transliteration/English Translation of the Urdu/Hindi Lyrics:


Hamm apne dil kaa fasaanaa, unhe.n sunaa naa sake,
WE COULDN’T NARRATE TO HER OUR HEART’S TALE,

Lagee hai aag jo..
THE PASSION THAT’S FIRED UP ...

Lagee hai, aag jo dil me.n, usse bhujaa naa sake,
WE COULDN’T QUENCH THE PASSION THAT’S FIRED UP IN THE HEART,

Hamm apne dil kaa fasaanaa, unhe.n sunaa naa sake.
WE COULDN’T NARRATE TO HER OUR HEART’S TALE...


Teree talaash me.n, dar dar ki Thokre.n khaayee.n,
IN LOOKING FOR YOU, WE WENT FROM PILLAR TO POST,

Teree talaash me.n, dar dar kee Thokre.n khaayee.n,
IN LOOKING FOR YOU, WE WENT FROM PILLAR TO POST,

Mereee wafaa ke qadam phir bhee dagmagaa naa sake,
EVEN SO, THE STEPS OF MY CONSTANCY DIDN’T WAVER,

Lagee hai aag jo....
THE PASSION THAT’S FIRED UP ...

Lagee hai aag jo dil me.n, usse bujhaa naa sake,
WE COULDN’T QUENCH THE PASSION THAT’S FIRED UP IN THE HEART,

Hamm apne dil ka fasaanaa, unhe.n sunaa naa sake.
WE COULDN’T NARRATE TO HER OUR HEART’S TALE...


Zaraa toh soch ke, uss dil kaa haal kyaa hogaa,
JUST THINK, WHAT WILL BE THE STATE OF THAT HEART,

Haal kyaa hogaa,
WHAT WILL BE THE STATE...

Zaraa toh soch ke, uss dil kaa haaal kyaa hogaa,
JUST THINK, WHAT WILL BE THE STATE OF THAT HEART,

Haal kyaa hogaa,
WHAT WILL BE THE STATE....

Jo duur reh na sake tere paas aa naa sake,
WHICH CAN’T BEAR TO BE FAR AWAY, NOR CAN IT COME CLOSE TO YOU,

Lagee hai aag jo..
THE PASSION THAT’S FIRED UP ...

Lagee hai, aag jo dil me.n, usse bujhaa naa sake,
WE COULDN’T QUENCH THE PASSION THAT’S FIRED UP IN THE HEART,

Hamm apne dil kaa fasaanaa, unhe.n sunaa na a sake..
WE COULDN’T NARRATE TO HER OUR HEART’S TALE...

Hamm unko yaad naa, karte pe dil kaa kyaa kijeeye,
WE WOULDN’T RECALL HER; BUT WHAT TO DO WITH THE HEART?

pe dil, ka kyaa kijeeye,
BUT WHAT TO DO WITH THE HEART?

Hazaar bhoolnaa chaahaa, magar bhulaa naa sake
WE TRIED TO FORGET HER A THOUSAND TIMES, BUT COULDN’T,

Lagee hai aag jo,
THE PASSION THAT’S FIRED UP ...

Lagee hai aag jo dil me.n, usse bujhaa naa sake,
WE COULDN’T QUENCH THE PASSION THAT’S FIRED UP IN THE HEART,

Hamm apne dil ka fasaana, unhe.n sunaa na sake.
WE COULDN’T NARRATE TO HER OUR HEART’S TALE,


NASIR

Anonymous
Sometimes we let affection, go unspoken,
Sometimes we let our love go unexpressed,
Sometimes we can't find words to tell our feelings,
Especially towards those we love the best.

342. Translation of Sad Songs of Rafi: Mohabbat Ke Dhoke Mein Koi Na Aaye...

Movie : Badi Bahen (1949)
Lyricist : Rajinder Krishan
Music Director : Husnlal Bhagatram


Rafi Sahaab’s Gem: Mohabbat Ke Dhoke Me.n Koee Naa Aaye....

Roman Transliteration/English Translation of the original Urdu/Hindi Lyrics:


mohabbat ke dhoke me.n koyee naa aaye,
LET NO ONE COME TO BE BETRAYED BY LOVE,

koee naa aaye,
LET NO ONE COME...

yeh ek din ha.nsaaye tau, sau din rulaaye
WHILE IT MAKES ONE LAUGH FOR A DAY, IT MAKES ONE WEEP FOR HUNDRED DAYS,

sau din rulaaye,
MAKES ONE WEEP FOR HUNDRED DAYS,

mohabbat ke dhoke me.n, koee naa aaye
LET NO ONE COME TO BE BETRAYED BY LOVE,

koee naa aaye,
LET NO ONE COME...


mujhe jab kisee se mohabbat nahee.n theeh,
THE TIME WHEN I LOVED NO ONE,

mohabbat nahee.n theeh,
LOVED NO ONE...,

tau aa.nkho ko rone kee aadat nahee.n theeh
THEN THE EYES HAD NO HABIT OF WEEPING,

aadat nahee.n theeh,
HAD NO HABIT,

mohabbat ne aankho me.n, aa.nsoo basaaye
LOVE HAS WELLED UP TEARS IN THE EYES,

aa.nsoo basaaye,
WELLED UP TEARS,

mohabbat ke dhoke me.n, koee naa aaye
LET NO ONE COME TO BE BETRAYED BY LOVE,

koee naa aaye
LET NO ONE COME...

yeh ek din ha.nsaaye tau, sau din rulaaye
WHILE IT MAKES ONE LAUGH FOR A DAY, IT MAKES ONE WEEP FOR HUNDRED DAYS,

sau din rulaaye,
MAKES ONE WEEP FOR HUNDRED DAYS,

mohabbat ke dhoke me.n, koee naa aaye
LET NO ONE COME TO BE BETRAYED BY LOVE,

koee naa aaye....
LET NO ONE COME...


mere dil ko dekho jo dhoke me.n aayaa
BEHOLD MY HEART THAT FELL FOR THE DECEPTION,

dhokhe me.n aayaa,
FELL FOR THE DECEPTION,

mohabbat ka ik geet bhoole se gaaya,
A SONG OF LOVE IT SANG ERRINGLY,

bhoole se gaaya,
SANG ERRINGLY,

magar raat din ab kare haaye haaye,
BUT NOW, NIGHT AND DAY ALL IT DOES IS BEWAIL!

kare haaye haaye,
ALL IT DOES IS BEWAIL!

mohabbat ke dhoke me.n, koee naa aaye
LET NO ONE COME TO BE BETRAYED BY LOVE,

koee naa aaye,
LET NO ONE COME...

yeh ek din ha.nsaaye tau, sau din rulaaye
WHILE IT MAKES ONE LAUGH FOR A DAY, IT MAKES ONE WEEP FOR HUNDRED DAYS,

sau din rulaaye,
MAKES ONE WEEP FOR HUNDRED DAYS,

mohabbat ke dhoke me.n, koee naa aaye
LET NO ONE COME TO BE BETRAYED BY LOVE,

koee naa aaye.
LET NO ONE COME.

NASIR

Do not bite at the bait of pleasure, till you know there is no hook beneath it.”
Thomas Jefferson