> On Jun 26, 2:27 pm, Asif gmail.com> wrote:
>> On Jun 24, 5:19 pm, Naseer googlemail.com> wrote:
>>> On Jun 24, 6:07 am, shri37 hotmail.com> wrote:
>>>> I love this song and its philosophy.
>>>> whatever it is at least give me credit to post the lyrics !!
>>> Shri 37 jii, aadaab.
>>> Thank you for posting this beautiful song. I know Vijay Sahib may
>>> disagree but Mahendra Kapoor came close to Rafi in this superb
>>> rendition. So, as a token of gratitude, I am re-typing the song again,
>>> incorporating Afzal Sahib's comments.
>>> chalo ik baar phir se, ajnabii ban jaaeN ham dono(N)
>>> chalo ik baar phir se, ajnabi ban jaaeN ham dono
>>> nah maiN tum se koii ummiid rakhuun dil-navaazii kii
>>> nah tum merii taraf dekho Ghalat-andaaz nazaroN se
>>> nah mere dil kii dhaRkan laRkhaRaae merii baatoN meN
>>> nah zaahir ho tumhaarii kash-makash kaa raaz nazaroN se
>>> chalo ik baar phir se...
>>> tumheN bhii koii uljhan roktii hai pesh-qad(a)mii se
>>> mujhe bhii log kehte haiN, kih yih jalve paraae haiN
>>> mere ham-raah bhii rusvaaiyaaN haiN mere maazii kii
>>> tumhaare saath bhii guzrii huii raaton ke saae haiN
>>> chalo ik baar phir se...
>>> ta'aaruf rog ho jaae to us ko bhoolnaa bih-tar
>>> ta'alluq bojh ban jaae to us ko toRnaa achchhaa
>>> vuh afsaanah, jise anjaam tak, laana nah ho mumkin
>>> use ik KHuub-soorat moR de kar, chhoRnaa achchhaa
>>> chalo ik baar phir se...
>> Naseer Sahab:
>> Thanks for the youtube link to the song. I saw the film as a boy, so
>> I do not remember anything from it. But I was extremely disappointed
>> by the filming of this beautiful song. Sunil Dutt's lips do not syncs
>> with the song's flow at all - he seems to be singing a bit ahead.
>> Plus, given the film's sombre mood, his happy face looks jarring. I
>> was expecting a mix of sadness, taunt, and dejection from his entire
>> body language. Most importantly, director BR Chopra wasted this song
>> on a piano and in a boring room. There was no need for Ashok Kumar to
>> be present in the song. Sunil Dutt could have sung it on some
>> hillside road, with Mala Sinha walking slowly in the distant or just
>> sitting on bench.
>> Anyway, whenever I hear or think about this song, I cannot help
>> wondering if this remains the single most beautiful song ever written
>> in Hindi cinema? Another song that comes close is Sahir's another gem
>> 'jab bhii jii chaahe na_ii duniyaa basaa lete hai.n log' (Daag, 1973):
>> yaad rahataa hai kise guzare zamaane kaa chalan
>> yaad rahataa hai kise
>> sard pa.D jaatii hai chaahat haar jaatii hai lagan
>> ab mohabbat bhii hai kyaa ik tijaarat ke siwaa
>> ham hii naadaa.N the jo o.Dhaa biitii yaado.n kaa kafan (Note how this
>> line beautifully sums up the life of a widow and her white garb)
>> waranaa jiine ke liye sab kuchh bhulaa dete hai.n log
>> Brilliant poetry! What is the objective definition of the most
>> beautiful song in Hindi cinema? Do any other song(s) beat the above
>> two in terms of sheer imagination, beauty of the thought, meaning,
>> message, and provocation?
> Asif Sahib, aadaab.
> I saw this film a long time ago but I do remember the story line. I
> believe Ashok Kumar's wife, who happens to be Mala Sinha's sister
> dies. Mala Sinha and Sunil Datt love each other. Circumstances compell
> her to marry Ashok Kumar. Sunil Datt keeps singing haunting songs like
> "aa bhii jaa, aa bhii jaa" etc. Ashok Kumar becomes aware that his
> wife has some form of relationship with another man and spies on her.
> The central message of the film is that whatever the past may have
> been for both the lovers, the wife (in this case) should be totally
> faithful to her new husband. We all would have no problem with this.
> But, it was rather harsh that these too were made to suffer.
> As for the song, normally only the hero/the heroine/the audience know
> what the words means in a particular situation. In this scene, Ashok
> Kumar is also aware what is being implied. I don't think Sunil Datt is
> smiling. He is putting on a brave face. The smile is only a mask over
> his true feelings. In this song he is resigned to the fact that the
> best way to end their afsaanah is to give it a beautiful twist and
> abandon it.
Maybe I am "going out on a limb" here.
I saw the film in the Indian city of Ahmedabad in 1963, and did
not like it one bit. B. R. Chopra was a noted film-maker and
his films were mostly quite popular.
In this film, Ashok Kumar and Nirupa Roy are married and have
children too. Nirupa Roy then passes away. Before her death,
IIRC, she urges both her husband and younger sister (Mala Sinha)
too to get married, so that the children can be properly looked
after. Mala and Sunil Dutt are already in love and it is most
difficult for Mala to cast him aside and marry a much older man.
Somehow this second marriage takes place and then Dutt re-enters
her life. He finds it difficult to let bygones be bygones, and
she too finds herself getting drawn towards him. Coming to know
about it, Ashok sets his own secretary to sort of spy on her.
Ultimately, she (literally) shuts the door on Sunil Dutt, with
the remark "YahaaN koi Mala (or her real name) naheeN rehti; yeh
Mrs. Ashok ka ghar hai".
I didn't quite like the idea that nobody is interested in getting
Mala married, even though she is at least 26-27 years of age in
the film. Nobody ever tries to find out whether she has met
anyone else. The pressure is purely emotional, coupled with a
bit of selfishness. The prospect of an outsider "sauteli maaN"
can be avoided and the children's future happiness will also be
secured. Whether she herself would like to get married to a much
older man doesn't seem to strike anyone. Also, the idea of
making life miserable for her through Ashok's own secretary was
quite reprehensible. I don't remember all the dialogue --- it is
possible that B.R. Chopra might have thrown in some lines to sort
of justify his story-line.
To sum up, I found the movie quite regressive It seemed to
convey and perpetuate the idea that, after all, it is a man's
world and that is how it should be.
I do realize that such things happen in real life. So do things
like Sati, Child Marriage, Ostracising Widows etc. But do we
have to make films justifying such things ? I think not.
It is possible that B.R. Chopra might have drawn inspiration from
the real life story of a well-known film personality --- Kamini
Kaushal. When her elder sister passed away, she (under pressure
from her family) married the widower Sood, who was an executive
with Bombay Port Trust, and many years her senior. At the time,
she was supposed to be madly in love with Dilip Kumar. So the
re-marriage amounted to killing two birds with one stone.