220. Rafi's Sad Song: hamm intezaar karenge.... (REVISED)

MOVIE: BAHU BEGUM (1967) Music; Roshan Lyrics:Sahir Ludhianvi

 

Hamm i.ntezaar kare.nge,

I'LL BE WAITING ...

Hamm i.ntezaar kare.nge tera, qayaamat tak,

I'LL BE WAITING FOR YOU ‘TIL KINGDOM COME,

Khuda kare ke qayaamat ho, aur tuu aaye

MAY GOD BRING ON THE HOUR AND MAY YOU ARRIVE, 

khudaa kare ke, qayaamat ho, aur tuu aaye,

MAY GOD BRING ON THE HOUR AND MAY YOU ARRIVE,

 Hamm i.ntezaar kare.nge,

I'LL BE WAITING ...

bujhee-bujhee see nazar me.n teree, talaash liye,

WITH ALMOST FADED SIGHT, IN YOUR QUEST

bhaTakte, phirte hai.n, hamm aap apnee laash liye,

I WANDER ABOUT, CARRYING MY 

OWN DEAD-WEIGHT,

yahee junoo.n yahee vahshat ho,

MAY THIS MADNESS, THE SAME FRENZY PREVAIL ...

yahee junoo.n yahee vahshat ho, aur tuu aaye

MAY THIS MADNESS, THE SAME FRENZY PREVAIL, AS YOU ARRIVE!

Khuda kare ke, qayaamat ho, aur tuu aaye,

MAY GOD BRING ON THE HOUR AND MAY YOU ARRIVE,

 Hamm i.ntezaar kare.nge,

I'LL BE WAITING ...

na de.nge hamm tujhe ilzaam be-, wafaayee kaa,

I WON’T ACCUSE YOU OF INSINCERITY

magar gilaa toh, kare.nge teree judaaee kaa,

BUT WILL AT LEAST COMPLAIN OF YOUR ESTRANGEMENT,

tere khilaaf shikaayat ho,

WHEN THE COMPLAINT IS IN PROCESS AGAINST YOU....

tere khilaaf shikaayat ho, aur tuu aaye

WHEN THE COMPLAINT IS IN PROCESS AGAINST YOU, MAY YOU ARRIVE!

Khuda kare ke, qayaamat ho, aur tuu aaye,

MAY GOD BRING ON THE HOUR AND MAY YOU ARRIVE, 

Hamm i.ntezaar kare.nge,

I'LL BE WAITING ...

yeh zi.ndagee tere qadmo.n me.n Daal jaaye.nge,

THIS LIFE I’LL BE LAYING DOWN AT YOUR FEET,

tujhee ko, teree amaanat sambhaal jaaye.nge,

ONLY TO YOUR CARE WILL I HAND OVER YOUR TRUST, 

hamaaraa aalam-e-rukhsat ho,

WHEN I'M ABOUT TO DEPART THE WORLD...

hamaaraa aalam-e-rukhsat ho, aur tuu aaye

WHEN I'M ABOUT TO DEPART THE WORLD,

MAY YOU ARRIVE!

Khuda kare ke, qayaamat ho, aur tuu aaye,

MAY GOD BRING ON THE HOUR AND MAY YOU ARRIVE,

 Hamm i.ntezaar kare.nge,

I'LL BE WAITING ...

TRANSLATED BY NASIR ALI.

Every parting gives a foretaste of death, every reunion a hint of the resurrection.

- Arthur Schopenhauer

“If you are not too long, I will wait here for you all my life.” - Oscar Wilde.

Posted by Nasir 

223. Rafi's Sad Song: Log kehte hain (Revised)

Movie: BAHU BEGUM (1967)

Music: Roshan

Lyrics: Sahir Ludhianvi

Rafi's Sad Song: log kehte hain....

Transliteration and English Translation of the filmy Lyrics:

log kehte hai.n ke hamm, tum se kinaaraa kar le.n,

PEOPLE SAY THAT I SHOULD KEEP ALOOF FROM YOU,

tum jo keh doh, toh sitam, ye bhee gavaaraa kar le.n,

IF YOU SAY SO, THEN I'LL SUFFER THIS TORMENT TOO

log kehte hai.n ...

PEOPLE SAY...

tum ne jis haal-e, -pareshaa.n se nikaalaa thaa hame.n,

THE WRETCHED STATE FROM WHICH YOU'D EXTRACTED ME,

aasraa de ke, mohabbat kaa sa.mbhaalaa thaa hame.n,

BY SUPPORTING WITH LOVE, YOU’D TAKEN CARE OF ME,

sochte hai.n ke wohee,

 I WONDER, IF THAT VERY...

sochte hai.n ke wohee, haal dobaaraa kar le.n,

I WONDER, IF THAT VERY STATE I SHOULD REVERT TO,

tum jo keh doh toh sitam, yeh bhee gavaaraa kar le.n,

IF YOU SAY SO, THEN I'LL SUFFER THIS TORMENT TOO

log kehte hai.n...

PEOPLE SAY...

yoo.n bhee ab tum se, mulaaqaat nahee.n hone kee,

OTHERWISE TOO, THERE WON’T BE ANY MEETING UP WITH YOU NOW,

mil bhee jaao..

EVEN IF YOU MEET ME...

mil bhee jaao toh, koyee baat nahee.n hone kee,

EVEN IF YOU MEET ME, NOT A WORD WILL BE SPOKEN! 

aakhree baar bas ab,

JUST FOR THE LAST TIME NOW...

aakhree baar bas ab, zikr tumhaaraa kar le.n,

JUST FOR THE LAST TIME NOW I'LL MENTION YOU, 

tum jo keh doh toh sitam, ye bhee gavaaraa kar le.n,

IF YOU SAY SO, THEN I'LL SUFFER THIS TORMENT TOO

log kehte hai.n....

PEOPLE SAY....

aakhree baar khyaalo.n me.n, bulaa le.n tum ko,

FOR THE LAST TIME IN MY THOUGHTS I'LL INVITE YOU, 

aakhree baar kaleje se, lagaa le.n tum ko,

FOR THE LAST TIME, CLOSER TO MY BOSOM I'LL HOLD YOU,

aur phir apne ta.Rapne, 

AND THEREAFTER, MY OWN PAINFUL AGONY...

aur phir apne ta.dapane kaa, nazaaraa kar le.n,

AND THEREAFTER, MY OWN PAINFUL AGONY I'LL VIEW!

tum jo keh doh, toh sitam, yeh bhee gavaaraa kar le.n,

IF YOU SAY SO, THEN I’LL SUFFER THIS TORMENT TOO!

log kehte hai.n ke hamm, tum se kinaaraa kar le.n,

PEOPLE SAY THAT I SHOULD KEEP ALOOF FROM YOU,

tum jo keh doh, toh sitam, ye bhee gavaaraa kar le.n,

IF YOU SAY SO, THEN I'LL SUFFER THIS TORMENT TOO!

log kehte hai.n ...

PEOPLE SAY...

TRANSLATED BY NASIR ALI.

Love is that condition in which the happiness of another is essential to one's own. 

- Robert Heinlein.

890. More Romantic Songs of Rafi: Meree mehboob kaheen aur milaa kar mujh se...

Movie: GHAZAL (1964)

Maiden Release in Mumbai: Alankar Cinema.

Music:  Madan Mohan

Lyrics:  Sahir Ludhianvi

More Romantic Songs of Rafi:  meree mehboob kahee.N aur milaa kar mujh se..

Roman Transliteration/English Translation of the Urdu Lyrics:

taj tere liye, ek mazhar-e-ulfat hee sahee,

FOR YOU THE TAJ MAY BE A MANIFESTATION OF LOVE, ALRIGHT!

tujh ko is waadee-e-rangee.n se,  aqeedat hee sahee..

REVER, YOU MIGHT,  THIS SPLENDID VALE, ALRIGHT!

meree mehboob kaheen,  aur,  milaa kar mujh se,

MY BELOVED, MEET ME SOMEWHERE ELSE!

meree mehboob,  kaheen aur,  milaa kar mujh se,

MY BELOVED, MEET ME SOMEWHERE ELSE!

meree mehboob…

MY BELOVED!

an-ginat logo.N ne,  duniyaa me.N,  muhabbat kee hai,

COUNTLESS PEOPLE IN THE WORLD HAVE LOVED,

an-ginat logo.N ne, duniyaa me.N,  muhabbat kee hai,

COUNTLESS PEOPLE IN THE WORLD HAVE LOVED,

kaun kehtaa hai ke,  saadiq naa theh,  jazbe un ke,

WHO SAYS THAT THEIR FEELINGS WEREN’T SINCERE!

lekin un ke liye,  tashheer kaa,  saamaan nahee.N,

BUT FOR THEM THERE WAS  NO MEANS TO PUBLICIZE,

kyoo.N ke voh log bhee, apnee hee taraah,  muflis theh,

SINCE LIKE ME THEY TOO WERE A LOT DEPRIVED!

meree mehboob  kaheen,  aur,  milaa kar mujh se,

MY BELOVED, MEET ME SOMEWHERE ELSE!

meree mehboob…

MY BELOVED!

yeh chaman-zaar, yeh jamna kaa,  kinaaraa yeh mahal,

THE VERDANT MEADOW, THE BANK OF YAMUNA AND THIS PALACE!

yeh chaman-zaar, yeh jamna kaa,  kinaaraa yeh mahal,

THE VERDANT MEADOW, THE BANK OF YAMUNA AND THIS PALACE!

yeh munaqqash dar-o-deewar, yeh mehraab yeh taaq,

THE ORNATE DOORS AND WALLS, THE NICHE, THE CORNICE!   

ek shahanshaah ne,  daulat kaa sahaaraa lekar,  

WITH THE HELP OF WEALTH, AN EMPEROR

hamm Gareebo.N kee, muhabbat kaa,   u.Daayaa hai mazaaq,

HAS RIDICULED OUR – THE COMMONERS’ – LOVE!

meree mehboob…

MY BELOVED!

meree mehboob…

MY BELOVED!

meree mehboob kaheen,  aur,  milaa kar mujh se,

MY BELOVED, MEET ME SOMEWHERE ELSE!

meree mehboob,  kaheen aur,  milaa kar mujh se,

MY BELOVED, MEET ME SOMEWHERE ELSE!

meree mehboob.

MY BELOVED!

TRANSLATED BY NASIR

883. Romantic Songs of Rafi: jaane voh kaun hain...

BHEEGI RAAT (1965)

Lyrics:  Majrooh Sultanpuri

Music:  Roshan

More Romantic Songs of Rafi:  jaane voh kaun hain….

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

Jaane voh kaun hai.N….

WHO KNOWS WHO SHE IS!

jaane voh  kaun hai.N kyaa, naam hai un aa.Nkho.n kaa,

WHO KNOWS WHO THEY’RE! WHAT’S THE NAME OF THOSE EYES!

dil pe anjaanee  see, tasveer banaa detee hai.N,

A MYSTERIOUS PICTURE THEY DRAW ON MY HEART!

bujh ke reh jaatee  hai jab,  koyee tamannaa dil me.n,

WHEN SOME DESIRE GETS STIFLED IN THE HEART,

ik chiraaG aur bhee, chup-ke se jalaa detee  hai.N,
SILENTLY THEY  LIGHT  UP ANOTHER LAMP!

jaane voh kaun hai.N ...

WHO KNOWS WHO SHE IS!

mujh ko behelaatee hai.N,  naashaad jo hotaa hoo.N kabhee,

WHEN I GET DEPRESSED THEY ENTERTAIN ME,

neend me.n rang   milaatee hai.N jo sotaa hoo.N kabhee,  
BLENDING COLOURS DURING MY SLEEP,

jaag-taa hoo.N toh haay…

WHEN I WAKE UP, OH!

jaagataa hoo.N toh,   kaee Khwaab dikhaa detee hai.N,

WHEN I WAKE UP THEY SHOW ME MANY DREAMS,

jaane voh  kaun hai.N  kyaa,  naam hai un aa.Nkho.n kaa,

WHO KNOWS WHO SHE IS! WHAT’S THE NAME OF THOSE EYES!

hmmm~~~

jab bhee uTh-tee hai.N,  chhalaktee hai.N gulaabee kee taraah,
WHEN THEY LOOK UP, SPILLING SCENTED ROSE,

der tak mai.n toh,  bahak-taa hoo.N sharaabee  kee taraah,

FOR LONG DO I STRAY LIKE A DRUNK,

kyaa kahoo.N chup-ke se, haay,

OH, WHAT TO SAY! GENTLY….

kyaa kahoo.N chup-ke se, kyaa cheez pilaa detee  hai.N,

WHAT DO THEY GENTLY IMBIBE ME WITH, BEATS ME!

jaane voh kaun hai.N ...WHO KNOWS WHO THEY’RE!

 
roz miltee  hai.N voh,  tanhaa nahee.n rehne detee.n,
THEY MEET ME DAILY, NOT LETTING ME STAY ALONE,

yeh  hai baat aur ke,  apnaa nahee.N  kehne detee.n

‘TIS SOMETHING ELSE THAT THEY  WON’T LET ME REGARD THEM AS MINE!

aur keh doo.N toh, haay

AND IF I REGARD THEM AS SUCH, OH!

aur kah doo.N toh,   palak ha.Ns ke jhukaa detee hai.N

AND IF I REGARD THEM AS SUCH, THEY LET THE EYE-LASHES DOWN CHUCKLING!

jaane voh  kaun hai.N  kyaa,  naam hai un aa.Nkho.n kaa,
WHO KNOWS WHO SHE IS! WHAT’S THE NAME OF THOSE EYES!

dil pe anjaanee  see, tasveer banaa detee hai.N,
A MYSTERIOUS PICTURE THEY DRAW ON MY HEART!

jaane voh kaun hai.

WHO KNOWS WHO SHE IS!

 

NASIR

 

And those eyes, the break of day, 

Lights that do mislead the morn: 

-        Shakespeare.

860. More Romantic Songs of Rafi: Mohabbat se dekha Khafaa ho gaye hain...

Movie: BHEEGI RAAT (1965)

Lyrics: Majrooh Sultanpuri
Music: Roshan

Main Movie-Hall where first released in Bombay: Roxy Cinema.








More Romantic Songs of Rafi: Mohabbat se Dekha….
Roman Transliteration/English Translation of the original Hindi-Urdu Lyrics:


mohabbat se dekha Khafaa, ho gaye hai.n,
A LOVING GLANCE HAS INVITED HER IRE,


hasee.n aaj kal ke Khuda, ho gaye hai.n,
MODERN BEAUTIES HAVE BECOME DIVINE!


mohabbat se dekha Khafaa, ho gaye hai.n….
A LOVING GLANCE HAS INVITED HER IRE!


adaao.n me.n theeh saadgee, ab se pehle,
THERE WAS SIMPLICITY IN ACTIONS HERETOBEFORE,


oh~ adaao.n me.n theeh, saadgee, ab se pehle,
THERE WAS SIMPLICITY IN ACTIONS HERETOBEFORE,


wallah,
BY ALLAH!


kahaa.n rang theh, yeh sunhere roophele,
WHERE WAS THIS DASH OF GOLDEN SHADES!


oh~ nazar milte hee….
JUST AS THE EYES MET….


nazar milte hee kyaa se kyaa, ho gaye hai.n,
JUST AS THE EYES MET, HOW SHE GOT TRANSFORMED!


hasee.n aaj kal ke Khuda, ho gaye hai.n,
MODERN BEAUTIES HAVE BECOME DIVINE!


mohabbat se dekha Khafaa, ho gaye hai.n…
A LOVING GLANCE HAS INVITED HER IRE!


kisee mo.D se ban ke sooraj nikalnaa,
RISING LIKE THE SUN AT SOME TURN,


o~ kisee mo.D se ban ke sooraj nikalnaa,
RISING LIKE THE SUN AT SOME TURN,


taubaah,
GOOD GRACIOUS!


kahee.n dhoop me.n, chaa.ndnee ban ke chalnaa,
WALKING LIKE THE MOONBEAM SOMEWHERE IN THE SUN,


jidhar dekho jalwaa…
WHEREVER YOU LOOK, THE MANIFESTATION…


jidhar dekho jalwaa-numaa, ho gaye hai,
WHEREVER YOU LOOK, SHE’S THERE.


hasee.n aaj kal ke Khuda, ho gaye hai.n,
MODERN BEAUTIES HAVE BECOME DIVINE!


mohabbat se dekha Khafaa, ho gaye hai.n…
A LOVING GLANCE HAS INVITED HER IRE!


yahaa.n toh lagaa dil pe ik, zaKhm gehraa,
HERE WE SUSTAINED A DEEP WOUND IN THE HEART,


ho~~yahaa.n toh lagaa, dil pe ik, zaKhm gehraa,
HERE WE SUSTAINED A DEEP WOUND IN THE HEART,


haay…
ALAS!


wahaa.n sirf un-kaa yeh andaaz Thehraa,
THERE IT’S JUST A MATTER OF AFFECTATION,


Oh~~Khataa kar ke bhee…
DESPITE BEING GUILTY…


Khataa kar ke bhee be-Khataa ho gaye hai.n,
DESPITE BEING GUILTY, SHE GOES SCOT-FREE!


hasee.n aaj kal ke Khuda, ho gaye hai.n,
MODERN BEAUTIES HAVE BECOME DIVINE!


mohabbat se dekha Khafaa, ho gaye hai.n…
A LOVING GLANCE HAS INVITED HER IRE!


NASIR


lyrics

translation

803. Filmy Devotional Song of Rafi: Teri Allah kare rakhwaali...

Movie: ADL-E-JEHANGIR (1956)

Music: Husnlal-Bhagatram
Lyrics: Qamar Jalalabadi
Main Movie-Hall where first released in Bombay: Minerva Cinema.


Filmy Devotional Song of Rafi: Allah, teree Allah kare rakhwaalee…
Roman Transliteration/English Translation of the original Urdu Lyrics (For the first time on the internet):


Allah…. teree Allah kare rakhwaalee
ALLAH…MAY ALLAH PROTECT YOU,


voh hai saare, jahaa.n kaa waalee,
HE’S THE GUARDIAN OF THE ENTIRE WORLD!


Allah…. teree Allah kare rakhwaalee
ALLAH…MAY ALLAH PROTECT YOU,


voh hai saare, jahaa.n kaa waalee…
HE’S THE GUARDIAN OF THE ENTIRE WORLD!


maalik ka darbaar niraalaa,
UNIQUE IS THE COURT OF THE LORD,


uske dar pe aane waalaa,
THE ARRIVER TO HIS DOOR,


kabhee naa jaaye Khaalee,
NEVER GOES UNFULFILLED!


Allah…. teree Allah kare rakhwaalee
ALLAH…MAY ALLAH PROTECT YOU,


voh hai saare, jahaa.n kaa waalee,
HE’S THE GUARDIAN OF THE ENTIRE WORLD!


Allah…. teree Allah kare rakhwaalee
ALLAH…MAY ALLAH PROTECT YOU,


voh hai saare, jahaa.n kaa waalee…
HE’S THE GUARDIAN OF THE ENTIRE WORLD!


toofaano.n se kabhee naa Dar tuu,
NEVER BE AFRAID OF THE STORMS,


rakh us kee rehmat par nazar tuu,
KEEP YOUR SIGHT ON HIS DIVINE MERCY,


bann jaa usee kaa sawaalee,
ONLY BE HIS BESEECHER,


bann jaa usee kaa sawaalee,
ONLY BE HIS BESEECHER,


Allah…. teree Allah kare rakhwaalee
ALLAH…MAY ALLAH PROTECT YOU,


voh hai saare, jahaa.n kaa waalee,
HE’S THE GUARDIAN OF THE ENTIRE WORLD!


Allah…. teree Allah kare rakhwaalee
ALLAH…MAY ALLAH PROTECT YOU,


voh hai saare, jahaa.n kaa waalee…
HE’S THE GUARDIAN OF THE ENTIRE WORLD!


gham kyaa tujh ko Khudaa tere saath hai,
WHY WORRY, GOD IS WITH YOU,


maut aur zindagee usee ke saath hai,
DEATH AND LIFE ARE ONLY IN HIS HAND,


us kee shaan niraalee,
EXTRAORDINARY IS HIS GLORY,


us kee shaan niraalee,
EXTRAORDINARY IS HIS GLORY,


Allah…. teree Allah kare rakhwaalee
ALLAH…MAY ALLAH PROTECT YOU,


voh hai saare, jahaa.n kaa waalee,
HE’S THE GUARDIAN OF THE ENTIRE WORLD!


Allah…. teree Allah kare rakhwaalee
ALLAH…MAY ALLAH PROTECT YOU,


voh hai saare, jahaa.n kaa waalee,
HE’S THE GUARDIAN OF THE ENTIRE WORLD!


Allah…. teree Allah kare rakhwaalee
ALLAH…MAY ALLAH PROTECT YOU,


voh hai saare, jahaa.n kaa waalee,
HE’S THE GUARDIAN OF THE ENTIRE WORLD!


Allah…
ALLAH!


NASIR


lyrics

translation

781. Philosophical Song of Rafi: Chhoo lene doh naazuk hoTon ko....

Movie: KAAJAL (1965)
Music: Ravi
Lyrics: Sahir Ludhianvi
Main Movie-Hall where first released in Mumbai: Apsara Cinema.


Philosophical/Didactic Song of Rafi: Chhoo lene doh....
Roman Transliteration/English Translation of the original Urdu-Hindi Lyrics:


chhoo lene doh naazuk hoTo.n ko,
LET THE DELICATE LIPS TOUCH IT,


kuchh aur nahee.n hai, jaam hai yeh,
‘TIS NOTHING ELSE BUT WINE,


chhoo lene doh naazuk hoTo.n ko,
LET THE DELICATE LIPS TOUCH IT,


kuchh aur nahee.n hai, jaam hai yeh,
‘TIS NOTHING ELSE BUT WINE,


qudrat ne jo hamko baKhshaa hai,
OF THE BOUNTY THAT THE NATURE HAS GIVEN US


voh sabse hasee.n, inaam hai yeh,
THAT MOST BEAUTIFUL REWARD IS THIS!


chhoo lene doh naazuk hoTo.n ko...
LET THE DELICATE LIPS TOUCH IT!


sharmaa ke naa yoo.n hee kho denaa,
SMITTEN WITH SHAME IN THIS MANNER, DON’T SQUANDER


rangeen jawaanee kee gha.Diyaa.n,
THE SPLENDOROUS MOMENTS OF YOUTH!


sharmaa ke naa yoo.n hee kho denaa,
SMITTEN WITH SHAME IN THIS MANNER, DON’T SQUANDER


rangeen jawaanee kee gha.Diyaa.n,
THE SPLENDOROUS MOMENTS OF YOUTH!


betaab Dha.Dakte seeno.n kaa,
OF THE BOSOMS’ RESTLESS THROBBINGS


armaan bharaa,  paiGhaam hai yeh,
A HOPEFUL MESSAGE IS THIS!


chhoo lene doh naazuk hoTo.n ko,
LET THE DELICATE LIPS TOUCH IT,


kuchh aur nahee.n hai, jaam hai yeh,
‘TIS NOTHING ELSE BUT WINE,


chhoo lene doh naazuk hoTo.n ko...
LET THE DELICATE LIPS TOUCH IT!


achcho.n ko buraa saabit karnaa,
PROVING THE GOOD AS EVIL


duniyaa kee puraanee aadat hai,
IS AN OLD HABIT OF THE PEOPLE,


achcho.n ko buraa saabit karnaa,
PROVING THE GOOD AS EVIL


duniyaa kee puraanee aadat hai,
IS AN OLD HABIT OF THE PEOPLE,


is mai ko mubaarak cheez samajh,
CONSIDER THIS WINE AS AN AUSPICIOUS THING,


maanaa ke bahot, badnaam hai yeh,
AGREED THOUGH, VERY INFAMOUS IS THIS!


chhoo lene doh naazuk hoTo.n ko,
LET THE DELICATE LIPS TOUCH IT,


kuchh aur nahee.n hai, jaam hai yeh,
‘TIS NOTHING ELSE BUT WINE,


qudrat ne jo hamko baKhshaa hai,
OF THE BOUNTY THAT THE NATURE HAS GIVEN US


voh sabse hasee.n, inaam hai yeh,
THAT MOST BEAUTIFUL REWARD IS THIS!


chhoo lene doh naazuk hoTo.n ko.
LET THE DELICATE LIPS TOUCH IT!


NASIR


"Let us have wine and women, mirth and laughter,
Sermons and soda-water the day after." --- Lord Byron, Don Juan


lyrics


translation

HOW COMEDY CAME KNOCKING AT THE DOOR OF TRAGEDY KING DILIP KUMAR! Part 1of 2.

Dilip Kumar has been the “perfectionist” actor of the golden era of Hindi cinema, just as Amir Khan is addressed as Mr. Perfectionist in the current era of Bollywood. Another common appellation that is attached to his name is that of “Tragedy King.” We all know that by some quirk of fate, the initial career of Thespian Dilip Kumar took him through the portals of the many tragic roles in such movies as Jugnu (1947), Shaheed, Nadiya ke Paar, Mela (all 1948), Andaz (1949), Babul (1950), Deedar (1951) and Uran Khatola (1955) - to name just a few. While most of the roles ended in the death of the protagonist, some stories portrayed the hero as the living dead, as in Uran Khatola where his beloved is sacrificed to appease the tooth and claws of nature. Dilip Kumar’s transition to comedy happened only after Devdas (1955) that was yet another tragedy role that crowned Dilip Kumar as the King of Tragedy. It is for this reason that a small discussion about Devdas becomes imperative.


Speaking about Devdas, it was sometimes in mid- Nineteen Fifties that the ace director, Bimal Roy, cast Dilip Kumar in one of the most challenging roles ever. Dilip Kumar picked up the gauntlet to play Devdas - a character in Sarat Chandra, famous novel of that name. Of course, earlier in 1935, K.L. Saigal had donned the garb of Devdas. However, that Devdas is remembered more for the immortal songs of Saigal Saab. With the consummate artistry, Dilip Kumar was able to lend such intensity and realism to the role of the alcoholic and self-defeating Devdas that the character became larger than life and is  remembered even after 55 years of the film’s release.  Dilip Kumar’s acting prowess fetched him yet another Filmfare Award in the Best Actor category. Also, no Bollywood actor dared to enact a full-fledged role of Devdas, though down the years that was done in snatches or as a parody or even symbolically. Thus the critics have noted that the role of Sikandar, played by Amitabh Bachchan in Muqaddar ka Sikandar during his mega-star days, has the shades of a Devdas what with his wooing of  the courtesan  (Rekha) at her ‘Kotha’. Dharmendra too had dropped the idea of enacting the role of Devdas.


For Bimal Roy, Devdas was the labour of love and it rightly won him critics’ acclaims and the movie has passed on to the Hall of Fame as a Bollywood “Classic”. The flip side was that Devdas did not earn money for Bimal Roy who was therefore drained financially. The silver linining to that dark cloud, however, was that Bimal Roy toyed with the idea of making Madhumati, a heroine-oriented romantic story of rebirth, with Dilip Kumar and Vyajayantimala in the lead. When Madhumati was released in 1958 not only was Bimal Roy laughing his way to the Bank, but had even accumulated as many as nine Filmfare Awards – a record that was surpassed only in 1995  by  Dilwaale Dulhaniya Le Jaayenge.

When I had watched Devdas at the Bombay’s Swastik Cinema in 1955, I was just a kid who had no sense of the seriousness of the movie or about its huge star-cast:  Dilip Kumar, Suchitra Sen (Paro his childhood love) , Vyajayantimala (Chandramukhi the courtesan)  and Motilal (Chunni Babu who leads him to the 'Kotha'though reluctantly) .   I did not understand that the rigidity of the caste-system creates a great chasm between the hearts of men.   Nor could I then understand how  a failed childhood love should drive someone  so crazy that he would drink himself to death!  Why should a ravishing courtesan who is the cynosure of all eyes (though lusting eyes) give up her smiles and laughter plus a lucrative business for a man whose heart and soul belongs to some other woman who has been married off to a much older man whose children belong to the same age-group as Devdas.   Was that some vicarious love of Paro with which she hoped to win over the hopeless alcoholic?  His mere presence had changed everything not only from the outside but also from the inside of Chandramukhi.  He was the first man in her life who had given her a wad of hard currency without demanding anything from her in return.  Who was more praiseworthy?  Chandramukhi?  Or Paro,  who is crushed under the wheels of filial obedience but who nevertheless musters enough courage to sneak after mid-night to meet Devdas, a 'Mard' to speak about the marriage  only to be turned down by him since he lacks the courage to rebel against his parents and escapes to Calcutta.   Both Paro and Chandramukhi are ready to serve Devdas in their own way;  but Devdas has a promise to keep.  A promise to  visit Paro sometimes.  He does that.  He dies at her doorstep! 

Youngsters would hardly find anything of interest there that would be suitable to their age.  However, I had to revise my opinion when many years ago I read an article by an eminent female film journalist (since deceased).  She recounts that as a teenager how she and other girls used to bunk their school off and on to watch Dilip Kumar as Devdas at the Swastik Cinema. Since they had no money to purchase tickets for the movie, they used to move inside the movie-hall on the sly, only after the movie started. A “friendly” usher readily helped them find vacant seats in the dark hall  but at a price. While guiding them to the seats in the dark, he would fondle the girls at the wrong places. The girls did not mind as long as they could watch Dilip Kumar on the screen!  It is not surprising therefore that girls of impressionable age too fell for his on-screen charm. Unknown to him, his future wife, Saira Banu, had a crush on him since she was twelve!     Evidently, Dilip Kumar’s persona was not less of a lady-killer even in such a  movie as Devdas where he dons a sombre, drunken  and brooding  look  almost all the time. 

More than four decades wouId pass before someone could think of re-making Devdas in earnest. Sanjay Leela Bansali decided to re-make Devdas with Shahrukh Khan in the title role. Though Sanjay Leela Bhansali’s Devdas was a box-office hit, it wasn’t a faithful adaptation of the novel. Nor did it have a stark realism of the older black- and-white version.  Compared to the rustic version, the new Devdas was a glamourised version which looked more of a costume drama that had lavish sets and was packaged in gaudy colours, artificial histrionics, and contrived sub-plots, such as the non-existent meeting of Chandramukhi (Madhuri Dixit) with Paro (a younger Aishwarya Rai) and and their mega song-and-dance sequence. The liberties taken by Sanjay with the original novel rightly had the purists fuming.


As for Shahrukh Khan, he had the explicit blessings of  Dilip Kumar and Saira Banu. In fact, it was Saira Banu who stated that if anyone could do Devdas it would be Shahrukh Khan. Shahrukh Khan must have certainly found it tough to do justice to the role for it is said that he often took to drinking on the sets to bring realism to his role of the drunkard.  According to Shahrukh, "My Devdas is just a tribute to Dilip saab 's performance. I hope that a lot of youngsters would watch me and then go back to watch Dilip saab as Devdas."   That was sweet of him to say!   However, while comparing the roles of Dilip Kumar and Shahrukh Khan, Vyajayantimala stated that Dilip Kumar had acted as Devdas while Shahrukh Khan acted as himself.

Reference to Devdas was a must, since the character had taken a toll of the psyche of Dilip Kumar and it was imperative that his humours were restored.  It was at this moment that Azaad, a non-tragedy film,  appeared to be God-sent. 


To continue...

NASIR

728. Philosophical Song of Rafi: Pehle paisa phir bhagwaan...

Movie: Miss Mary (1957)

Music: Hemant Kumar
Lyrics: Rajinder Krishan


Main Movie-Hall where first released in Bombay: Roxy Cinema


Philosophical/Didactic Song of Rafi: Pehle paisa phir bhagwaan...

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


pehle paisaa phir bhagwaan baaboo dete jaanaa daan
THE MONEY FIRST, THEN GOD! PASS ON THE ALMS SIRE,


dete jaanaa, aThannee yaa chavannee baaboo aanaa doh aanaa,
PASS ON AN EIGHT-ANNA COIN, OR A FOUR-ANNA COIN, AN ANNA OR TWO ANNAS, SIRE,


o pehle paisaa phir bhagwaan baaboo dete jaanaa daan
THE MONEY FIRST, THEN GOD! PASS ON THE ALMS SIRE,


dete jaanaa, aThannee yaa chavannee baaboo aanaa doh aanaa...
PASS ON AN EIGHT-ANNA COIN, OR A FOUR-ANNA COIN, AN ANNA OR TWO ANNAS, SIRE,


TikaT swarg kee bech rahaa hai yeh andhee aa.nkho.n waalaa,
THIS BLIND MAN IS SELLING A TICKET TO PARADISE,


TikaT swarg kee bech rahaa hai yeh andhee aa.nkho.n waalaa,
THIS BLIND MAN IS SELLING A TICKET TO PARADISE,


Arre tho.Dee see hai.n seeTe.n baaqee jaldee karnaa laalaa
ONLY A FEW SEATS REMAINING, HURRY UP SIR,


arre tuu doh din kaa mehmaan
HEY, YOU’RE A GUEST FOR TWO DAYS,


apnee ma.nzil ko pehchaan
RECOGNIZE YOUR DESTINATION,


dete jaanaa, aThannee yaa chavannee baaboo aanaa doh aanaa,
PASS ON AN EIGHT-ANNA COIN, OR A FOUR-ANNA COIN, AN ANNA OR TWO ANNAS, SIRE,


o pehle paisaa phir bhagwaan baaboo dete jaanaa daan
THE MONEY FIRST, THEN GOD! PASS ON THE ALMS SIRE,


dete jaanaa, aThannee yaa chavannee baaboo aanaa doh aanaa...
PASS ON AN EIGHT-ANNA COIN, OR A FOUR-ANNA COIN, AN ANNA OR TWO ANNAS, SIRE,


janam-janam kaa paap daan ke saabun se dhul jaaye
THE SINS OF MANY BIRTHS GET WASHED AWAY BY THE SOAP OF CHARITY,


janam janam ka paap daan ke, daan ke,
WITH ALMS, WITH ALMS, THE SINS OF MANY BIRTHS


daan ke saabun se dhul jaaye,
GET WASHED AWAY BY THE SOAP OF CHARITY,


yahaa.n jo deve ek la.ngoTee
IF YOU GIVE A WAIST-CLOTH HERE,


vahaa.n pe bistar paaye,
THERE YOU WILL FIND A BEDDING,


arre kyaa soch rahaa naadaan
HEY, WHAT ARE YOU THINKING SILLY!


yeh saudaa kitnaa hai aasaan
HOW EASY IS THIS TRADE!


dete jaanaa, aThannee yaa chavannee baaboo aanaa doh aanaa,
PASS ON AN EIGHT-ANNA COIN, OR A FOUR-ANNA COIN, AN ANNA OR TWO ANNAS, SIRE,


o pehle paisaa phir bhagwaan baaboo dete jaanaa daan
THE MONEY FIRST, THEN GOD! PASS ON THE ALMS SIRE,


dete jaanaa, aThannee yaa chavannee baaboo aanaa doh aanaa...
PASS ON AN EIGHT-ANNA COIN, OR A FOUR-ANNA COIN, AN ANNA OR TWO ANNAS, SIRE,


vaah re mere bhole maalik nyaaree teree leelaa,
EXCELLENT, MY INNOCENT LORD! YOUR PASTIME IS ODD!


vaah re mere bhole maalik nyaaree teree leelaa,
EXCELLENT, MY INNOCENT LORD! YOUR PASTIME IS ODD!


arre tuu bhee darshan usee ko deve kare jo kheesaa Dheelaa,
YOU PUT IN AN APPEARANCE ONLY FOR HIM WHO EMPTIES HIS POCKETS,


arre mai.n maalik kaa darbaan kar lo muktee kaa saamaan
YOU PUT IN AN APPEARANCE ONLY FOR HIM WHO EMPTIES HIS POCKETS,


dete jaanaa, aThannee yaa chavannee baaboo aanaa doh aanaa,
PASS ON AN EIGHT-ANNA COIN, OR A FOUR-ANNA COIN, AN ANNA OR TWO ANNAS, SIRE,


o pehle paisaa phir bhagwaan baaboo dete jaanaa daan
THE MONEY FIRST, THEN GOD! PASS ON THE ALMS SIRE,


dete jaanaa, aThannee yaa chavannee baaboo aanaa doh aanaa...
PASS ON AN EIGHT-ANNA COIN, OR A FOUR-ANNA COIN, AN ANNA OR TWO ANNAS, SIRE.


NASIR


God gave me my money. I believe the power to make money is a gift from God . . . to be developed & used to the best of our ability for the good of mankind. Having been endowed with the gift I possess, I believe it is my duty to make money & still more money & to use the money I make for the good of my fellow man according to the dictates of my conscience. John D. Rockefeller, 1905
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