A VERY WARM WELCOME VISITORS

Thursday, April 30, 2009

299. Translation of Sad Songs of Rafi: Dil Ki Kali...


Movie: INKAAR (1977)
Music: Rajesh Roshan
Lyrics: Prem Dhawan


Rafi Sahaab’s additional sad version of the happy song: Dil Kee Kali...

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



dil kee kalee, yoo.n hee sadaa,
THE HEART’S BUD, MAY ALWAYS THUS

khiltee rahe, ha.nstee rahe,
KEEP ON BLOOMING, KEEP ON LAUGHING,

baghiyaa tumhaaree, mahaktee, rahe....
MAY YOUR PRIVATE-GARDEN KEEP ON GIVING FRAGRANCE....


NASIR.

The fragrance of flowers spreads only in the direction of the wind. But the goodness of a person spreads in all direction.
Chanakya

Wednesday, April 29, 2009

298. Translation of Sad Songs of Rafi: Pyaar Hai Ik Nishaan Qadmon Ka...


Movie: MUKTI (1977)
Lyrics: Anand Bakshi
Music: R.D. Burman


Rafi Sahaab’s song that only he could deliver: Pyaar Hai Ik Nishaan Qadmon Ka...

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



mil jaati hai, sansaar me.n, sansaar se mukti,
DELIVERANCE FROM THE WORLD IS OBTAINABLE IN THE WORLD

milti nahee.n marke bhee magar, pyaar se mukti.
BUT DELIVERANCE FROM LOVE IS NOT OBTAINED EVEN AFTER DEATH.

pyaar hai ik nishaan, qadmo.n ka...
LOVE IS ONE VESTIGE OF THE FOOT-STEPS..

pyaar hai ik, nishaan qadmo.n ka,
LOVE IS ONE VESTIGE OF THE FOOT-STEPS

jo musaafir ke baad, rehta hai,
THAT REMAINS AFTER THE TRAVELLER HAS GONE,

pyaar hai ik, nishaan qadmo.n ka,
LOVE IS ONE VESTIGE OF THE FOOT-STEPS

jo musaafir ke baad, rehta hai,
THAT REMAINS AFTER THE TRAVELLER HAS GONE,

bhool jaate hai.n log, sab lekin,
PEOPLE DO FORGET EVERYTHING, BUT

kuchh na kuchh phir bhee yaad rehta, hai,
SOMETHING OR THE OTHER STILL REMAINS IN MEMORY,

pyaar hai ik, nishaan qadmo.n ka..
LOVE IS ONE VESTIGE OF THE FOOT-STEPS...


rok leti hai.n, raah me.n yaade.n,
MEMORIES ACCOST US ON THE WAY,

jab bhee raaho.n se hamm, guzarte hai.n,
WHENEVER WE PASS BY THE TRODDEN PATHS,

rok leti hai.n, raah me.n yaade.n,
MEMORIES ACCOST US ON THE WAY,

jab bhee raaho.n se hamm, guzarte hai.n,
WHENEVER WE PASS BY THE TRODDEN PATHS,

kho gaye qahaqaho.n me.n, jo un ko,
THOSE WHO ARE LOST IN THE PEALS OF LAUGHTER, THEM

aansuuo.n me.n, talaash karte hai.n,
WE SEEK AMONG THE TEARS,

dil pe halki see, chot lagti hai,
THE HEART RECEIVES A SLIGHT BLOW,

dard aankho.n se phoot, behta hai,
THE PAIN BURSTS FROM THE EYES, FLOWING AWAY,

pyaar hai ik, nishaan qadmo.n ka...
LOVE IS ONE VESTIGE OF THE FOOT-STEPS...


kuchh bhee toh kam nahee.n, huaa dekho,
SEE, NOTHING HAS SUBSIDED:

zakhm hai.n phool hai.n, bahaare.n hai.n,
THERE ARE THE WOUNDS, THE FLOWERS, THE SPRING-TIMES,

kuchh bhee toh kam nahee.n, huaa dekho,
SEE, NOTHING HAS SUBSIDED:

zakhm hai.n phool hai.n, bahaare.n hai.n,
THERE ARE THE WOUNDS, THE FLOWERS, THE SPRING-TIMES,

tum nahee.n ho magar, tumeeh tum ho,
Y0U AREN’T THERE, BUT ‘TIS YOU AND ONLY YOU,

sab tumharee hee, yaadgaare.n hai.n,
ALL ARE ONLY YOUR MEMORIALS,

TooT jaane se, TooT jaate hai.n,
BY LOSING ONE’S SUPPORT, ONE ALSO LOSES

dil ke rishte yeh kaun, kehta hai,
THE RELATIONS OF THE HEART, WHO SAYS SO?

pyaar hai ik, nishaan qadmo.n ka...
LOVE IS ONE VESTIGE OF THE FOOT-STEPS...


yeh ghalat hai, ke marne waalo.n ko,
‘TIS WRONG THAT THE DEAD

zindagi se nijaat miltee hai,
GET LIBERATED FROM LIFE,

yeh ghalat hai, ke marne waalo.n ko,
‘TIS WRONG THAT THE DEAD

zindagi se nijaat miltee hai,
GET LIBERATED FROM LIFE,

is bahaane se, gham ke maaro.n ko,
‘TIS A PRETEXT BY WHICH THOSE WHO’RE HOUNDED BY GRIEF

aur lambee, hayaat miltee hai,
GET A MORE PROLONGED LIFE,

maana zanjeere.n toot jaati hai.n,
AGREED, THAT THE FETTERS DO BREAK,

aadmi phir bhee qaid, rehta hai,
EVEN SO, FETTERED THE MAN REMAINS,

bhool jaate hai.n log, sab lekin,
PEOPLE DO FORGET EVERYTHING, BUT

kuchh na kuchh phir bhee yaad rehta, hai,
SOMETHING OR THE OTHER STILL REMAINS IN MEMORY,

pyaar hai ik, nishaan, qadmo.n kaa,
LOVE IS ONE VESTIGE OF THE FOOT-PRINTS

jo musaafir ke baad, rehtaa hai.
THAT REMAINS AFTER THE TRAVELLER HAS GONE.

NASIR.

“Lives of great men all remind us we can make our lives sublime. And, departing, leave behind us footprints on the sands of time.”
- Henry Wadsworth Longfellow




http://rpc.copygator.com/ping/

Tuesday, April 28, 2009

297. Translation of Sad Songs of Rafi: Kyaa Huwaa Teraa Waadaa...


Movie: HUM KISI SE KAM NAHIN (1977)
Lyrics: Majrooh Sultanpuri
Music: R.D. Burman.

Main theatrical release in Bombay: Naaz Cinema.


Rafi Sahaab’s song of thumping success that won him the National Award for the year: Kyaa Huwaa Teraa Waadaa...

If tears don't stream to your eyes at Rafi Sahaab's rendition, my friend, you've never loved!

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


kyaa huaa, teraa waadaa...
WHAT HAPPENED TO YOUR PROMISE....?

woh qasam, woh iraadaa...
THAT OATH, THAT RESOLVE....!

kyaa huaa teraa waadaa,
WHAT HAPPENED TO YOUR PROMISE?

woh qasam woh iraadaa,
THAT OATH, THAT RESOLVE!

bhoolega dil, jis din tumeh,
THE DAY THE HEART FORGETS YOU,

woh din zindagee ka aakhree din hogaa,
THAT DAY WILL BE THE LAST DAY OF THE LIFE!

kyaa huaa, teraa waadaa,
WHAT HAPPENED TO YOUR PROMISE?

woh qasam woh iraadaa...
THAT OATH, THAT RESOLVE....!


(Italic lines in Shushma’s voice:)

bhoolega dil, jis din tumeh,
THE DAY THE HEART FORGETS YOU,

woh din zindagee ka aakhree din hogaa,
THAT DAY WILL BE THE LAST DAY OF THE LIFE!

kyaa huaa teraa waadaa,
WHAT HAPPENED TO YOUR PROMISE?



yaad hai mujh ko, tuune kahaa thaah,
I REMEMBER, YOU HAD SAID:

tum se nahee.n roothenge kabhee,
“NEVER WILL I BE DISPLEASED WITH YOU,

dil kee taraah se, haath mile hai.n,
LIKE THE HEART, THE HANDS HAVE MET,

kaise bhalaa chhootenge kabhee,
HOW WILL THEY EVER SEPARATE!”

teri baaho.n me.n beeti har shaam,
EVERY EVENING PASSED IN YOUR ARMS,

bewafa yeh bhee kyaa yaad nahee.n,
O FAITHLESS! DON’T YOU REMEMBER EVEN THIS?

kyaa huaa, teraa waadaa,
WHAT HAPPENED TO YOUR PROMISE?

woh qasam woh iraadaa,
THAT OATH, THAT RESOLVE!

bhoolega dil, jis din tumeh,
THE DAY THE HEART FORGETS YOU,

woh din zindagee ka aakhree din hogaa,
THAT DAY WILL BE THE LAST DAY OF THE LIFE!

kyaa huaa, teraa waadaa,
WHAT HAPPENED TO YOUR PROMISE?

woh qasam, woh iraadaaa...
THAT OATH, THAT RESOLVE....!


O kehne waale, mujh ko farebi,
O YOU, WHO CALLS ME AN IMPOSTER!

kaun farebi hai yeh bataa,
WHO THE IMPOSTER IS, TELL US!

woh jisne gham liya, pyaar kee khaatir,
IS IT HE, WHO GOT SORROW FOR THE SAKE OF LOVE?

yaa jisne pyaar ko bech diyaa,
OR IS IT SHE, WHO BARTERED AWAY THE LOVE?

nasha daulat ka aisa bhee kyaa,
BESOTTED WITH WEALTH? SURELY, NOT TO THIS EXTENT

ke tujhe kuch bhee yaad nahee.n,
THAT YOU DON’T EVEN REMEMBER A THING!

kyaa huaa, teraa waadaa,
WHAT HAPPENED TO YOUR PROMISE?

woh qasam woh iraadaa,
THAT OATH, THAT RESOLVE!

bhoolega dil, jis din tumeh,
THE DAY THE HEART FORGETS YOU,

woh din zindagee ka aakhree din hogaa,
THAT DAY WILL BE THE LAST DAY OF THE LIFE!

kyaa huaa, teraa waadaa,
WHAT HAPPENED TO YOUR PROMISE?

woh qasam....
THAT OATH....!

NASIR

A promise of love is, in its very essence, an oxymoron. It’s a lie, the biggest, most vicious one could ever tell. ......Make only the promises you can keep.
Jason Quek.


Monday, April 27, 2009

296. Translation of Sad Songs of Rafi: Dard Mein Doob Gayi Shaam...


Movie: MANDIR MASJID (1977)
Music: Sharda
Lyrics: Qafil Azar

Rafi Sahaab’s sad, but melodious number: Dard me.n Doob Gayee Shaam...

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



dard me.n Doob gayee shaam...,
THE EVENING HAS IMMERSED IN PAIN,

naa jaane kyas ho...,
WHO KNOWS WHAT’S GONNA HAPPEN!

ay muhabbat teraa anjaam....,
O LOVE! YOUR END-RESULT,

naa jaane kyaa ho....,
WHO KNOWS WHAT IT GONNA BE!

dard me.n Doob gayee shaam,
THE EVENING HAS IMMERSED IN PAIN,

naa jaane kyaa ho,
WHO KNOWS WHAT’S GONNA HAPPEN!

ay muhabbat teraa anjaam,
O LOVE! YOUR END-RESULT,

naa jaane kyaa ho,
WHO KNOWS WHAT IT GONNA BE!

dard me.n Doob gayee shaam...
THE EVENING HAS IMMERSED IN PAIN...


teree qasme.n tere waade, mai.n bhulaaoo.n kaise,
YOUR OATHS, YOUR PROMISES, HOW CAN I CAUSE THEM TO BE FORGOTTEN?

zakhm dil par voh lage hai.n, ke bataaoo.n kaise,
THE HEART HAS SUSTAINED SUCH WOUNDS THAT I SHUDDER TO SHOW,

aarzoo bann gayee ilzaam,
DESIRE HAS TURNED INTO AN ACCUSATION,

naa jaane kyaa ho,
WHO KNOWS WHAT GONNA HAPPEN!

ay muhabbat teraa anjaam,
O LOVE! YOUR END-RESULT,

naa jaane kyaa ho,
WHO KNOWS WHAT IT GONNA BE!

dard me.n Doob gayee shaam...
THE EVENING HAS IMMERSED IN PAIN...


hai.n puraanee vohee rasme.n, vohee baate.n Salma,
THE SAME AGE-OLD CUSTOM, THE SAME PRACTICES, O SALMA!

kyaa saje.ngee yahaa.n khawaabo.n, kee baraate.n Salma
HOW CAN THE DREAMS OF MARRIAGE-PROCESSIONS BE ADORNED HERE SALMA?

TooTe ummeed ke sab jaam,
ALL THE GOBLETS OF HOPE HAVE BEEN DASHED!

naa jaane kyaa ho,
WHO KNOWS WHAT’S GONNA HAPPEN!

ay muhabbat tera anjaam,
O LOVE! YOUR END-RESULT,

naa jaane kyaa ho,
WHO KNOWS WHAT IT GONNA BE!

dard me.n Doob gayee shaam,
THE EVENING HAS IMMERSED IN PAIN,

naa jaane kya ho,
WHO KNOWS WHAT’S GONNA HAPPEN!

ay muhabbat teraa anjaam,
O LOVE! YOUR END-RESULT,

naa jaane kyaa ho,
WHO KNOWS WHAT IT GONNA BE!

dard me.n Doob gayee shaam.
THE EVENING HAS IMMERSED IN PAIN.

NASIR.


A sunset's mounded cloud;
A diamond evening-star;
Sad blue hills afar;
Love in his shroud.

Scarcely a tear to shed;
Hardly a word to say;
The end of a summer day;
Sweet Love dead.
An Evening by Gwendolyn Brooks.

Sunday, April 26, 2009

295. Translation of Sad Songs of Rafi: Tu Jo Nahin Koi Mera...


Movie: DARINDA (1977)
Music: Kalyanji-Anandji
Lyrics: Indeevar.


Rafi Sahaab’s emotional Voice putting life into the lyrics: Tu Jo Naheen Koee Meraa...

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



Tu jo nahee.n koee meraa,
IF YOU AREN’T SOMEONE WHO’S MINE,

Meraa koee nahee.n,
NO ONE IS MINE,

Koee nahee.n....
NO ONE...

Zindagee teree yaado.n me.n khoyee,
LIFE IS ABSORBED IN YOUR MEMORIES,

Phir bhee khoyee nahee.n,
DESPITE THIS, ‘TIS NOT DESTROYED,

Zindagee, teree yaado.n me.n khoyee,
LIFE IS ABSORBED IN YOUR MEMORIES,

Phir bhee khoyee nahee.n,
DESPITE THIS, ‘TIS NOT DESTROYED,

Tu jo nahee.n koee meraa,
IF YOU AREN’T SOMEONE WHO’S MINE,

meraa koee nahee.n,
NO ONE IS MINE,

koee nahee.n,
NO ONE...

Zindagee teree yaado.n me.n khoyee,
LIFE IS ABSORBED IN YOUR MEMORIES,

Phir bhee khoyee nahee.n...
DESPITE THIS, ‘TIS NOT DESTROYED...


Teree chaahat naa jab tak, milegee
TILL THE TIME I FIND YOUR LOVE,

Teree chaahat, na jab tak milegee,
TILL THE TIME I FIND YOUR LOVE,

Ruh meree bhaTaktee rahegee,
MY SPIRIT WILL ROVE,

Haal meraa agar voh sune.nge,
IF ABOUT MY CIRCUMSTANCE THEY WERE TO HEAR,

Mujhe pe deewaane bhee ro pa.de.nge,
EVEN THE CRAZY ONES WOULD, OVER ME, WEEP,

Mujhe pe deewaane bhee ro pa.de.nge,
EVEN THE CRAZY ONES WOULD, OVER ME, WEEP,

Haal sun ke meraa phir bhee teree,
EVEN ON HEARING ABOUT MY STATE, YOUR

aa.nkh royee nahee.n...
EYES DIDN’T WEEP...


Tuu jo nahee.n koee meraa,
IF YOU AREN’T SOMEONE WHO’S MINE,

meraa koee nahee.n,
NO ONE IS MINE,

koee nahee.n,
NO ONE..

Zindagee teree yaado.n me.n khoyee,
LIFE IS ABSORBED IN YOUR MEMORIES,

Phir bhee khoyee nahee.n...
DESPITE THIS, ‘TIS NOT DESTROYED...


Phir se Dekha tujhe, hamne jis damm
THE MOMENT WE SAW YOU AGAIN,

Phir se Dekha, tujhe hamne jis damm,
THE MOMENT WE SAW YOU AGAIN,

Mar chale theh magar jee uThe hamm,
WE WERE DYING, BUT GOT REVIVED,

Berukhee se hame.n tuune maaraa,
YOU KILLED US BY YOUR INDIFFERENCE,

Tuu hai kaisaa, maseeh hamaaraa,
WHAT KIND OF OUR SAVIOUR YOU’RE?

Tuu hai kaisaa maseeh hamaaraa,
WHAT KIND OF OUR SAVIOUR YOU’RE?

Jab lagaanee naa theeh paar nayya,
WHEN YOU DIDN’T WANT TO TAKE THE BOAT ASHORE

kyoo.n Duboyee nahee.n,
WHY DIDN’T YOU SINK IT?


Tuu jo nahee.n koee meraa,
IF YOU AREN’T SOMEONE WHO’S MINE,

meraa koee nahee.n,
NO ONE IS MINE,

Koee nahee.n,
NO ONE...

Zindagee teree yaado.n me.n khoyee,
LIFE IS ABSORBED IN YOUR MEMORIES,

Phir bhee khoyee nahee.n,
DESPITE THIS, ‘TIS NOT DESTROYED,

Zindagee teree yaado.n me.n khoyee,
LIFE IS ABSORBED IN YOUR MEMORIES,

Phir bhee khoyee nahee.n.
DESPITE THIS, ‘TIS NOT DESTROYED.

NASIR.

"Your task is not to seek for love, but merely to seek and find all the barriers within yourself that you have built against it."
Jalal ad-Din Rumi

Saturday, April 25, 2009

MOHAMMED RAFI IN THE WORDS OF RAVINDRA JAIN


Ravindra Jain, the visually-challenged Musician, began his career with his first recorded song of the Singing Legend Mohammed Rafi in Silsila Hai Pyaar Ka. However, his first released movie was Kaanch Aur Heera in which, again, he had the immortal Golden Voice of Rafi Sahaab to begin with. Ravindra Jain remembers that Rafi Sahaab never made him feel that he was just beginning his career. Ravindra Jain also remembers that Rafi Sahaab put in the same dedication as he would put for a song by, say, Naushad Saab. NAZAR AATEE NAHEEN MANZIL, sung by Rafi Sahaab in Kaanch Aur Heera remains one of his most popular compositions. Of course, later on Rafi Sahaab sang many of his compositions in such movies as Chor Machaaye Shor, Badrinath Dhaam, Raja Harishchandra, Khoon Kharaba, Aatish, Toofan, Shatranj Ke Mohre, Do Jaasoos, Yeh Kaisa Insaaf, Saudagar, Daku Aur Mahatma, Saajan Mere Main Saajan ki,Atyachaar, Raees Zaada, Ek Gaon Ki Kahani, Ram Bharose, Ghar Ki Laaj, Ham Nahin Sudhrenge, Aakhri Kasam, Geet Gaata Chal, Khwaab,and so on from about 1973 to 1980.

Ravindra Jain, who remains one of the staunchest admirers of Rafi Sahaab, has time and again categorically stated, especially on TV channels, that no playback singer can occupy the high place of Rafi Sahaab. Ravindra Jain, being multi-talented himself, is also singer and lyricist. He is also known for coming up with his spontaneous lyrics.


After Rafi Sahaab passed away, the entire Indian film industry paid rich tributes to the memory of the eternal singer. Tributes also came from Pakistan and the rest of the world. Ravindra Jain has paid a glowing tribute to Rafi Sahaab in the following words which have been translated literally by me in English below:


Peshaani pe shams aankh me.n taaro.n ki ziya theeh
THE FOREHEAD WAS RESPLENDENT AS THE SUN, THE EYES SHONE WITH THE BRILLIANCE OF THE STARS,

Woh kaise bujha jis ko zamaane ki dua theeh
HOW COULD HE BE EXTINGUISHED WHO HAD THE BLESSINGS OF THE WORLD,

Naakhush hai Khuda apne farishto.n se
GOD IS DISPLEASED WITH HIS ANGELS,

Nahee.n toh dharti ke farishte ki zaroorat kya theeh
OTHERWISE, WHAT WAS THE NEED FOR AN EARTHLY ANGEL,

Naghme toh tere phir bhi sune jaayenge lekin,
YOUR SONGS WILL NO DOUBT BE LISTENED TO, BUT

Kuchh teri zaroorat, hame.n is ke sivaa bhee theeh.
WE NEEDED YOU ALSO FOR SOMEWHAT BESIDES THIS. 



On the occasion of Shahid rafi's launch of Mohammed Rafi Academy in Mumbai, Ravindra Jain said:

 “Rafi sahaab ne naam apnaa Mohammed se sajayaa hai
  Mohammed naam aisaa hai jo doh aalam pe chhaayaa hai
  Rafi Sahaab ke pardaa karne ke baad naa aisaa gaayak aayaa hai
  naa aisaa insaaN aayaa hai....” 

NASIR.

Friday, April 24, 2009

294. Translation of Sad Songs of Rafi: Tere Dar Pe Aayaa Hoon...


Movie: LAILA MAJNU (1976)
Lyrics: Sahir Ludhianvi
Music: Madan Mohan/Jaidev

Main Theatrical Release in Bombay: Super Cinema


Rafi Sahaab’s song of Hope and Desire: Tere dar Pe Aayaa Hoon ....

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



tere dar pe aayaa hoo.n,
I’VE COME TO YOUR THRESHOLD,

kuchh kar ke jaaoo.ngaa,
ONLY AFTER ACHIEVING SOMETHING, I’LL DEPART,

jholee bhar ke jaaoo.ngaa
AFTER A BAGFUL OF FULFILLED WISHES, I’LL DEPART,

yaa mar ke jaaoo.ngaa,
OR AFTER DEATH I’LL DEPART

mai.n tere dar pe aayaa hoo.n,
I’VE COME TO YOUR THRESHOLD,

kuchh kar ke jaaoo.ngaa,
AFTER ACHIEVING SOMETHING, I’LL DEPART,

jholee bhar ke jaaoo.ngaa
AFTER A BAGFUL OF FULFILLED WISHES, I’LL DEPART,

yaa mar ke jaaoo.ngaa,
OR AFTER DEATH, I’LL DEPART,

mai.n tere dar pe aayaa hoo.n,
I’VE COME TO YOUR THRESHOLD,

kuchh kar ke jaaoo.ngaa,
ONLY AFTER ACHIEVING SOMETHING, I’LL DEPART,

jholee bhar ke jaaoo.ngaa
AFTER A BAGFUL OF FULFILLED WISHES, I’LL DEPART,

yaa mar ke jaaoo.ngaa,
OR AFTER DEATH, I’LL DEPART,

mai.n tere dar pe aayaa hoo.n...
I’VE COME TO YOUR THRESHOLD...


tuu sab kuchh jaane hai
YOU KNOW EVERYTHING,

har gham pehchaane hai,
EVERY SORROW YOU RECOGNIZE,

tuu sab kuchh jaane hai
YOU KNOW EVERYTHING,

har gham pehchaane hai,
EVERY SORROW YOU RECOGNIZE,

jo dil kee uljhan hai,
THE CONFUSION THAT’S IN THE MIND,

sab tujh pe raushan hai,
ALL IS MANIFEST UNTO YOU,

ghaayal parwaanaa hoo.n,
A WOUNDED, DESPARATE LOVER AM I,

vahshee deewaanaa hoo.n,
WILD AND CRAZY AM I,

ghaayal parwaanaa hoo.n,
A WOUNDED, DESPARATE LOVER AM I,

vahshee deewaanaa hoo.n,
WILD AND CRAZY AM I,

teree shohrat sun sun ke, ummeede.n laayaa hoo.n
HEARING ABOUT YOUR FAME OFTEN, I’VE COME WITH EXPECTATIONS

tere dar pe...
TO YOUR THRESHOLD...

mai.n tere dar pe aayaa hoo.n,
I’VE COME TO YOUR THRESHOLD,

kuchh kar ke jaaoo.ngaa,
ONLY AFTER ACHIEVING SOMETHING, I’LL DEPART,

jholee bhar ke jaaoo.ngaa
AFTER A BAGFUL OF FULFILLED WISHES, I’LL DEPART,

yaa mar ke jaaoo.ngaa,
OR AFTER DEATH, I’LL DEPART,

mai.n tere dar pe aayaa hoo.n...
I’VE COME TO YOUR THRESHOLD....


dil gham se hairaa.n hai
THE HEART IS PERPLEXED WITH SORROW,

meree duniyaa veeraa.n hai,
DESOLATE IS MY UNIVERSE,

dil gham se hairaa.n hai
THE HEART IS PERPLEXED WITH SORROW,

meree duniyaa veeraa.n hai,
DESOLATE IS MY UNIVERSE,

nazro.n kee pyaas bujhaa
QUENCH THE THIRST OF MY SIGHT,

meraa bichha.Daa yaar milaa,
UNITE ME WITH MY BELOVED,

ab yaa gham chhooTegaa,
NOW EITHER THIS GRIEF GOES,

varnaa dam TooTegaa.
OR MY BREATH CEASES,

ab yaa gham chhooTegaa,
NOW EITHER THIS GRIEF GOES,

varnaa dam TooTegaa.
OR MY BREATH CEASES,

ab jeenaa mushkil hai,
TO LIVE IS DIFFICULT NOW,

faryaade.n laayaa hoo.n
THE COMPLAINTS I’VE BROUGHT

tere dar pe...
TO YOUR THRESHOLD....

mai.n tere dar pe aayaa hoo.n,
I’VE COME TO YOUR THRESHOLD,

kuchh kar ke jaaoo.ngaa,
ONLY AFTER ACHIEVING SOMETHING, I’LL DEPART,

jholee bhar ke jaaoo.ngaa,
AFTER A BAGFUL OF FULFULLED WISHES, I’LL DEPART,

yaa mar ke jaaoo.ngaa,
OR AFTER DEATH, I’LL DEPART,

mai.n tere dar pe aayaa hoo.n,
I’VE COME TO YOUR THRESHOLD,

kuchh kar ke jaaoo.ngaa,
ONLY AFTER ACHIEVING SOMETHING, I’LL DEPART,

jholee bhar ke jaaoo.ngaa,
AFTER A BAGFUL OF FULFILLED WISHES, I’LL DEPART,

yaa mar ke jaaoo.ngaa,
OR AFTER DEATH, I’LL DEPART,

mai.n tere dar pe aayaa hoo.n...
I’VE COME TO YOUR THRESHOLD...

NASIR

Bilal bin Harith asked the Prophet, (May Allah bless him and grant him peace), for help during the famine in Madina during the khilafah of 'Umar, may Allah be pleased with Him. The Messenger of Allah, (May Allah bless him and grant him peace), gave water to 'Uthman, may Allah be pleased with Him, from a window when he was being surrounded by his enemies and, furthermore, even comforted him by giving the news that he would be martyred and would be breaking his fast with him in paradise the next day. The Prophet, (May Allah bless him and grant him peace), gave advice to Imam Hussayn, may Allah be pleased with Him, regarding the battle of Karbala -when he was departing for Kufa and then later, on the night before his death. The Messenger of Allah, (May Allah bless him and grant him peace), gave news that they would meet the next day in Paradise. [Tarikh Ibn Kathir, chapter on Khilafa of 'Umar; chapter on Death of 'Uthman, and the chapter on Karbala] -Quoted in www.islam786.org -

Wednesday, April 22, 2009

293. Translation of Sad Songs of Rafi: Barbaad-e-Muhabbat Ki Dua...


Movie: LAILA MAJNU (1976)
Lyrics: Sahir Ludhianvi
Music: Madan Mohan/Jaidev

Main Theatrical Release in Bombay: Super Cinema


As morning broke, the sun, with its golden light,
Eclipsed the twinkling stars of silvery white;
And Majnoon, rising, eagerly pursued
The path which wound to Laili's solitude,
Grieved to the heart; and, as he went along
His lips breathed softly some impassion'd song;

From Nizami's Laili and Majnoon - Tr. by James Atkin, Esq.)


Rafi Sahaab singing about ruined love with the passion and rapture of Majnun, the star-crossed lover,in: Barbaad-e-Muhabbat Kee Dua Saath Liye Jaa....

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


barbaad-e-mohabbat kee, duaa saath, liye jaa,
THE BLESSING OF THE RUINED LOVE, BEAR AWAY WITH THEE,

barbaad-e-mohabbat kee, duaa saath liye jaa,
THE BLESSING OF THE RUINED LOVE, BEAR AWAY WITH THEE,

TooTaa huwaa, iqaraar-e-wafaa, saath liye jaa,
THE BROKEN PLEDGE OF FAITHFULNESS, BEAR AWAY WITH THEE,

barbaad-e-mohabbat kee, duaa saath, liye jaa...
THE BLESSING OF THE RUINED LOVE, BEAR AWAY WITH THEE...


ik dil thaah, jo pehle hee, tujhe sau.mp diyaa thaah,
THE ONLY HEART WAS, IN THE VERY BEGINNING, ENTRUSTED TO THEE,

ik dil thaah, jo pehle hee, tujhe sau.mp diyaa thaah,
THE ONLY HEART WAS, IN THE VERY BEGINNING, ENTRUSTED TO THEE,

yeh jaan bhee, ay jaan-e, -adaa saath, liye jaa,
O SOUL-SEDUCER! EVEN THIS LIFE, BEAR AWAY WITH THEE,

yeh jaan bhee, ay jaan-e, -adaa saath liye jaa,
O SOUL-SEDUCER! EVEN THIS LIFE, BEAR AWAY WITH THEE...


taptee huwee raaho.n se, tujhe aa.nch naa, paho.nche,
IN ORDER THAT THE HEAT OF THE SCORCHING PATHS MAY NOT REACH THEE,

taptee huwee, raaho.n se, tujhe aa.nch naa, paho.nche,
IN ORDER THAT THE HEAT OF THE SCORCHING PATHS MAY NOT REACH THEE,

deewaane ke, ashqo.n kee, ghaTaa saath, liye jaa
THE CLOUDS OF THE ECSTATIC'S TEARS, BEAR AWAY WITH THEE,

deewaane ke, ashqo.n kee, ghaTaa saath liye jaa...
THE CLOUDS OF THE ECSTATIC'S TEARS, BEAR AWAY WITH THEE...


shaamil hai, meraa khoon-e, -jigar teree hinaa me.n,
MIXED WITH THE HENNA’OF THINE, IS THE BLOOD FROM THE HEART OF MINE,

shaamil hai, meraa khoon-e, -jigar teree hinaa me.n,
MIXED WITH THE HENNA’ OF THINE, IS THE BLOOD FROM THE HEART OF MINE,

yeh kam ho toh, ab khoon-e, -wafaa saath liye jaa,
NOW IF THIS BE INSUFFICIENT, THE SLAIN PROMISE, BEAR AWAY WITH THEE,

yeh kam ho toh ab khoon-e, -wafaa saath liye jaa...
NOW IF THIS BE INSUFFICIENT, THE SLAIN PROMISE, BEAR AWAY WITH THEE...


hamm jurm-e-muhabbat kee, sazaa paaye.nge, tanhaa
THE PUNISHMENT FOR THE CRIME OF LOVE, WE SHALL REAP ALONE,

hamm jurm-e, -muhabbat kee, sazaa paaye.nge, tanhaa,
THE PUNISHMENT FOR THE CRIME OF LOVE, WE SHALL REAP ALONE,

jo tujh se, huwee ho voh, khataa saath liye jaa,
IF THERE BE ONE THOU COMMITTED, THAT ERROR - BEAR AWAY WITH THEE,

jo tujh se, huwee ho voh, khataa saath liye jaa,
IF THERE BE ONE THOU COMMITTED, THAT ERROR, BEAR AWAY WITH THEE,

TooTaa huwaa, iqaraar-e-wafaa, saath liye jaa,
THE BROKEN PLEDGE OF FAITHFULNESS, BEAR AWAY WITH THEE,

barbaad-e-mohabbat kee, duaa saath, liye jaa
THE BLESSING OF THE RUINED LOVE, BEAR AWAY WITH THEE.

barbaad-e, -mohabbat kee, duaa saath, liye jaa.
THE BLESSING OF THE RUINED LOVE, BEAR AWAY WITH THEE.

NASIR

Tuesday, April 21, 2009

292. Translation of Sad Songs of Rafi: Maa, Tujhe DhoonDhoon Kahaan....


Movie: MAA (1976)
Lyrics: Anand Bakshi
Music: Laxmikant-Pyarelal

Main theatrical release in Bombay: Dreamland Cinema.


Rafi Sahaab's soul-stirring song on mother: Maa, Tujhe DhoonDhoon Kahaan....

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



Maa.. .
MOTHER....

Maa tujhe Dhoo.nDhoo.n kahaa.n,
MOTHER, WHERE SHOULD I SEEK YOU,

Maa, tujhe Dhoo.nDhoo.n kahaa.n,
MOTHER, WHERE SHOULD I SEEK YOU,

Maine mamta, ko pehchaana,
I RECOGNIZED THE MATERNAL AFFECTION,

Mai.n Bachcho.n ke, dard ko jaanaa,
I UNDERSTOOD THE PAIN OF THE KIDS

Tujh ko kho kar maa
AFTER LOSING YOU MOTHER,

Maa, tujhe Dhoo.nDhoo.n kahaa.n,
MOTHER, WHERE SHOULD I SEEK YOU,

Maa...
MOTHER...


Maa ek jaisee hotee hai
MOTHERS ARE SIMILAR,

Bachche, ek jaise hote hai.n,
CHILDREN ARE SIMILAR,

Chot lage toh, insaano.n ke taraah pashuu bhee, rote hai.n,
ON BEING HURT, LIKE THE HUMANS THE BEASTS CRY TOO,

Bichha.de huwo.n ko, maine milaaya,
I BROUGHT TOGETHER THE SEPARATED ONES,

Maine apna karz chukaayaa,
I DISCHARGED MY DEBT,

Tujh ko kho kar maa,
AFTER LOSING YOU, MOTHER,

Maa, tujhe Dhoo.nDhoo.n kahaa.n,
MOTHER, WHERE SHOULD I SEEK YOU,

Maa...


Tuu sach kehtee theeh kisee kee,
YOU USED TO SPEAK THE TRUTH THAT SOMEONE’S

bad-duwaa lag jaatee hai,
CURSE DOES STRIKE,

Tuu sach kehtee theeh, kisee kee,
YOU USED TO SPEAK THE TRUTH THAT SOMEONE’S

bad-duwaa lag jaatee hai,
CURSE DOES STRIKE,

Apnee hee bandook se golee, khud pe bhee chal jaatee hai,
FROM ONE’S OWN RIFLE THE BULLET MAY MISFIRE ON THE SELF,

Maine kaisa, khel yeh khelaa,
WHAT WAS THIS GAME I PLAYED!

Rouu.n baithaa, aaj akelaa,
I SIT CRYING ALL ALONE

Tujh ko kho kar maa
AFTER LOSING YOU MOTHER,

Maa, tujhe Dhoo.nDhoo.n kahaa.n,
MOTHER, WHERE SHOULD I SEEK YOU,

Maa, tujhe Dhoo.nDhoo.n kahaa.n,
MOTHER, WHERE SHOULD I SEEK YOU,

Maine, mamta ko pehchaana,
I RECOGNIZED THE MATERNAL AFFECTION,

Mai.n Bachcho.n ke, dard ko jaanaa,
I UNDERSTOOD THE PAIN OF THE KIDS

Tujh ko, kho kar maa
AFTER LOSING YOU MOTHER,

Maa, tujhe Dhoo.nDhoo.n kahaa.n,
MOTHER, WHERE SHOULD I SEEK YOU,

Maa, tujhe Dhoo.nDhoo.n kahaa.n,
MOTHER, WHERE SHOULD I SEEK YOU,

Maa....
MOTHER...

NASIR.


Paradise lies under the feet of your mother. - (Nasa'i)

Monday, April 20, 2009

291. Translation of Sad Songs of Rafi: Jaane Kahaan Gaye Tum...


Movie: AAJA SANAM (1975)
Lyrics: Indeevar
Music: Usha Khanna



Rafi Sahaab's sad song on reminiscence of the Beloved: Jaane Kahaa.n Gaye Tum....

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



Jaane kahaa.n gaye tum,
WHO KNOWS WHERE YOU’VE GONE!

jaane kahaa.n gaye tum,
WHO KNOWS WHERE YOU’VE GONE!

bechayn hai.n, rangee.n nazaare
RESTLESS ARE THE SPLENDID SIGHTS,

bechayn hai.n, rangee.n nazaare
RESTLESS ARE THE SPLENDID SIGHTS,

jaane kahaa.n gaye, tum,
WHO KNOWS WHERE YOU’VE GONE!

jaane kahaa.n gaye tum...
WHO KNOWS WHERE YOU’VE GONE!


chaaro.n taraf, veeraaniyaa.n hai.n
ALL AROUND THERE’S DESOLATION

chaaro.n taraf, ...
ALL AROUND...

chaaro.n taraf, veeraaniyaa.n hai.n,
ALL AROUND THERE’S DESOLATION,

khamoshiyaa.n hai.n, tanhaaeeyaa.n hai.n,
THERE’S STILLNESS, THERE’S LONESOMENESS,

aaaa~~~~

jaane, kahaa.n gaye tum,
WHO KNOWS WHERE YOU’VE GONE!

bechayn hai.n, rangee.n nazaare
RESTLESS ARE THE SPLENDID SIGHTS,

bechayn hai.n, rangee.n nazaare,
RESTLESS ARE THE SPLENDID SIGHTS,

jaane kahaa.n gaye tum...
WHO KNOWS WHERE YOU’VE GONE!


tum bin udaas, mausam ki baahe.n,
WITHOUT YOU, SULLEN ARE THE WEATHER’S ARMS,

tum bin udaas, ....
WITHOUT YOU, SULLEN ARE...

tum bin udaas, mausam kee baahe.n,
WITHOUT YOU, SULLEN ARE THE WEATHER’S ARMS,

tum bin udaas, jeevan ki raahe.n,
WITHOUT YOU, DEPRESSING ARE THE PATHS OF LIFE,

aaaa~~~~

jaane, kahaa.n gaye tum,
WHO KNOWS WHERE YOU’VE GONE!

bechayn hai.n, rangee.n nazaare,
RESTLESS ARE THE SPLENDID SIGHTS,

bechayn hai.n, rangee.n nazaare
RESTLESS ARE THE SPLENDID SIGHTS,

jaane, kahaa.n gaye tum...
WHO KNOWS WHERE YOU’VE GONE!


tum ko pukaare, TooTa huwaa dil
INVOKING YOU, IS THE BROKEN HEART,

tum ko pukaare, ..
INVOKING YOU, ...

tum ko pukaare, TooTa huwaa dil,
INVOKING YOU, IS THE BROKEN HEART,

ashqo.n nigaaho.n me.n dooba huwaa dil,
IN THE TEARY EYES, THE SINKING HEART,

aaa~~~~~

jaane, kahaa.n gaye tum,
WHO KNOWS WHERE YOU’VE GONE!

jaane kahaa.n gaye tum,
WHO KNOWS WHERE YOU’VE GONE!

bechayn hai.n, rangee.n nazaare,
RESTLESS ARE THE SPLENDID SIGHTS,

bechayn hai.n, rangee.n nazaare,
RESTLESS ARE THE SPLENDID SIGHTS,

jaane kahaa.n gaye tum...
WHO KNOWS WHERE YOU’VE GONE!

jaane kahaa.n gaye tum..
WHO KNOWS WHERE YOU’VE GONE!

jaane kahaa.n gaye tum...
WHO KNOWS WHERE YOU’VE GONE!

jaane kahaa.n gaye tum.
WHO KNOWS WHERE YOU’VE GONE!

NASIR.

Thou art gone from my gaze like a beautiful dream.
And I seek thee in vain by the meadow and stream.
~George Linley

Sunday, April 19, 2009

UNITING FOR HUNGER.



UNITING FOR HUNGER.

Has poverty ever been eliminated? Has it ever been alleviated? The answer is for every one to see. When poverty raises its ugly head even in the 21s century what else remains to be said! I cannot provide the answers but I cannot help observing that at least 500 million people are living in absolute poverty, and that 15 million children die of hunger every year the world over. Half of the world live on less than $2 a day. Many millions of people live without adequate shelter and without access to safe water and health services. Who cares? You think that remembering the event once a year, or writing some few lines in the Blog or shedding a few tears or indulging into a flurry of activities for a short while will solve the problem? The answer, of course, is a resounding NO!

Without delving into the telling statistics, the affluent countries have wealth, funds and resources for spending on weapons of mass destruction such as nuclear weapons and hoarding of conventional weapons. The USA has spent trillions of dollars in Afghanistan for finding Osama Bin Laden, and in Iraq on the excuse of finding WMD which were never there. But USA’s military spending had been rising even prior to 9/11. It is said that merely on “obsolete cold war weapons and extra nuclear weapons” a huge sum of 60 Billion Dollars is spent by the USA annually. The amount of public money being spent on this mad race for procurement of arms keeps on increasing year by year quite exponentially. USA’s military expenditure accounts for just under half of what the rest of the world spends on such exercises, followed by the U.K., China, France and Japan, and thereafter by the next ten countries combined. Saudi Arabia, Russia and other oil-producing countries too have increased their military expenditure for one reason or another.

The arms race between India and Pakistan too cannot be brushed aside what with all the perceived threats. The amounts spent by these two countries are especially hurting given their lower economic power when compared even to that of China. However, in the case of India, its economic power has been only just rising.

The recent Kargil Conflict, (not speaking of the three wars) and the terror attacks on Indian soil, especially on the Indian Parliament in Delhi, and in Mumbai City to name just two, and the continual infiltration of the Pakistan-based terrorists into Jammu and Kashmir, and the preponderence of the military forces on the border and the glaciers of Siachen have not only heightened the perceived threats from Pakistan but have also sapped the Indian economy. In turn this has spurred India to revise its military budget by almost 50% to $40 Billion. Pakistan allocates around 3.5% of GDP but at the cost of development, education and health. In short, the military spending of both India and Pakistan could go out of control, affecting the general populace of these nations by pulling it towards deprivation, hunger and poverty.

The smaller countries are being sucked into the vortex of the arms race. While USA remains the source for buying the weapons legally, huge amount is spent by smaller countries in buying illegal weapons and bribing “legal” officials, spurring the proliferation of “small” weapons which alone have led to the death of nearly 3 million people in the last decade in poverty-stricken continent of Africa and elsewhere. The names of some agents have become well-known for procurement of all sorts of arms and ammunitions. The list can go on and on.

There is a very wide gap between what these countries spend on sustaining their military might and what they spend for alleviating poverty. The theorists come up with all their findings on poverty; but their theories are bogged down in the unintelligible pond of verbose and impracticality. If someone wants to improve the lot of the poor through science and technology let them do so. If someone comes up with business related strategies he is welcome to do so. If someone comes up with a religious injunction for alleviating hunger from the surface of the earth, let him do so in all earnest. One thing stands out for sure: All this must be done through the unified and concerted efforts of all the developed and the developing nations towards helping the poor nations in the formation of a welfare state so that the poverty is addressed practically in accordance with the individual needs and demands of the state.

The UNO and its relevant departments must be given the greater share of responsibilities. The UNO must not be weakened for lack of funds, men and material. It must be amply demonstrated that the UNO means business. For that, the United Nations must be given full power to deal with military and economic crises in order to ensure that no conflicts take place. Nor should it be made subservient to any super power. All the developed countries must ensure that the UN Charter and the international laws and norms are observed for maintenance of peace and security in the world. The phenomena of terrorism must be also addressed by the UNO by active participation of its military forces, majority of which must be from the victim and threatened state. International monetary organisations must keep a tab on the world economy and address the country inflicted with the woes of poverty by mobilization of resources under the supervision of the UNO. Greater funds must be allocated to the UNICEF by the governments, private groups and individuals in its fight for child survival and development, education and gender equality. The World Health Organisation must be empowered with doctors, nurses, funds and resources and medicines to address the general health problems of Asia, Africa and the third world, these being the problem places.

When there will be no conflicts and no perceived threats of war, only then the race for arms procurement will go down. Thus the surplus funds could easily be used for improving the conditions of the hungry and deprived. These funds must necessarily be seen to be used in the development of relevant infrastructures and distribution of food among the poor and not just handed over to some head of the agency.

No monetary bank in the world should encourage stashing of surplus or ill-gotten wealth by their customers. This will ensure that the surplus wealth is circulated within the country, such as India for example, since it’s no secret that the largest stashers of wealth in Swiss Banks are Indians - and India has the largest section of the poor in the world. Every slum-dog may not become a millionaire but will at least have a square meal a day, safe water and better health, raising the life expectancy in return, and thus zooming the health graph of the nation.

Let every country unite for eliminating poverty and hunger from this God-given world of plenty by first stepping up the food supply where it is needed the most and thereafter coming up with Meets and Summits. Yes, they say the USA is the most affluent, most progressive and the most powerful country in the world. But the spectre of poverty is more powerful than the USA and the rest of the world put together. What are we going to do about it?

NASIR.

Saturday, April 18, 2009

290. Translation of Sad Songs of Rafi: Zindagi Guzaarne Ko..


Movie: EK MAHAL HO SAPNON KA (1975)
Music: Ravi
Lyrics: Sahir Ludhianvi

Rafi Sahaab’s song: Zindagee Guzaarne ko Saathee Ek Chaahiye.... when the grief of losing a girl-friend finds solace in hitting the bottle....

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



zi.ndagee guzaar ne ko saathee ek chaahiye,
TO GET ON WITH THE LIFE A COMPANION IS NEEDED,

husn gar nahee.n, sharaab hee sahee.....
IF IT ISN’T A BEAUTY, THE BOOZE WILL DO,

zi.ndagee guzaar ne ko saathee ek chaahiye,
TO GET ON WITH THE LIFE A COMPANION IS NEEDED,

husn gar nahee.n, sharaab hee sahee,
IF IT ISN’T A BEAUTY, THE BOOZE WILL DO,

husn gar nahee.n sharaab hee sahee...
IF IT ISN’T A BEAUTY, THE BOOZE WILL DO,


jab se woh gaye hai.n apnee zi.ndagee me.n ek nayaa daur aa gayaa hai,
EVER SINCE SHE LEFT, LIFE HAS ENTERED INTO A NEW PHASE,

jab se woh gaye hai.n apnee zi.ndagee me.n, ek nayaa daur aa gayaa hai,
EVER SINCE SHE LEFT, LIFE HAS ENTERED INTO A NEW PHASE,

un se keh doh apne dil me.n un se bhee haseen koyee, aur aa gayaa hai,
TELL HER THAT SOMEONE MORE BEAUTIFUL THAN HER HAS ENTERED OUR HEART,

zar ke aage sar jhukaa ke husn bewafaa huwaa,
BY BOWING BEFORE THE MAMMON THE BEAUTY HAS RENDERED HERSELF UNFAITHFUL,

aaj koyee ham-safar nahee.n rahaa toh kyaa huwaa,
IF NO CO-TRAVELLER EXISTS TODAY, SO WHAT!

mere ham-safar, janaab hee sahee,
MY FELLOW-TRAVELLER, “SIR” (BOOZE) WILL DO,

mere ham-safar janaab hee sahee,
MY FELLOW-TRAVELLER, “SIR” (BOOZE) WILL DO,


zi.ndagee guzaar ne ko saathee ek chaahiye,
TO GET ON WITH THE LIFE A COMPANION IS NEEDED,

husn gar nahee.n, sharaab hee sahee,
IF IT ISN’T A BEAUTY, THE BOOZE WILL DO,

husn gar nahee.n sharaab hee sahee....
IF IT ISN’T A BEAUTY, THE BOOZE WILL DO,


ishq aur wafaa kaa sirf naam hai jahaa.n me.n kaam, kuchh bhee nahee.n hai,
LOVE AND FAITHFULNESS ARE JUST FOR NAMESAKE IN THE WORLD, SERVING NO PURPOSE,

ishq aur wafaa kaa sirf naam hai jahaa.n me.n kaam, kuchh bhee nahee.n hai,
LOVE AND FAITHFULNESS ARE JUST FOR NAMESAKE IN THE WORLD, SERVING NO PURPOSE,

dil kee chaahe kitnee azmate.n ginaao dil kaa daam, kuchh bhee nahee.n hai,
THOUGH MANY MERITS OF THE HEART BE ENUMERATED, BUT THE VALUE OF THE HEART IS ZERO,

aaj mai.ne tay kiyaa hai har tilism to.dnaa
TODAY I’VE DECIDED TO BREAK EVERY SPELL,

ek naye raaste pe zi.ndagee ko mo.dnaa,
TO TURN MY LIFE ON A NEW PATH,

ab yeh faislaa, kharaab hee sahee,
A BAD DECISION THOUGH IT MIGHT BE!

ab yeh faislaa kharaab hee sahee,
A BAD DECISION THOUGH IT MIGHT BE!


zi.ndagee guzaar ne ko saathee ek chaahiye,
TO GET ON WITH THE LIFE A COMPANION IS NEEDED,

husn gar nahee.n, sharaab hee sahee,
IF IT ISN’T A BEAUTY, THE BOOZE WILL DO,

husn gar nahee.n, sharaab hee sahee.
IF IT ISN’T A BEAUTY, THE BOOZE WILL DO,

NASIR.

Booze may not be the answer, but it helps you to forget the question”
Henry Mon quotes

Thursday, April 16, 2009

289. Translation of Sad Songs of Rafi: Doston Mein Koi Baat Chal Jaati Hai...


Movie: PREM KAHANI (1975)
Lyrics: Anand Bakshi
Music: Laxmikant-Pyarelal



Rafi Sahaab's song on when Friends turn into Foes: Dosto.n Me.n Koee Baat Chal Jaatee Hai...

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



dil kee gehraaeeyo.n tak, nazar jaatee hai,
TILL THE DEPTHS OF THE HEART GOES THE SIGHT,

teer ban kar jigar me.n, utar jaatee hai
LIKE AN ARROW IT SINKS DOWN IN THE HEART.


dosto.n me.n, koee baat, chal jaatee hai,
WHEN SOME MISUNDERSTANDING SETS IN AMONG FRIENDS,

dosto.n me.n, koee baat chal jaatee hai,
WHEN SOME MISUNDERSTANDING SETS IN AMONG FRIENDS,

dostee dushmanee me.n, badal jaatee hai,
FRIENDSHIP TURNS INTO ENMITY,

dosto.n me.n, koee baat chal jaatee hai,
WHEN SOME MISUNDERSTANDING SETS IN AMONG FRIENDS,

dosto.n me.n, koee baat chal jaatee hai...
WHEN SOME MISUNDERSTANDING SETS IN AMONG FRIENDS,

dostee dushmanee me.n badal, jaatee hai,
FRIENDSHIP TURNS INTO ENMITY,

dosto.n me.n, koee baat chal jaatee hai,
WHEN SOME MISUNDERSTANDING SETS IN AMONG FRIENDS,

dosto.n me.n, koee baat chal jaatee hai...
WHEN SOME MISUNDERSTANDING SETS IN AMONG FRIENDS...


raaz-e-dil, ab chhupaane se kyaa faayedaa,
WHAT’S THE USE OF CONCEALING THE SECRET NOW,

raaz-e-dil, ab chhupaane se, kyaa faayedaa,
WHAT’S THE USE OF CONCEALING THE SECRET NOW,

is lagee ko bujhaane se, kyaa faayedaa,
WHAT’S THE USE OF DOUSING THIS FLAME NOW,

kyaa faayedaa,
WHAT’S THE USE...

aag bujh jaatee hai, cheez jal jaatee hai,
FIRE GETS EXTINGUISHED, THE THING GETS BURNT,

aag bujh jaatee hai, cheez jal jaatee hai,
FIRE GETS EXTINGUISHED, THE THING GETS BURNT,

dostee dushmanee me.n, badal jaatee hai,
FRIENDSHIP TURNS INTO ENMITY,

dosto.n me.n, koee baat chal jaatee hai,
WHEN SOME MISUNDERSTANDING SETS IN AMONG FRIENDS,

dosto.n me.n, koee baat chal jaatee hai...
WHEN SOME MISUNDERSTANDING SETS IN AMONG FRIENDS,


kyaa huwaa, gar shikaayat kaa mauqaa diyaa,
WHAT MATTERS IF A CHANCE WAS GIVEN FOR THE COMPLAINT,

kyaa huwaa gar shikaayat kaa, mauqaa diyaa,
WHAT MATTERS IF A CHANCE WAS GIVEN FOR THE COMPLAINT?

sab ne achchhaa kiyaa, hamm ko dhokaa diyaa,
EVERYONE DID FINE; THEY DECEIVED ME,

hamm ko dhokaa diyaa,
THEY DECEIVED ME...

zi.ndagee la.dkha.daakar, sa.mbhal jaatee hai,
AFTER STUMBLING, LIFE STEADIES ITSELF,

zi.ndagee la.dkha.daakar, sa.mbhal jaatee hai,
AFTER STUMBLING, LIFE STEADIES ITSELF,

dostee dushmanee me.n, badal jaatee hai,
FRIENDSHIP TURNS INTO ENMITY,

dosto.n me.n, koee baat chal jaatee hai,
WHEN SOME MISUNDERSTANDING SETS IN AMONG FRIENDS,

dosto.n me.n, koee baat, chal jaatee hai...
WHEN SOME MISUNDERSTANDING SETS IN AMONG FRIENDS...


NASIR.

Reveal not every secret you have to a friend, for how can you tell but that friend may hereafter become an enemy. And bring not all mischief you are able to upon an enemy, for he may one day become your friend.
Saadi – Persian poet (c.e. 1184-1291)

Tuesday, April 14, 2009

288. Translation of the Sad Songs of Rafi: Main Wohi, Wohi Baat...


Movie: NAYA DIN NAYI RAAT (1974)
Music: Laxmikant-Pyarelal
Lyrics: Rajinder Krishan

Main Theatrical Release in Bombay: Shalimar Cinema


Rafi Sahaab’s song of sadness drowned in the mirth of intoxication: Main Wohee, Wohee Baat...

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



mai.n wohee, wohee baat,
THE SAME OLD ME, THE SAME TALK,

mai.n wohee, wohee baat,
THE SAME OLD ME, THE SAME TALK,

mere liye toh har din nayaa din, har raat nayee raat,
FOR ME EVERY DAY IS A NEW DAY, EVERY NIGHT A NEW NIGHT,

mai.n wohee, wohee baat,
THE SAME OLD ME, THE SAME TALK,

mai.n wohee, wohee baat,
THE SAME OLD ME, THE SAME TALK,

mere liye toh har din nayaa din, har raat nayee raat,
FOR ME EVERY DAY IS A NEW DAY, EVERY NIGHT A NEW NIGHT,

mai.n wohee, wohee baat,
THE SAME OLD ME, THE SAME TALK,

mai.n wohee...
THE SAME OLD ME....


achchhee yaa kharaab, pee lee,
GOOD OR BAD, I DRANK IT,

jaisee milee, sharaab, pee lee,
WHATEVER BOOZE I GOT, I BOOZED IT,

saaqee nayaa hai, jaam puraanaa,
SAKI’S NEW, THE GOBLET’S OLD,

saaqee nayaa hai, jaam puraanaa,
SAKI’S NEW, THE GOBLET’S OLD,

ra.ngg nayaa hai, naam puraanaa,
THE COLOUR’S NEW, THE NAME’S OLD,

naam puraanaa,
THE NAME’S OLD,

subah ho yaa sham, mujhe mastee se kaam,
WHETHER MORNING OR EVENING, I’M CONCERNED WITH INTOXICATION

kyoo.n ke har din, nayaa din, har raat nayee raat,
BECAUSE EVERY DAY IS A NEW DAY, EVERY NIGHT A NEW NIGHT,

mai.n wohee, wohee baat,
THE SAME OLD ME, THE SAME TALK,

mai.n wohee...
THE SAME OLD ME....

OOOOO~~~~OOOOO~~~

apnaa hee lahoo, pee, rahaa hoo.n,
MY OWN VERY BLOOD I’M DRINKING,

marne ke liye, jee, rahaa hoo.n,
IN ORDER TO DIE, I’M LIVING,


dil apnaa hai, gham apne hai.n,
THE HEART IS OURS, THE SORROWS ARE OURS,


dil apnaa hai, gham apne hai.n,
THE HEART IS OURS, THE SORROWS ARE OURS,

duniyaa paraayee, hamm apne hai.n
THE WORLD IS A STRANGER, WE’RE OURS,

hamm apne hai.n,
WE’RE OURS,

mujhe aaye naa qaraar mai.n rahoo.n beqaraar,
PEACE DOESN’T COME TO ME, I REMAIN RESTLESS

kyoo.n ke har din, nayaa din, har raat nayee raat,
BECAUSE EVERY DAY IS A NEW DAY, EVERY NIGHT A NEW NIGHT,

mai.n wohee, wohee baat,
THE SAME OLD ME, THE SAME TALK,

mai.n wohee, wohee baat,
THE SAME OLD ME, THE SAME TALK,

mere liye toh har din nayaa din, har raat nayee raat,
FOR ME EVERY DAY IS A NEW DAY, EVERY NIGHT A NEW NIGHT,

mai.n wohee, wohee baat,
THE SAME OLD ME, THE SAME TALK,

mai.n wohee...
THE SAME OLD ME...

aap apnaa jawaab, ho, gayaa hoo.n,
I’VE MYSELF BECOME MY OWN ANSWER,

manzil pe aake, kho, gayaa hoo.n -
AFTER COMING TO THE DESTINATION, I’VE BECOME LOST.

NASIR.

“I am an excitable person who only understands life lyrically, musically, in whom feelings are much stronger as reason. I am so thirsty for the marvelous that only the marvelous has power over me. Anything I can not transform into something marvelous, I let go. Reality doesn't impress me. I only believe in intoxication, in ecstasy, and when ordinary life shackles me, I escape, one way or another. No more walls.” Anais Nin.

287. Translation of Sad Songs of Rafi: Zindagi Ab Toh Tere Naam Se...


Movie: SHANDAAR (1974)
Music: Laxmikant-Pyarelal
Lyrics: Rajinder Krishan


Rafi Sahaab’s Rare Gem: Zindagee ab toh tere naam se dar lagta hai...

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



Zindagee ab toh tere, naam se, dar lagta hai,
O LIFE, SCARED AM I OF YOUR NAME NOW,

Zindagee ab toh tere, naam se, dar lagta hai,
O LIFE, SCARED AM I OF YOUR NAME NOW,

Saree dunya mujhe, ek maut ka, ghar lagta hai,
THE ENTIRE WORLD APPEARS LIKE A DEATH-HOUSE TO ME,

Zindagee ab toh tere, naam se, dar lagta hai....
O LIFE, SCARED AM I OF YOUR NAME NOW...


Na kahee.n phool naa, kaliyaa.n,
NEITHER FLOWERS NOR BUDS ANYWHERE,

Naa bahaaro.n ka samaa,
NOR THE AMBIENCE OF SPRING-TIMES,

Naa kahee.n phool naa, kaliyaan,
NEITHER FLOWERS NOR BUDS ANYWHERE,

Naa bahaaro.n ka samaa,
NOR THE AMBIENCE OF SPRING-TIMES,

Ab chaman bhee koyee, uj.daa sa nagar, lagta hai,
NOW EVEN THE FLOWER-GARDEN APPEARS LIKE A TOWN DEVASTATED,

Ab chaman bhee, koyee uj.daa sa nagar, lagta hai,
NOW EVEN THE FLOWER-GARDEN APPEARS LIKE A TOWN DEVASTATED,

Zindagi ab toh tere, naam se, dar lagta hai....
O LIFE, SCARED AM I OF YOUR NAME NOW...


Jisme.n saawan bhee ho, saathee bhee ho,
IN WHICH THERE IS ALSO THE HARVEST MONTH, COMPANIONS TOO,

aur jhoole bhee,
AND THE SWINGS ALSO,

Jisme.n saawan bhee ho, saathee bhee ho,
IN WHICH THERE IS ALSO THE HARVEST MONTH, COMPANIONS TOO,

aur jhoole bhee,
AND THE SWINGS TOO,

Jaane is dunya me.n, voh melaa kidhar, lagtaa hai,
WHO KNOWS WHERE IN THE WORLD SUCH A CARNIVAL IS HELD,

Jaane is dunya me.n, voh melaa kidhar, lagtaa hai,
WHO KNOWS WHERE IN THE WORLD SUCH A CARNIVAL IS HELD,

Saaree dunya mujhe, ek maut ka, ghar lagtaa hai,
THE ENTIRE WORLD APPEARS LIKE A DEATH-HOUSE TO ME,

Zindagee ab toh tere, naam se, dar lagta hai,
O LIFE, SCARED AM I OF YOUR NAME NOW...

Zindagee ab toh tere, naam se, dar lagta hai.
O LIFE, SCARED AM I OF YOUR NAME NOW...

NASIR.

Be not afraid of life. Believe that life is worth living, and your belief will help create the fact. - Henry James.

Monday, April 13, 2009

286. Translation of Sad Songs of Rafi: Teri Galiyon Mein Naa...


Movie: HAWAS (1974)
Music: Usha Khanna
Lyrics: Sawan Kumar


Rafi Sahaab’s song that won the Film World Magazine Award for empathetic rendition: Teri Galiyo.n Me.n Na Rakkhenge Qadam....

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



teri galiyo.n me.n naa rakkhe.nge qadam, aaj ke baad,
WE WON’T BE STEPPING IN YOUR LANES AFTER THIS DAY,

teri galiyo.n me.n naa rakkhe.nge qadam, aaj ke baad,
WE WON’T BE STEPPING IN YOUR LANES AFTER THIS DAY,

tere milne ko naa, aaye.nge sanam, aaj ke baad,
WE WON’T BE COMING TO MEET YOU, SWEETHEART, AFTER THIS DAY,

teri galiyo.n me.n...
IN YOUR LANES...


tuu mera milnaa...
MY MEETING WITH YOU...

tu mera milnaa, samajh lenaa ik sapnaa thaah,
UNDERSTAND THAT MY MEETING WITH YOU WAS A DREAM,

tujh ko ab mil hee gayaa, jo teraa, apnaa thaah,
NOW, HE WHO WAS YOURS, YOU’VE FINALLY FOUND HIM,

tuu mera milnaa samajh lenaa, ik sapnaa thaah,
UNDERSTAND THAT MY MEETING WITH YOU WAS A DREAM,

tujh ko ab mil hee gayaa, jo teraa apnaa thaah,
NOW, HE WHO WAS YOURS, YOU’VE FINALLY FOUND HIM,

hamm ko dunya me.n, samajhnaa naa sanam, aaj ke baad,
ASSUME THAT I DON’T EXIST IN THE WORLD AFTER THIS DAY,

teri galiyo.n me.n naa, rakkhe.nge qadam, aaj ke baad,
WE WON’T BE STEPPING IN YOUR LANES AFTER THIS DAY,

teri galiyo.n me.n.....
IN YOUR LANES...


ghir ke aaye.ngee...
COLLECTING AROUND WILL BE....

ghir ke aaye.ngee ghataaye.n phir se saawan kee,
COLLECTING AROUND WILL BE THE MONSOON CLOUDS ONCE AGAIN,

tum toh baaho.n me.n, rahogee apne saajan kee,
AS FOR YOU, YOU’LL BE TUCKED IN THE ARMS OF YOUR LOVER,

ghir ke aaye.ngee ghataaye.n phir se saawan kee,
COLLECTING AROUND WILL BE THE MONSOON CLOUDS ONCE AGAIN,

tum toh baaho.n me.n, rahogee apne saajan kee,
AS FOR YOU, YOU’LL BE TUCKED IN THE ARMS OF YOUR LOVER,

gale hamm gham ko, lagaaye.nge sanam, aaj ke baad,
WE’LL BE EMBRACING THE SORROW, SWEETHEART, AFTER THIS DAY,

teri galiyo.n me.n naa, rakkhenge qadam, aaj ke baad,
WE WON’T BE STEPPING IN YOUR LANES AFTER THIS DAY,

tere milne ko naa, aaye.nge sanam, aaj ke baad
WE WON’T BE COMING TO MEET WITH YOU, SWEETHEART, AFTER THIS DAY,

teri galiyo.n me.n.
IN YOUR LANES.

NASIR.


“True love doesn't have a happy ending, because true love never ends. Letting go is one way of saying I love you.”

Sunday, April 12, 2009

285. Translation of Sad Songs of Rafi: Nayya Meri Chalti Jaaye...


Movie: MY FRIEND (1974)
Music: Naushad
Lyrics: Hasrat Jaipuri


Rafi Sahaab’s petition in Raga Bhairvi mould - proving once again that his grip, his seasoning far exceeds that of any other male singer in the film industry – a fitting reply to his detractors: Nayya Meree Chalti Jaaye....

(I struggle to hold back my tears as I write this:)

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



nayya meree chalti jaaye
MAY THE SHIP OF MINE GO ON SAILING,

Sahaare tere, ba.dhtee jaaye,
WITH YOUR SUPPORT MAY IT GO ON ADVANCING,

Yeh nayya meree, chalti jaaye
MAY THIS SHIP OF MINE GO ON SAILING,

Sahaare tere, ba.dhti jaaye.
WITH YOUR SUPPORT MAY IT GO ON ADVANCING,

Kabhee toh mujhe, paar lagaa de,
SOMETIME OR OTHER, DO EXTEND ME THE CROSSING,

Haay re Kabhee toh mujhe, paar lagaa de,
AH! SOMETIME OR OTHER, DO EXTEND ME THE CROSSING,

Jawaanee meree dhalti jaaye,
MY YOUTH IS FADING,

Yeh nayya meree, chalti jaaye,
MAY THIS SHIP OF MINE GO ON SAILING,

Sahaare tere ba.dhti jaaye...
WITH YOUR SUPPORT MAY IT GO ON ADVANCING,


Pyaar liye dil me.n tera, aaya hoo.n dilbar,
O SWEETHEART! WITH HEARTFUL OF YOUR LOVE I’VE COME,

Kyaa naa kiya tere liye maine sitamgar,
O SWEET OPPRESSOR, FOR YOU WHAT NOT I’VE DONE!

Jog liyaa, tere liye chho.d diya ghar,
GIVING UP THE HOME FOR YOU, AN ASCETIC I’VE BECOME,

Arre jaan bhee de doo.ga kiseee roz tujhee par,
HEARK YE! I MIGHT EVEN GIVE UP MY LIFE FOR YOU ANON,

Kyoo.n mujh pe sitam, karti jaaye
WHY ME YOU KEEP ON OPPRESSING?

Kyoo.n mujh pe sitam, karti jaaye,
WHY ME YOU KEEP ON OPPRESSING?

Kabhee toh mujhe paar lagaa de,
SOMETIME OR OTHER, DO EXTEND ME THE CROSSING,

Jawaanee meree dhaltee jaaye,
MY YOUTH IS FADING,

Yeh nayaa meree, chaltee jaaye,
MAY THIS SHIP OF MINE GO ON SAILING,

Sahaare tere ba.dhtee jaaye...
WITH YOUR SUPPORT MAY IT GO ON ADVANCING...


Chup hai magar, teree nazar, bol rahi hai,
DESPITE BEING SILENT, YOUR GLANCE IS SPEAKING,

Jheel me.n lehro.n kee taraah dol rahee hai,
LIKE A WAVE IN THE LAKELET ‘TIS SWINGING,

Pyaar kee titlee banee par taul rahee hai,
AS A BUTTERFLY OF LOVE THE WING ‘TIS APPRAISING,

Arre raaz tera teree ada khol rahee hai,
OH! YOUR SECRET THE ACTION OF YOURS IS DISCLOSING

Nayno.n se jiyaa, chhaltee jaaye
WITH YOUR EYES, THE HEART YOU’RE DECEIVING,

Nayno.n se jiyaa, chhaltee jaaye,
WITH YOUR EYES, THE HEART YOU’RE DECEIVING,

Kabhee toh mujhe, paar lagaa de,
SOMETIME OR OTHER, DO EXTEND ME THE CROSSING,

Jawaanee meree dhaltee jaaye,
MY YOUTH IS FADING,

Yeh nayya meree, chaltee jaaye
MAY THIS SHIP OF MINE GO ON SAILING,

Sahaare tere ba.dhtee jaaye.
WITH YOUR SUPPORT MAY IT GO ON ADVANCING...


Jaaoo.n jidhar, aaye nazar tere nazaare,
WHEREVER I GO YOUR SIGHTS I SEE,

Phool ha.nse jaise kare tuu hee ishaare,
FLOWERS LAUGH ONLY WHEN YOU MAKE THE SIGNS,

Sangg tere ba.dhte chale.n pyaar ke maare,
PROGRESSING ALONG WITH YOU, STRICKEN WITH LOVE,

Arre jab hai mazaa aaj mile.n dono.n kinaare,
HEY, WHEN THE TWO SHORES MEET TODAY, DELIGHTFUL IT’LL BE,

Yeh dunya jale, jalti jaaye,
IF THE WORLD BE JEALOUS, LET IT BE!

Yeh dunya jale, jalti jaaye,
IF THE WORLD BE JEALOUS, LET IT BE!

Kabhee toh mujhe paar lagaa de,
SOMETIME OR OTHER, DO EXTEND ME THE CROSSING,

Jawaanee meree dhaltee jaaye,
MY YOUTH IS FADING,

Yeh nayyaa meree, chaltee jaaye,
MAY THIS SHIP OF MINE GO ON SAILING,

Sahaare tere ba.dhtee jaaye.
WITH YOUR SUPPORT MAY IT GO ON ADVANCING.

NASIR


'But who are they to tell you, a stalwart of this industry, how to sing?' I demanded to know. 'Is there any male singer going who is even a fraction as good as you are?'
Naushad Saab to Rafi Sahaab quoted from Meri Aawaaz Suno in www.Mohdrafi.com

Friday, April 10, 2009

284. Translation of the Sad Songs of Rafi: Kuchh Log Yahaan Par Aise Hain....


Movie: VARDAAN (1974)
Music: Kalyanji-Anandji
Lyrics: Varma Malik


Rafi Sahaab's sad song on people's hypocrisy: Kuchh Log Yahaan Par Ayse Hain...

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




kuchh log yahaa.n par, ayse hai.n...
SOME PEOPLE HERE ARE SUCH...

kuchh log yahaa.n par, ayse hai.n,
SOME PEOPLE HERE ARE SUCH,

kuchh log yahaa.n par, ayse hai.n,
SOME PEOPLE HERE ARE SUCH:

har rangg me.n, rangg badalte hai.n,
THEY CHANGE COLOURS ON WHIMS,

har rangg me.n , rangg badalte hai.n,
THEY CHANGE COLOURS ON WHIMS,

hamm un ko, aur samajhte hai.n,
WE REGARD THEM AS DIFFERENT,

par voh kuchh aur, nikalte hai.n,
BUT THEY TURN OUT TO BE SOMETHING ELSE!

kuchh log yahaa.n par, ayse hai.n....
SOME PEOPLE HERE ARE SUCH...


apne matlab se, matlab hai,
CONCERNED WITH THEIR OWN SELF-INTEREST

kisee aur se, in ko kyaa matlab,
WHAT INTEREST HAVE THEY IN OTHERS?

kisee aur se, in ko kyaa matlab,
WHAT INTEREST HAVE THEY IN OTHERS?

begaane se, bann jaate hai.n,
THEY BECOME STRANGERS

jab nikal jaaye, in ka matlab,
ONCE THEIR INTEREST IS SERVED,

koee kaise in ke, saath chale,
HOW CAN ONE GO ALONG WITH THEM,

koee kaise, in ke saath chale,
HOW CAN ONE GO ALONG WITH THEM

har mo.d pe raah, badalte hai.n,
AT EVERY TURN THEY CHANGE THE PATH.

kuchh log yahaa.n par, ayse hai.n,
SOME PEOPLE HERE ARE SUCH,

kuchh log yahaa.n par, ayse hai.n....
SOME PEOPLE HERE ARE SUCH...


hamm se yeh kitnee, bhool huwee,
WHAT A BLUNDER WE COMMITTED

pehle naa inhe.n, pehchaan sake,
IN NOT RECOGNIZING THEM AT THE EARLIEST,

pehle naa inhe.n, pehchaan sake,
IN NOT RECOGNIZING THEM AT THE EARLIEST,

jab uTh gayaa pardaa, chehre se,
WHEN THE VEIL FELL OFF FROM THE FACE,

tab asli soorat jaan sake,
THEN WE CAME TO KNOW THE REAL FACE,

kyaa miltaa hai, in logo.n ko,
WHAT DO THESE PEOPLE GET,

kyaa miltaa hai, in logo.n ko,
WHAT DO THESE PEOPLE GET,

jaane kyoo.n aysaa, karte hai.n
DON’T KNOW WHY DO THEY DO THIS.

kuchh log yahaa.n par, ayse hai.n,
SOME PEOPLE HERE ARE SUCH:

har rangg me.n, rangg badalte hai.n,
THEY CHANGE COLOURS ON WHIMS,

hamm un ko, aur samajhte hai.n,
WE REGARD THEM TO BE DIFFERENT,

par voh kuchh aur, nikalte hai.n,
BUT THEY TURN OUT TO BE SOMETHING ELSE,

kuchh log yahaa.n par, ayse hai.n.
SOME PEOPLE HERE ARE SUCH.

NASIR


God has given you one face, and you make yourself another.
William Shakespeare

283. Translation of the Sad Songs of Rafi: Dekho Dil Na Kisi Ka TooTe...


Movie: PYAR KA RISHTA (1973)
Lyrics: Indeevar
Music: Shankar-Jaikishen

Rafi Sahaab’s song on the fragile human relationship: Dekho Dil Na Kisee Ka TooTe....

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




Dekho dil na kisee ka TooTe,
BEWARE, LEST A HEART IS BROKEN!

Dekho dil na kisee ka TooTe,
BEWARE, LEST A HEART IS BROKEN!

Pyaar ka rishtaa, sachcha rishtaa,
LOVE’S RELATION IS THE TRUE RELATION,

Baaqee rishte jhooThe,
REMAINING RELATIONS ARE SHAM,

Dekho dil na kisee ka TooTe,
BEWARE, LEST A HEART IS BROKEN!

Dekho dil na kisee ka TooTe,
BEWARE, LEST A HEART IS BROKEN!

Pyaar ka rishtaa, sachcha rishtaa,
LOVE’S RELATION IS THE TRUE RELATION,

Baaqee rishte jhooThe,
REMAINING RELATIONS ARE SHAM,

Dekho dil na kisee ka TooTe...
BEWARE, LEST A HEART IS BROKEN!


Pyaar ke in dhaago.n se bandhaa hai,
TIED TO THESE THREADS OF LOVE IS

Yeh saara sansaar,
THIS ENTIRE WORLD,

Pyaar ke in dhaago.n se bandhaa hai,
TIED TO THESE THREADS OF LOVE IS

Yeh saara sansaar,
THIS ENTIRE WORLD,

Bichh.de huwo.n ko phir se milaaye...
THE SEPARATED ONES ARE AGAIN BROUGHT TOGETHER...

Bichh.de huwo.n ko phir se milaaye,
THE SEPARATED ONES ARE AGAIN BROUGHT TOGETHER

Raakhi ka tyohaar,
BY THE FESTIVAL OF RAKHI,

Raakhi ke din kisee behen se, bhaee na uska chhooTe.
ON THE DAY OF RAKHI LET NO SISTER MISS HER BROTHER.


Dekho dil na kisee ka TooTe,
BEWARE, LEST A HEART IS BROKEN!

Dekho dil na kisee ka TooTe,
BEWARE, LEST A HEART IS BROKEN!

Pyaar ka rishtaa, sachcha rishtaa,
LOVE’S RELATION IS THE TRUE RELATION,

Baaqee rishte jhooThe,
REMAINING RELATIONS ARE SHAM,

Dekho dil na kisee ka TooTe...
BEWARE, LEST A HEART IS BROKEN!


Bann pardesan behna bhaTke,
THE SISTER WANDERS ABOUT AS AN ALIEN,

Dar dar dhoo.ndhe bhaaee,
THE BROTHER LOOKS FOR HER AT EVERY DOORSTEP,

Bann pardesan behna bhaTke,
THE SISTER WANDERS ABOUT AS AN ALIEN,

Dar dar dhoo.ndhe bhaaee,
THE BROTHER LOOKS FOR HER AT EVERY DOORSTEP,

Khoon se khoon judaa jo kar de...
THAT WHICH SEPARATES ONE RELATIVE FROM ANOTHER,

Khoon se khoon judaa jo kar de,
THAT WHICH SEPARATES ONE RELATIVE FROM ANOTHER,

kisne reet banaaee,
WHO’S STARTED THIS PRACTICE?

Na koee saathee na koee manzil, aisaa naseeb naa phooTe.
NO COMPANION, NO DESTINATON, MAY NONE BE SO UNFORTUNATE!

Dekho dil na kisee ka TooTe,
BEWARE, LEST A HEART IS BROKEN!

Dekho dil na kisee ka TooTe,
BEWARE, LEST A HEART IS BROKEN!

Pyaar ka rishta, sachcha rishtaa,
LOVE’S RELATION IS THE TRUE RELATION,

Baaqee rishte jhooThe,
REMAINING RELATIONS ARE SHAM,

Dekho dil na kisee ka TooTe.
BEWARE, LEST A HEART IS BROKEN!

NASIR.



"Women opened the windows of my eyes and the doors of my spirit. Had it not been for the woman-mother, the woman-sister, and the woman-friend, I would have been sleeping among those who seek the tranquility of the world with their snoring." - Kahlil Gibran

Thursday, April 9, 2009

282. Translation of Sad Songs of Rafi: Achchha Hi Huwaa Dil TooT Gayaa...


Movie: Maa Bahen Aur Biwi (1973)
Music: Sharda
Lyrics: Qamar Jalalabadi

Rafi Sahaab’s song nominated for the 1974 Filmfare Award: Achchhaa Hi Huwaa Dil TooT Gayaa...

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



achchhaa hee huwaa dil, TooT gayaa...
‘TIS GOOD ANYWAY THAT THE HEART GOT BROKEN,

achchhaa hee huwaa dil, TooT gayaa,
‘TIS GOOD ANYWAY THAT THE HEART GOT BROKEN,

achchhaa hee kiyaa jo toone kiyaa,
‘TIS FOR THE GOOD, WHATEVER YOU DID,

loo.ngaa na kabhee ab naam-e-wafaa,
NE’ER WILL I UTTER THE NAME OF CONSTANCY,

achchhaa hee huwaa dil, TooT gayaa,
‘TIS GOOD ANYWAY THAT THE HEART GOT BROKEN,

achchhaa hee kiyaa jo toone kiyaa,
'TIS FOR THE GOOD, WHATEVER YOU DID,

loo.ngaa na kabhee ab naam-e-wafaa,
NE’ER WILL I UTTER THE NAME OF CONSTANCY,

achchhaa hee huwaa dil TooT gayaa...
‘TIS GOOD ANYWAY THAT THE HEART GOT BROKEN...


thaah jin kaa roop, nigaaho.n me.n,
THE BEAUTY OF WHOM I HAD IN SIGHT,

voh hai.n gairo.n kee baa.nho.n me.n,
IN THE STRANGERS’ ARMS SHE IS,

thaah jin kaa roop, nigaaho.n me.n,
THE BEAUTY OF WHOM I’D IN SIGHT,

voh hai.n, gairo.n kee baa.Nho.n me.n,
IN THE STRANGERS’ ARMS SHE IS,

kis baat kaa badlaa mujh se liyaa,
FOR WHAT MATTER WAS THE REVENGE EXACTED FROM ME?

mujh se liyaa -
EXACTED FROM ME!


achchhaa hee huwaa dil TooT gayaa,
‘TIS GOOD ANYWAY THAT THE HEART GOT BROKEN,

achchhaa hee kiyaa jo toone kiyaa,
TIS FOR THE GOOD, WHATEVER YOU DID,

loo.ngaa na kabhee ab naam-e-wafaa,
NE’ER WILL I UTTER THE NAME OF CONSTANCY,

achchhaa hee huwaa, dil TooT gayaa...
‘TIS GOOD ANYWAY THAT THE HEART GOT BROKEN...


naqlee theh phool mohabbat ke,
ARTIFICIAL WERE THE FLOWERS OF LOVE,

jhooThe theh vaade, ulfat ke,
FALSE WERE THE PROMISES OF LOVE,

naqlee theh phool, mohabbat ke,
ARTIFICIAL WERE THE FLOWERS OF LOVE,

jhooThe theh vaade ulfat ke,
FALSE WERE THE PROMISES OF LOVE,

har bandhan se mai.n chhooT gayaa,
FROM EVERY BONDAGE, I’M FREE,

haay, chooT gayaa -
OH, I’M FREE!


achchhaa hee huwaa dil TooT gayaa,
‘TIS GOOD ANYWAY THAT THE HEART GOT BROKEN,

achchhaa hee kiyaa jo toone kiyaa,
‘TIS FOR THE GOOD, WHATEVER YOU DID,

loo.ngaa na kabhee ab naam-e-wafaa,
NE’ER WILL I UTTER THE NAME OF CONSTANCY,

achchhaa hee huwaa dil, TooT gayaa...
‘TIS GOOD ANYWAY THAT THE HEART GOT BROKEN...


dil me.n toh sochaa kyaa-kyaa thaah,
WHAT ALL IDEAS I’D IN MIND,

teraa pyaar toh ret kaa dariyaa thaah,
YOUR LOVE WAS THE SEA OF SAND,

dil me.n toh sochaa, kyaa-kyaa thaah,
WHAT ALL IDEAS I’D IN MIND,

teraa pyaar to ret kaa dariyaa thaah,
YOUR LOVE WAS THE SEA OF SAND,

naa tayr sakaa naa, Doob sakaa
NEITHER COULD I SWIM, NOR COULD I DROWN!

naa Doob sakaa -
NOR COULD I DROWN!

achchhaa hee huwaa dil TooT gayaa,
‘TIS GOOD ANYWAY THAT THE HEART GOT BROKEN,

achchhaa hee kiyaa jo, toone kiyaa,
‘TIS FOR THE GOOD, WHATEVER YOU DID,

loo.ngaa na kabhee ab naam-e-wafaa,
NE’ER WILL I UTTER THE NAME OF CONSTANCY,

achchhaa hee huwaa dil, TooT gayaa,
‘TIS GOOD ANYWAY THAT THE HEART GOT BROKEN,

achchhaa hee kiyaa jo, toone kiyaa,
‘TIS FOR THE GOOD, WHATEVER YOU DID,

loo.ngaa na kabhee ab naam-e-wafaa,
NE’ER WILL I UTTER THE NAME OF CONSTANCY,

achchhaa hee huwaa dil, TooT gaya.
‘TIS GOOD ANYWAY THAT THE HEART GOT BROKEN.

NASIR.

"O, swear not by the moon, the fickle moon, the inconstant moon, that monthly changes in her circle orb, Lest that thy love prove likewise variable."
- W. Shakespeare

Wednesday, April 8, 2009

281. Translation of Sad Songs of Rafi: Sab ke Rehte Lagta Hai Jaise..


Movie: SAMJHAUTA (1973)
Lyrics: Indeevar
Music: Kalyanji-Anandji

Main Theatrical Release in Bombay: Super Cinema.

Rafi Sahaab’s Voice giving forceful expressions to estrangement, despondency, and dark fate: Sab ke Rehte Lagta Hai Jaise...

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



Sabke rehte lagtaa hai jaise,
EVEN WITH THE PRESENCE OF ALL, I FEEL AS IF

Koee nahee.n hai mera,
NO ONE IS MINE,

Koee nahee.n hai mera,
NO ONE IS MINE,

Sabke rehte lagtaa hai jaise,
EVEN WITH THE PRESENCE OF ALL, I FEEL AS IF

Koee nahee.n hai meraa,
NO ONE IS MINE,

Koee nahee.n hai meraa,
NO ONE IS MINE,


Sooraj ko chhoone nikla thaah,
I HAD SET OUT TO REACH FOR THE SUN,

Aayaa haath andheraa,
DARKNESS REACHED MY HAND,

Koee nahee.n hai meraaa,
NO ONE IS MINE.


Meri Qismat mein hai Thokar,
I’M FATED TO STUMBLE

Yu.n to bahot hai.n Sahaare,
SUPPORTERS THERE ARE MANY - SO TO SPEAK!

Mere dil ka deep bujhaa toh
AS THE HEART’S LAMP HAS EXTINGUISHED,

Phir kyaa Chaand-Sitaare,
WHAT DO I CARE ABOUT THE MOON AND THE STARS!

Chandaa waali raat bhee Kaali,
EVEN THE MOONLIT NIGHT IS PITCH-BLACK,

Chandaa waali raat bhee Kaali,
EVEN THE MOONLIT NIGHT IS PITCH-BLACK,

Kaalaa hai meraa Savera,
DINGY IS MY DAWN.

Koee nahee.n hai meraa,
NO ONE IS MINE,


Sabke rehte lagtaa hai jaise,
EVEN WITH THE PRESENCE OF ALL, I FEEL AS IF

Koee nahee.n hai meraa,
NO ONE IS MINE,

Koee nahee.n hai meraa,
NO ONE IS MINE,

OH ~~~OH~~~~OH~~~

Rasta hee rastaa hai aage,
ONLY ENDLESS PATHS LIE AHEAD,

Naa manzil naa kinaara,
NO DESTINATION! NO SHORE!

Jaane kahaan par le chali hai,
DON’T KNOW WHERE ‘TIS LEADING

Mujh ko samay ki Dhaara,
ME, THE STREAM OF TIME,

TooTi naiyaa bichha.de khevayyaa,
THE SHIP GOT WRECKED, THE MATES PARTED

TooTi naiyaa bichha.de khevayyaa,
THE SHIP GOT WRECKED, THE MATES PARTED,

Toofaano ne gheraa.
THE STORMS HAVE ENGULFED ON ALL SIDES,

Koee nahee.n hai, meraa
NO ONE IS MINE,


Sabke rehte. lagtaa hai aise,
EVEN WITH THE PRESENCE OF ALL, I FEEL AS IF

Koee nahee.n hai meraa
NO ONE IS MINE,

Koee nahee.n hai meraa
NO ONE IS MINE,

Koee nahee.n hai meraa
NO ONE IS MINE,

Koee nahee.n hai meraa
NO ONE IS MINE,


NASIR.

A brave man struggling in the storms of fate, And greatly falling with a falling state
- Alexander Pope.

Tuesday, April 7, 2009

280. Translation of Sad Songs of Rafi: Dil Ka Soona Saaz...


Movie: Ek Naari Do Roop (1973)
Lyricist: Asad Bhopali
Music: Ganesh

Rafi Sahaab’s emotional song that brings back his memory with a vengeance: Dil Ka Soona Saaz....

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



dil kaa... soona saaz... taraanaa Dhoo.nDhegaa,
THE MELODY, THE SILENT CHORD OF THE HEART WILL SEEK,

dil kaa soona saaz, taraanaa Dhoo.nDhegaa,
THE MELODY, THE SILENT CHORD OF THE HEART WILL SEEK,

teer-e-nigaah-e-naaz, nishaanaa Dhoo.nDhegaa,
THE MARK, THE DARTS OF THE ALLURING EYES WILL SEEK,

mujh ko mere baad zamaanaa, Dhoo.nDhegaa
AFTER I’M GONE, ‘TIS ME THE WORLD WILL SEEK.

dil kaa soona saaz, taraanaa Dhoo.nDhegaa,
THE MELODY, THE SILENT CHORD OF THE HEART WILL SEEK,

teer-e-nigaah-e-naaz, nishaanaa Dhoo.nDhegaa,
THE MARK, THE DARTS OF THE ALLURING EYES WILL SEEK,

arre mujh ko mere baad, zamaanaa Dhoo.nDhegaa
HEY, AFTER I’M GONE, ‘TIS ME THE WORLD WILL SEEK.

dil kaa soona saaz , taraanaa Dhoo.nDhegaa....
THE MELODY, THE SILENT CHORD OF THE HEART WILL SEEK...


log mere Khwaabo.n ko churaake, Dhaale.nge afsaano.n me.n,
BY ROBBING MY DREAMS, THE PEOPLE WILL SHAPE THEM INTO FABLES,

mere dil kee aag ba.nTegee, duniyaa ke parwaano.n me.n,
MY HEART’S PASSION WILL BE DISTRUBUTED AMONG THE WORLD-LOVERS,

waqt mere geeto.n kaa, khazaanaa Dhoo.nDhegaa,
THE TREASURE OF MY SONGS, THE TIME WILL SEEK.

dil kaa soona saaz, taraanaa Dhoo.nDhegaa,
THE MELODY, THE SILENT CHORD OF THE HEART WILL SEEK,

teer-e-nigaah-e-naaz, nishaanaa Dhoo.nDhegaa...
THE MARK, THE DARTS OF THE ALLURING EYES WILL SEEK....


saathee mujh ko yaad karenge, bheegi bheegi shaamo.n me.n,
COMPANIONS WILL REMEMBER ME ON THE WET, MISTY EVENINGS,

lekin ek maasoom sa dil bhee, inn saare hangaamo.n me.n,
BUT AMONG ALL THIS DIN, ONE INNOCENT-LIKE HEART

chup chup ke rone ka, bahaana dhoo. ndhegaa,
FOR WEEPING SECRETLY, AN EXCUSE HE’LL SEEK

dil ka soona saaz taraana dhoo.ndhegaa
THE MELODY, THE SILENT CHORD OF THE HEART WILL SEEK,

teer-e-nigaah naaz nishaana dhoo.ndhegaa.....
THE MARK, THE DARTS OF THE ALLURING EYES WILL SEEK....


HO~~~HO, HO, HO~~~


aas kaa sooraj saath rahegaa, jab saa.nso.n kee raaho.n me.n,
WHEN THE SUN OF HOPE THE PATHS OF BREATHS WILL ACCOMPANY,

gham ke a.ndhere, chhaT jaaye.nge, ma.nzil hogee baa.nho.n me.n,
SCATTERED WILL BE THE DARKNESS OF GLOOM, WITHIN REACH WILL BE THE GOAL,

pyaar dha.dakte dil kaa, Thikaanaa Dhoo.nDhegaa,
THE DESTINATION OF THE BEATING HEART, THE LOVE WILL SEEK.

dil kaa soona saaz, taraanaa Dhoo.nDhegaa,
THE MELODY, THE SILENT CHORD OF THE HEART WILL SEEK,

teer-e-nigaah-e-naaz, nishaanaa Dhoo.nDhegaa,
THE MARK, THE DARTS OF THE ALLURING EYES WILL SEEK,

arre mujh ko mere baad zamaanaa, Dhoo.nDhegaa
HEY, AFTER I’M GONE, ‘TIS ME THE WORLD WILL SEEK.

dil kaa soona saaz , taraanaa Dhoo.nDhegaa.
THE MELODY, THE SILENT CHORD OF THE HEART WILL SEEK.

NASIR.

Rafi Sahaab We Remember Thee Truly:

Sunday, April 5, 2009

When Dilip Kumar Refused the Role in Sohrab Modi's Remake of Pukar - 2



WHEN DILIP KUMAR REFUSED THE ROLE IN SOHRAB MODI’S REMAKE OF PUKAR –2


We do know that the late Sohrab Modi (1897-1984) was adept at creating an aura of the bygone eras in his films. Besides producing, directing and also acting in many films, he had produced and directed the historical classic, “PUKAR” (1939) based on a script written by Kamal Amrohi and others. Many key scenes were actually shot in magnificent courts and palaces of the Mughal Emperors, which gave grace and authenticity to PUKAR.

The story focussed on Adl-e-Jahangiri or the fairness of the justice system of Mughal Emperor Jahangir. It revolves around the story of Mangal Singh who is involved in a family feud and has slain the father and brother of his romantic interest, Kanwar. Sohrab Modi plays the role of a loyal Chieftan, Sardar Sangram Singh who eventually captures his own son, Mangal Singh, and turns him over to the justice of the Emperor who sentences him to death, claiming that no one is above the law. As fate would have it, Jahangir's sense of justice is put to a great test when Noor Jehan accidentally shoots a washerman dead with an arrow during her hunting expedition, and his wife, the washer-woman seeks retribution. The Emperor, sensing that justice is at stake, is forced to pass the sentence against Noor Jehan and orders the washer-woman to shoot an arrow at the Emperor himself in the same manner in which Noor Jehan had shot the washer-man. Such was the high drama portrayed in PUKAR which is one of the landmark films in the history of Bollywood.

Stellar performances were given by Chandra Mohan as Emperor Jahangir and Naseem Banu as Empress Noor Jehan. Chandra Mohan was known for his powerful voice and his mesmeric grey-green eyes. Naseem Banu, who was introduced by Sohrab Modi in HAMLET, was known as “Pari Chehra” i.e. having such beauty as only the fairies have. She gave a heart-warming performance with the tenderness of a Mughal Queen. The role of washer-woman was memorably played by Sardar Akhtar – the original Mother India who had starred in AURAT (1940) and who later married Producer-Director Mehboob Khan. Sadiq Ali played the role of Mangal Singh, while the character of Kanwar was enacted by Sheela. PUKAR was released in January 1939 under the banner of Minerva Movietone.

Just nine years later, Chandra Mohan would be donning the role of a Public Prosecutor and father of Ram (very young Dilip Kumar) in the super-hit movie SHAHEED (1948). Ten years later, (1958) Dilip Kumar would be acting opposite Sohrab Modi in YAHUDI under Bimal Roy's direction. And, eight years later (1966), Dilip Kumar would be marrying Naseem Banu’s beautiful daughter, Saira Banu.

In one of his interviews, Chandra Barot, the maker of the original DON (1978) did reveal to Indu Marani (DNA 25.3.2006) while discussing "Remakes", that once Sohrab Modi suggested to Yusuf Saab (Dilip Kumar) and Saira Banu the remaking of PUKAR but Yusuf Saab said, “No,” because they would be compared to Chandra Mohan and Naseem Banu.

A friend of mine,  who was a witness to this interview,  informed me that Sohrab Modi had a meeting with Dilip Kumar and Saira Banu on the subject of remaking of PUKAR one fine morning at about 11 or 11.30 A.M. I'm not sure about the year but it may be 1979-1980. The scene was the drawing room of Dilip Kumar’s Pali Hill Bungalow. Now, here’s what actually seems to have transpired in the meeting:


Dilip Kumar: Modi Sahaab...

Sohrab Modi: Ji...

Dilip Kumar: Aap ki film PUKAR mein Chandra Mohan Sahaab ka ‘role’ Jahangir ka thaah. Chandra Mohan Sahaab Jahangir ke ‘role’ ke liye Theek bhee theh... Unki aankhen aur awaaz Shahenshah Jahangir se bilkul mutaashabihaath rakhthi thee.n.


Sohrab Modi: Ha.n, Ha.n... Aage Kahiye.


Dilip Kumar: Doosri taraf Noor Jahan ka ‘role’ meri saas, Naseem Banu, ne kiya thaah. Uss Waqt meri saas waqiye mein itni khoobsoorat thee.n jitni ke Malika Noor Jahan thee.n.


Sohrab Modi: Aakhir aap kehna kya chaahte hain?

Dilip Kumar: Modi Sahaab, dekhiye, naa toh meri aawaaz aur aankhen Chandra Mohan jaisi hain; aur na hee Saira Banu meri saas Naseem Banu jaisi khoobsoorat hain.
Lihaaza, mera aur Saira ka ‘role’ kamm kar dijiye, aur Mangal Singh aur Dhoban ka badhaa dijiye.

(Now, Dharmendra was to do the role of Mangal Singh and Zeenat Amaan that of the washer-woman. Hearing this, Sohrab Modi said)

Sohrab Modi: Kahaani mein raddo-badal mutlaq naheen hoga.

(Dilip Kumar answered thus)

Dilip Kumar: Phir main ma’zarat chaahtaa hoo.n.

(Sohrab stood up saying)

Sohrab Modi: Aap ki Marzee.

Thus the curtains were drawn for ever on the remaking of the 1939 classic PUKAR.

CONCLUDED;

NASIR.

When Dilip Kumar Refused the Role in Sohrab Modi's Remake of Pukar - 1.


                                                               Dilip Kumar turns 86.


WHEN DILIP KUMAR REFUSED THE ROLE IN SOHRAB MODI’S REMAKE OF PUKAR – Part 1.

A news item in “Mumbai Mirror” of April 1, 2009 took me down the memory lane. The article mentioned that Muzaffar Ali, who had made the Rekha starrer, “Umrao Jaan”, in 1981 was now casting for another historical, “Noor Jahan Jahangir”. G.P. Sippy, too, had made a forgettable movie sometimes in mid-Fifties, entitled ADL-E-JAHANGIR, starring Pradeep Kumar and Meena Kumar in the lead roles.

Now, how many know that the role of Jahangir was refused by Dilip Kumar when veteran Sohrab Modi came to discuss the roles for the remake of his 1939 classic PUKAR? Not many, I’m sure. There’s no discussion about it in print either in the press or the internet as far as I know. But before elaborating our main story, let’s first discuss briefly, what is generally known about the roles refused by Dilip Kumar or about his movies that never saw the light of the day!

Yes, it is common knowledge that the Original On-Screen Legend of the Indian Film Industry, Dilip Kumar, had refused the main role in the blockbuster movies such as PYAASA (1957), MOTHER INDIA (1957), and SANGAM (1964). It is also known that much earlier in the Fifties, his films JANWAR with Suraiya , and SHIKWA with Nutan, did not take off. In fact, Sajjad Hussein had even composed some songs with Talat Mehmood for SHIKWA. Some scenes of this 1954 movie can be seen in FILM HI FILM which was a very interesting commentary on the Hindi movies and the movie buffs. In JANWAR, it was Suraiya who opted out on the ground that “Yusuf continued to act even after the Director said, ‘Cut’!” NAYA DIN NAYI RAAT was initially offered to him but he just settled for a commentary in that movie, with Sanjeev Kumar playing the nine roles in the film. It also appears that Dilip Kumar was the first choice for the award-winning role of Anari (1958) but at his instance, Hrishikesh Mukherjee passed on the script to Raj Kapoor who, as the former felt, would be the right person to do such a role. As for the role of Vijay in PYAASA, Dilip Kumar refused it on the ground that it was just an extension of his own award-winning role in DEVDAS (1955). For Raj Kapoor’s SANGAM, again Dilip Kumar was the first choice and Raj Kapoor gave him complete freedom to choose either his or Rajendra Kumar’s roles. However, no amount of blandishment by Raj Kapoor could convince Dilip Kumar to accept either of the roles. The role of Gopal was eventually played by Rajendra Kumar – zooming his career to all-time high.

As for MOTHER INDIA, according to some sources, Dilip Kumar was keen to play the roles of both father and son (Birju) opposite Nargis in the movie. But since the pair of Nargis and Dilip Kumar had appeared in many romantic movies earlier such as MELA, ANOKHA PYAAR, ANDAZ, JOGAN, HULCHAL and DEEDAR, it was felt that the public would not accept them as mother and son. Indeed, Mehboob Khan had many an anxious moment when he learnt that Nargis immediately wanted to marry Sunil Dutt who had saved her life during the shooting of the famous fire scene. Knowing the pulse of Indian public, Mehboob Khan felt that if the marriage took place before the release of his dream project, MOTHER INDIA would never be accepted by the people since Sunil Dutt had played the role of Birju, the son of Nargis, in the movie. The marriage took place about five months after the release of MOTHER INDIA. In the meantime, the movie was released in October 1957 and was lauded both by the public and the critics. The premiere was attended by almost the entire film industry including Dilip Kumar, but Sunil Dutt did not attend the premiere show. I remember reading another story as a child, and that was probably in Baburao’s Film India, that Nargis was not keen on having Dilip Kumar in the role of Birju. She had bluntly told Mehboob Khan that in that case it would be better if he made “FATHER INDIA”. According to another story, since Dilip Kumar was later offered the role of father and not that of the wayward son, Birju, he turned down the offer. Of course, what he had lost in MOTHER INDIA, Dilip Kumar gained when he came back with vengeance in GANGA JAMUNA which was his own home production. Dilip Kumar’s role of Ganga who turns a dacoit by the quirk of fate, is the best among his best roles.

Again, the 20th Century Fox’ offer of THE RAINS CAME was also turned down by Dilip Kumar. He also turned down the second-lead role of Sherif Ali ibn el-Kharish in David Lean’s LAWRENCE OF ARABIA (1962). Regarding this role, it is worthwhile to mention here that the Empire Magazine had stated that the camera shot of the emergence of Ali from the desert is the Number One cinematic moment in the entire history of Cinema. If only Dilip Kumar had accepted the offer! Had he done that, he would have certainly added more flair and deeper meaning to the role, with all respects to Omar Sharif who ultimately landed with this role. But then, Dilip Kumar believes that: “In your own bazaar you enjoy a certain status. What’s the point in venturing out into the fields unknown where you’ve no say, no contact with the subject-matter...”

Mentioned below are the Dilip Kumar’s films that were shelved or  remained incomplete or were not released are:

K. Asif’s TAJ MAHAL, JANWAR and AAKHRI MUGHAL
Nasir Hussain’s ZABARDAST
R.C. Talwar’s BANK MANAGER
Rajinder Jain’s SHIKWAH

Also included in the above list are:
Allied Arts Production’s HAR SINGHAR - Director Mahesh Kol
CHANAKYA - Director: B.R. Chopra, Producer: Kishore Sharma
AAG KA DARIYA – Director Rajinder Singh, Director Premaliya
ASAR-THE IMPACT – Director: KuKu Kohli, Producer: Dinesh Patel
KALINGA – Director: Dilip Kumar

B.R. Chopra’s BAAGHBAAN was initially meant for Dilip Kumar but was delayed and the role ultimately went to Amitabh Bachchan in the next century. Then, much before SHAKTI (1982) happened, Eagle Films had signed Dilip Kumar, Amitabh Bachchan and Amjad Khan for their ambitious project which was to be directed by Yash Chopra. But there was no progress thereafter.

After his highly successful box office hits, KARMA, VIDHATA and SAUDAGAR, Subhash Ghai had Dilip Kumar in mind for his HOMELAND. Included in the lineup were the star-casts of Amitabh Bachchan and Shahrukh Khan along with Preity Zinta. This project was finally shelved owing to the health problems of Shahrukh Khan and his inability to give dates even after a year when the revised dates did not suit Amitabh Bachchan and Preity Zinta. The last we heard was that Subhash Ghai had replaced Shahrukh Khan with Akshay Khanna. Heaven knows what has happened next.

There was also some news sometime in 2007 that KALINGA would be revived but that’s about it.

Dilip Kumar, who is indubitably the greatest and most revered actor of the Bombay film Industry which is commonly known as Bollywood, has left his imprint of his style of acting not only on his generation, but also on the next three generations of actors. He has no regrets for declining those roles of the movies which have now become classics. According to him, an actor has to be convinced that he is making the right choice. Dilip Kumar has no special attachment with any of his films since he worked with “equal zest and dedication” in all his films. Indeed, so single-minded was Dilip Kumar in his devotion to acting, that he always had an edge over Raj Kapoor and Dev Anand or any other actor. As an actor, “he’s never reached the point of Nirvana”.


To be concluded.....

NASIR.