GURU DUTT'S (OR SAHIR'S) PYAASA (1957)

GURU DUTT'S (OR SAHIR'S) PYAASA (1957)

COURTESY : http://www.fortunecity.com/lavender/ducksoup/26/Films.htm#Pyaasa

Although Pyaasa is Guru Dutt's real masterpiece but it is, in fact, if one person is the soul of Pyaasa it is lyricist Sahir Ludhianvi on whose poems the lyrics were based. Sahir's words seem to articulate Guru Dutt's own view of the world and experience of tragedy. Pyaasa sees some of Sahir's best work. 'Yeh mehlon, yeh thakhton', 'Jaane woh kaise log the jinke' and 'Jinhe naaz hai Hind par woh kahaan hai' - the last looking at the disillusionment that had set in a decade after the giddy euphoria of Indian Independence. It was taken from his poem Chakle(Brothels). A fine example of political comment combined with humanitarian compassion.

It tells of the thirst for love, for recognition, for spiritual fulfilment. There is a strong parallel between the hero, a poet, the outsider trying to make a place for himself in the society he inhabits and the director, the outsider trying to leave his independent stamp in a world of formulaic cinema. It is in Pyaasa where we really see transcend way above the ordinary and succeed in totality. Many individual shots and scenes become impressionistic images telling of his lyricism. An example which immediately comes to mind is the song'Aaj sajan mohe ang lagalo.' It is a kirtan- a Bengali devotional song telling of longing and desire. Though we see baul singers perform the song, it in fact voices the prostitute's passion for the poet. She follows the poet up the stairs to the terrace where he stands his back to her. She moves towards him but cannot bring herself to touch him and she runs away. The earthly love she feels is uplifted and given a spiritual dimension through the words. And this is further reinforced by the amazing rendering of the song by Geeta Dutt. In the last scene of the film an instrumental version of the song is played as the prostitute overcome with joy at seeing the poet at her doorway runs down the steps of her house into his arms. They are one. What is most interesting to note in their relationship is that the prostitute shares with the poet a greater attraction for spiritual fulfilment rather than materialistic fulfilment.

In many of Guru Dutt's films we see him caught between two women - Baazi, Aar Paar, Kaagaz ke Phool and Sahib Bibi aur Ghulam. In Pyaasa too there is another woman , his ex-girlfriend from college who leaves him and marries for security. Her priority is clearly materialistic fulfilment. In fact though having negative shades to it, this is actually the more difficult and challenging role in the film as against the standard prostitute with a heart of gold. The role has its shades of grey and counts as one of actress Mala Sinha's better performances, otherwise a rather mechanical and melodramatic performer. Talking of the acting, Waheeda Rehman is outstanding in the role of the prostitute and Guru Dutt himself is fine in the role of the poet. Perhaps the parallels between him and the character help him in coming out with his best everscreen performance.

Interestingly, Pyaasa has that rare element in a Guru Dutt film. A song treated like a fantasy. An idyllic daydream of the hero. The song 'Hum aapki aankhon mein' is picturised amongst clouds as the heroine descends from the moon. It sticks out when viewed against the whole film. Perhaps Guru Dut picturised it in such a manner just to get back at the distributors who felt that an 'item' was needed! So he provided them with one!

The music by S.D. Burman is extraordinary as is the rendering of the songs. The background music helps to create the necessary atmosphere for a number of individual scenes. The Mala Sinha character has her own signature tune - a simple yet haunting melody played on the harmonica. Whenever the poet sees her, the tune is repeated representing for him the love he has lost.

To sum it up simply, a classic! Need one say more?!

YEH KUUCHE ... JINHEIN NAAZ HAI HIND PAR WOH KAHAAN HAIN

YEH KUUCHE ... JINHEIN NAAZ HAI HIND PAR WOH KAHAAN HAIN

Movie: Pyaasa
Singer(s): Mohammad Rafi
Music Director: S D Burman
Lyricist: Sahir Ludhianvi

ye kuuche, ye... ha.n .a.a.a , ghar dilakashii ke
ye kuuche, ye niilaam ghar dilakashii ke
ye luTate hue kaaravaa.n zi.ndagii ke
kahaa.N hai.n, kahaa.N hai.n muhAfiz khudii ke
jinhe.n naaz hai hind par vo kahaa.N hai.n
kahaa.N hai.n, kahaa.N hai.n, kahaa.N hai.n

ye purape.nch galiyaa.n, ye badanaam baazaar
ye gumanaam raahii, ye sikko.n kI jhanakaar
ye isamat ke saude, ye saudo.n pe takaraar
jinhe naaz ...

ye sadiyo.n se bekhauf sahamii sI galiyaa.n
ye masalii huI adhakhilI zard kaliyaa.n
ye bikatii huI khokhalii ra.ngaraliyaa.N
jinhe naaz ...

vo ujale darIcho.n me.n paayal kii chhan chhan
thakii haarii saa.nso.n pe tabale kI dhan dhan (2)
ye berUh kamaro.n me khaa.nsii ki Than Than
jinhe naaz ...

ye phuulo.n ke gajare, ye piiko.n ke chhii.nTe
ye bebaak nazare, ye gustaakh fiqare
ye Dhalake badan aur ye biimaar chehare
jinhe naaz ...

yahaa.N piir bhii aa chuke hai.n, javaa.n bhii
tan-o-mand beTe bhI, abbaa miyaa.N bhii
ye biivii hai (2) aur bahan hai, maa.N hai
jinhe naaz ...

madad chaahatii hai ye havaa kI beTI
yashodaa kI ham_jins raadhaa kI beTI (2)
payambar kI ummat zulekhaa kI beTI,
jinhe naaz ...

zaraa is mulk ke rahabaro.n ko bulaao
ye kuuche ye galiyaa.n ye ma.nzar dikhaao
jinhe.n naaz hai hind par unako laao
jinhe naaz hai hind par vo kahaa.N hai.n
kahaa.N hai.n, kahaa.N hai.n, kahaa.N hai.n

Please view this song here :-

YEH MAHALON, YEH TAKHTON, YEH TAAJON KII DUNIYAA

YEH MAHALON, YEH TAKHTON, YEH TAAJON KII DUNIYAA

Movie: Pyaasa
Singer(s): Mohammad Rafi
Music Director: S D Burman
Lyricist: Sahir Ludhianvi

ye mahalo.n, ye taKto.n, ye taajo.n kii duniyaa
ye inasaa.n ke dushman samaajo.n kii duniyaa - 2
ye daulat ke bhuukhe rivaazo.n kii duniyaa
ye duniyaa agar mil bhii jaaye to kyaa hai - 2

har ek jism ghaayal, har ek ruh pyaasii
nigaaho me.n ulajhan, dilo.n me udaasii
ye duniyaa hai yaa aalam-e-badahavaasii
ye duniyaa ...

jahaa.N ek khilaunaa hai inasaa.n kii hastii
ye bastii hai murdaa-parasto.n kii bastii
jahaa.N aur jiivan se hai maut sastii
ye duniyaa ...

javaanii bhaTakatii hai bezaar banakar
javaa.n jism sajate hai baazaar banakar
jahaa.N pyaar hotaa hai vyaapaar banakar
ye duniyaa ...

ye duniyaa jahaa.N aadamii kuchh nahii.n hai
vafaa kuchh nahii.n, dostii kuchh nahii.n hai - 2
jahaa.N pyaar ki kadr hii kuchh nahii.n hai
ye duniyaa ...

jalaa do, jalaa do ise phuu.Nk Daalo ye duniyaa
mere saamane se haTaa lo ye duniyaa
tumhaarii hai tum hii sambhalo ye duniyaa, ye duniyaa ...

Please view this song here :-

HAM AAP KII AANKHON MEIN

A beautiful romantic number from the movie "Pyaasa" :-

HAM AAP KII AANKHON MEIN

Rafi :

ham aap kii aa.Nkho.n me.n, is dil ko basaa de.n to

Asha :

ham muu.Nd ke palako.n ko, is dil ko sazaa de.n to

Rafi :

ham aap kii aa.Nkho.n me.n, is dil ko basaa de.n to

Rafi :

in zulfo.n me.n guu.Ndhe.nge, ham phuul muhabbat ke

Asha :

zulfo.n ko jhaTak kar ham, ye phuul giraa de.n to

Rafi :

ham aap kii aa.Nkho.n me.n, is dil ko basaa de.n to

Rafi :

ham aapako khvaabo.n me.n, laa laa ke sataaye.nge

Asha :

ham aap kii aa.Nkho.n se, nii.nde.n hii u.Daade.n to

Rafi :

ham aap kii aa.Nkho.n me.n, is dil ko basaa de.n to

Rafi :

ham aapake kadamo.n para, gir jaaye.nge Gash khaa kar

Asha :

is par bhii na ham apane, aa.nchal kii havaa de.n to

Rafi :

ham aap kii aa.Nkho.n me.n, is dil ko basaa de.n to

Asha :

ham muu.Nd ke palako.n ko, is dil ko sazaa de.n to

View this song at :-

SANSAAR SE BHAAGE PHIRTE HO

Here is another great one written by Janaab Sahir Ludhianvi Saheb :-

SANSAAR SE BHAAGE PHIRTE HO

Movie : Chitralekha
Singer : Lata Mangeshkar
Music Director : Roshan
Lyricist : Sahir Ludhianvi
Actors/Actress : Ashok Kumar, Meena Kumari
Year : 1964

sansaar se bhaage phirate ho
bhagawaan ko tum kyaa paa_oge
is log ko bhii apanaa naa sake
us lok me.n bhii pachhataa_oge
sansaar se bhaage phirate ho

( ye paap hai kyaa ye puNy hai kyaa
riito.n par dharm kii mohare.n hai.n ) -2
riito.n par dharm kii mohare.n hai.n
har yug me.n badalate dharmo.n ko
kaise aadarsh banaa_oge
sansaar se bhaage phirate ho

( ye bhog bhii ek tapasyaa hai
tum tyaag ke maare kyaa jaano ) -2
tum tyaag ke maare kyaa jaano
apamaan rachetaa kaa hogaa
rachanaa ko agar Thukaraa_oge
sansaar se bhaage phirate ho

( ham kahate hai.n ye jag apanaa hai
tum kahate ho jhuuThaa sapanaa hai ) -2
tum kahate ho jhuuThaa sapanaa hai
ham janam bitaa kar jaaye.nge
tum janam ga.Nvaa kar jaa_oge

sansaar se bhaage phirate ho
bhagawaan ko tum kyaa paa_oge
sansaar se bhaage phirate ho

You can view the song at :-

BASTII BASTII PARVAT PARVAT

BASTII BASTII PARVAT PARVAT

bastii-basti parvat-parvat gaata jaaye banjaara
leke dil ka ikataara
bastii-basti parvat-parvat ...

pal do pal ka saath hamaara pal do pal ki yaari
aaj nahi to kal karani hai ( chalane ki taiyaari ) -2
bastii-basti parvat-parvat ...

qadam-qadam par honi baithi apana jaal bichhaae
is jiivan ki raah mein jaane ( kaun kahaan rah jaae ) -2
bastii-basti parvat-parvat ...

dhan-daulat ke piichhe kyon hai ye duniya diivaani
yahaan ki daulat yahaan rahegi ( saath nahi ye jaani ) -2
bastii-basti parvat-parvat ...

sone-chaandi mein tulata ho jahaan dilon ka pyaar
aansu bhi bekaar vahaan par ( aahen bhi bekaar ) -2
bastii-basti parvat-parvat ...

duniya ke baazaar mein aakir chaahat bhi vyaapaar bani
tere dil se unake dil tak ( chaandi ki diivaar bani ) -2
bastii-basti parvat-parvat ...

ham jaison ke bhaag mein likha chaahat ka varadaan nahi
jisane hamako janam diya vo ( patthar hai bhagavaan nahiin) -2
bastii-basti parvat-parvat ...

Please view this song at :-
http://youtube.com/watch?v=QtCsfOTVgSY

MAADAAM

MAADAAM

aap bevajah pareshaan-sii kyo.n hai.n maadaam
log kahate hai.n to phir Thiik hii kahate ho.nge
mere ehabaab ne tahaziib na siikhii hogii
mere maahaul me.n i.nsaan na rahate ho.nge

nuur-e-saramaayaa se hai ruu-e-tamaddun kii jilaa
ham jahaa.N hai.n vahaa.N tahaziib nahii.n pal sakatii
mufalisii hiss-e-lataafat ko miTaa detii hai
bhuuk aadaab ke saa.Nche me.n nahii.n Dhal sakatii

log kahate hai.n to logo.n pe t’ajjub kaisaa
sach to kahate hai.n ki naadaaro.n kii izzat kaisii
log kahate hai.n – magar aap abhii tak chup hai.n
aap bhii kahiye Gariibo.n me.n sharaafat kaisii

nek maadaam! Bahut jald vo daur aayegaa
jab hame.n ziist ke adavaar parakhane ho.nge
apanii zillat kii qasam, aap kii azamat kii qasam
hamako taa’ziim ke me_aar parakhane ho.nge

hamane har daur me.n tazaliil sahii hai lekin
hamane har daur ke chehare ko ziyaa baKhshii hai
hamane har daur me.n mehanat ke sitam jhele hai.n
hamane har daur ke haatho.n ko hinaa baKhshii hai

lekin in talKh mubaahis se bhalaa kyaa haasil
log kahate hai.n to phir Thiik hii kahate ho.nge
mere ehabaab ne tahaziib na siikhii hogii
mere maahaul me.n i.nsaan na rahate ho.nge

MEANINGS

[maadaam=Urdu equivalent of Madam]
[ehabaab=friends; maahaul=environment/surrounding]
[nuur-e-saramaayaa=light of wealth;
ruu-e-tamaddun=face of civilization]
[jilaa=shine/brightness; hiss-e-lataafat=finer feelings]
[aadaab=genteel/civilized/politeness][naadaaro.n=poor]
[ziist=life; adavaar=values; zillat=humiliation]
[azamat=greatness; taa’ziim=respect; me_aar=level]
[tazaliil=insult; ziyaa=brightness/brilliance]
[talKh=bitter; mubaahis=arguments]

MERE GIIT

MERE GIIT

mere sarakash taraane sun ke duniyaa ye samajhatii hai
ki shaayad mere dil ko ishq ke naGmo.n se nafarat hai

mujhe ha.ngaamaa-e-ja.ng-o-jadal me.n kaif milataa hai
merii fitarat ko Khuu.Nrezii ke afasaano.n se raGbat hai

merii duniyaa me.n kuchh vaq’at nahii.n hai raqs-o-naGme.n kii
meraa mahabuub NaGmaa shor-e-aaha.ng-e-baGaavat hai

magar ai kaash! dekhe.n vo merii purasoz raato.n ko
mai.n jab taaro.n pe nazare.n gaa.Dakar aasuu.N bahaataa huu.N

tasavvur banake bhuulii vaaradaate.n yaad aatii hai.n
to soz-o-dard kii shiddat se paharo.n tilmilaataa huu.N

ko_ii Khvaabo.n me.n Khvaabiidaa uma.ngo.n ko jagaatii hai
to apanii zindagii ko maut ke pahaluu me.n paataa huu.N

mai.n shaayar huu.N mujhe fitarat ke nazzaaro.n se ulfat hai
meraa dil dushman-e-naGmaa-saraa_ii ho nahii.n sakataa

mujhe insaaniyat kaa dard bhii baKhshaa hai qudarat ne
meraa maqasad faqat sholaa navaa_ii ho nahii.n sakataa

javaa.N huu.N mai.n javaanii laGzisho.n kaa ek tuufaa.N hai
merii baato.n me.n rang-e-paarasaa_ii ho nahii.n sakataa

mere sarakash taraano.n kii haqiiqat hai to itanii hai
ki jab mai.n dekhataa huu.N bhuuk ke maare kisaano.n ko
Gariibo.n ko, mufliso.n ko, bekaso.n ko, besahaaro.n ko
sisakatii naazaniino.n ko, ta.Dapate naujavaano.n ko
hukuumat ke tashaddud ko, amaarat ke takabbur ko
kisii ke chitha.Do.n ko aur shahanshaahii Khazaano.n ko

to dil taab-e-nishaat-e-bazm-e-ishrat laa nahii.n sakataa
mai.n chaahuu.N bhii to Khvaab-aavaar taraane gaa nahii.n sakataa

***************************************************************************

MEANINGS

[sarakash=full of revolutionary verve]
[ja.ng-o-jadal=war and strife; kaif=joy; fitarat=nature]
[Khuu.Nrezii=bloodthirsty/bloody; raGbat=interest]
[vaq’at=value; raqs-o-naGmaa=dancing and singing]
[purasoz=filled with pain]
[vaaradaate.n=incidents; shiddat=sharpness/quickness]
[Khvaabidaa=sleepy/sleeping]
[dushman-e-naGmaa-saraa_ii=enemy of/against singing]
[faqat=merely; sholaa_nava_ii=raining/pouring fire]
[laGzish=stumble/falter; rang-e-paarasaa_ii=colour of purity]
[haqiiqat=reality; tashaddud=violence; amaarat=riches/wealth]
[takabbur=pride/arrogance]
[taab-e-nishaat-e-bazm-e-ishrat=enjoy the luxuries of a wealthy society]
[Khvaab-aavaar=sleep-inducing]

RAMESH SEHGAL'S (OR SAHIR'S) PHIR SUBAH HOGI

RAMESH SEHGAL'S (OR SAHIR'S) PHIR SUBAH HOGI

Here is a brief write-up on the film “Phir Subah Hogi”. It is, in fact, a compendium of poetry written by Sahir Ludhianvi. The write-up also includes the title song of the Film “Woh Subah Kabhi To Aayegi”.

It is a must see for everybody to make a true assessment of “Meraa Bhaarat Mahaan”.

PHIR SUBAH HOGI

"Phir Subah Hogi (1958)" – a film by Ramesh Saigal - is basically a film version of Fyodor Dostoevsky's "Crime and Punishment (1866)". From the point of view of Indian scenario, it is an emotional piece of work to inculcate a culture of social justice in tune with the human compassions. The film concentrates on the various malevolent aspects of city life like exploitation, crime, unpleasantness & slums and the struggle of the downtrodden even for their basic needs for their day-to-day living.

The film successfully brings out, in an extremely convincing manner, both the external and the internal conflicts of its characters. It is more or less a
philosophical dealing of the guilt and mental mayhem which go through the mind of the hero who accidentally murders someone. Raj Kapoor, in fact, gave one of his life best performances in this film. The character played by Raj Kapoor was, virtually, internalized by him and rendered mind blowing performance and in a perfectly befitting manner. His performance depicting a man fighting with himself and his guilt was par excellence.

Mala Sinha was in the female lead in the film and this film was amongst the better performances of her career.

Among the supporting cast, Rehman appearing as hero’s munificent friend who tries to help him out as much as he can and makes the most of it creating a character who though cannot be of much help but walk along as a true friend. Mubarak reflects strong screen presence in playing the role of the police officer trying to exploit the hero’s mental turbulence and ultimately to make him confess to the murder.

The film had excellent musical score by Khayyam and self-illuminating lyrics by Sahir Ludhianvi.

Some extremely beautiful songs, written by Sahir Ludhianvi with Music by Khayyam were sung by Mukesh and Asha Bhonsle, the most glaring of which were :-

- Aasamaan pe hai khudaa aur zamiin pe ham
- Chiin-o-arab hamaaraa, hindostaan hamaaraa
- Phir naa kije merii gustaakh nigaahii kaa gilaa
- Woh subah kabhii to aayegii, Woh subah kabhii to aayegii

The best part for the song “Woh subah kabhii to aayegii”, of course was the modification from “Woh Subah Kabhi To Aayegi” to “Woh Subah Hum Hii Toh Laayeinge” at the end of the film which depicts Sahir's leaning towards a system of collective change.

Though released way back in 1958, the film still has relevance in the present times. In fact, the problems of poverty, homelessness, exploitation of the poor and corruption have multiplied manifold and even 60 years after of the Independence, we pray Woh Subah Kabhi to Aayegi…

Woh subah kabhii to aayegii,
Woh subah kabhii to aayegii

In kaalii sadiyon ke sar se, jab raat kaa aanchal Dhalakegaa
Jab dukh ke baadal pighaleinge, jab sukh kaa saagar chhalkegaa
Jab ambar jhoom ke naachegaa, jab dhartii naGame gaaegii

Woh subah kabhii to aayegii,
Woh subah kabhii to aayegii

Jis subah kii khaatir jug-jug se, ham sab mar-mar ke jiite hain
Jis subah ke amrit kii boond mein, ham zahar ke pyaale piite hain
Inn bhuukhii pyaasii ruuhon par, ek din to karam farmaayegii

Woh subah kabhii to aayegii,
Woh subah kabhii to aayegii

Maanaa ke abhii tere mere armaanon kii, kiimat kuchh bhii nahiin
miTTii kaa bhii hai kuchh mol magar, insaanon kii kiimat kuchh bhii nahiin
Insaanon kii izzat jab jhooThe sikkon mein naa tolii jaayegii

Woh subah kabhii to aayegii,
Woh subah kabhii to aayegii

Daulat ke liye jab aurat kii, ismat ko naa bechaa jaayegaa
Chaahat ko naa kuchalaa jaayegaa, gairat ko naa bechaa jaayegaa
Apnii kaalii kartooton par, jab ye duniyaa sharmaayegii

Woh subah kabhii to aayegii,
Woh subah kabhii to aayegii

Biiteinge kabhii to din aakhir, ye bhookh aur bekaarii ke
TuuTeinge kabhii to but aakhir, daulat kii ijaaredaarii ke
Jab ek anokhii duniyaa kii, buniyaad uThaaii jaayegii

Woh subah kabhii to aayegii,
Woh subah kabhii to aayegii

Majboor buRhaapaa jab soonii raahon mein dhool naa phaankegaa
Maasuum laRhakpan jab gandii galiyon mein bhiikh naa maangegaa
hak maangne vaalon ko, jis din soolii na dikhaaii jaayegii

Woh subah kabhii to aayegii,
Woh subah hum hii to laayeinge

View this song at :-

PHIR NAA KIIJE MERII GUSTAAKH NIGAAHII KAA GILAA

PHIR NAA KIIJE MERII GUSTAAKH NIGAAHII KAA GILAA
(A MYSTIC NUMBER FROM PHIR SUBAH HOGI)

Mukesh :

Phir naa kiijai merii gustaaKh nigaahii kaa gilaa
Dekhiye aap ne phir pyaar se dekhaa mujhko

Aashaa :

Main kahaan tak nigaahon ko naa palaTane detii
Aap ke dil ne kayii baar pukaaraa mujhko

Mukesh :

Iss kadar pyaar se dekho naa hamaarii jaanib
Dil agar aur machal jaaye to mushkil hogii

Aashaa :

Tum jahaan merii taraf dekh ke ruk jaaoge
Wohii manjil merii taqadiir kii manjil hogii

Mukesh :

Dekhiye aap ne phir pyaar se dekhaa mujhko

Aashaa :

Aap ke dil ne kayii baar pukaaraa mujhko

Mukesh :

Ek yoonhii sii najar dil ko jo chhoo letii hai
Kitane aramaan jagaa detii hai tumhe kyaa maaluum

Aashaa :

Rooh bechain hai kadmon se lipaTane ke liye
Tumko har saans bulaatii hai tumhe kyaa maaluum

Mukesh :

Dekhiye aap ne phir pyaar se dekhaa mujhko

Aashaa :

Aap ke dil ne kayii baar pukaaraa mujhko

Mukesh :

Har nazar aap kii jazabaat ko ukasaatii hai
Main agar haath pakaRh loon to khafaa mat honaa

Aashaa :

Merii duniyaa-e-mohabbat hai tumhaare dam se
Merii duniyaa-e-mohabbat se judaa mat honaa

Mukesh :

Dekhiye aap ne phir pyaar se dekhaa mujhko

Aashaa :

Aap ke dil ne kayii baar pukaaraa mujhko

View this song at :-

http://www.youtube.com/watch?v=G02W6_q5s9A

AASMANN PE HAI KHUDAA AUR ZAMIIN PE HAM

A beautiful nunber from "Phir Subah Hogi"

AASMANN PE HAI KHUDAA AUR ZAMIIN PE HAM

Aasamaan pe hai khudaa aur zamiin pe ham
Aasamaan pe hai khudaa aur zamiin pe ham
Aajakal woh is taraf dekhataa hai kam
Aasamaan pe hai khudaa aur zamiin pe ham

Aajakal kisii ko woh Tokataa nahiin
Chaahe kuchh bhii kijiiye rokataa nahiin

Ho rahii hai looT maar phaT rahe hain bam
Aasamaan pe hai khudaa aur zamiin pe ham
Aajakal vo is taraf dekhataa hai kam
Aasamaan pe hai khudaa aur zamiin pe ham

Kisko bheje woh yahaan khaakh chhaanne
Iss tamaam bhiiRh kaa haal jaanne

Aadamii hain angiinat devataa hain kam
Aasamaan pe hai khudaa aur zamiin pe ham
Aajakal woh is taraf dekhataa hai kam
Aasamaan pe hai khudaa aur zamiin pe ham

Jo bhii hai woh Thiik hai zikr kyon karein
Hum hii sab jahaan kii fikr kyon karein

Jab usse hii Gham nahiin kyon hamein ho Gham
Aasamaan pe hai khudaa aur zamiin pe ham
Aajakal woh is taraf dekhataa hai kam
Aasamaan pe hai khudaa aur zamiin pe ham

View this song at :-
http://www.youtube.com/watch?v=nDNC0cqonLo

P Y A A S A ( 1957 )

P y a a s a ( 1957 )

COURTESY : http://www.fortunecity.com/lavender/ducksoup/26/Films.htm#Pyaasa

Pyaasa is real masterpiece of Guru Dutt (original name - Vasanth Kumar Shivashankar Padukone). The movie tells of the thirst for love, for recognition, for spiritual fulfilment. There is a strong parallel between the hero, a poet, the outsider trying to make a place for himself in the society he inhabits and the director, the outsider trying to leave his independent stamp in a world of formulaic cinema. It is in Pyaasa where we really see transcend way above the ordinary and succeed in totality. Many individual shots and scenes become impressionistic images telling of his lyricism. An example which immediately comes to mind is the song'Aaj sajan mohe ang lagalo.' It is a kirtan- a Bengali devotional song telling of longing and desire. Though we see baul singers perform the song, it in fact voices the prostitute's passion for the poet. She follows the poet up the stairs to the terrace where he stands his back to her. She moves towards him but cannot bring herself to touch him and she runs away. The earthly love she feels is uplifted and given a spiritual dimension through the words. And this is further reinforced by the amazing rendering of the song by Geeta Dutt. In the last scene of the film an instrumental version of the song is played as the prostitute overcome with joy at seeing the poet at her doorway runs down the steps of her house into his arms. They are one. What is most interesting to note in their relationship is that the prostitute shares with the poet a greater attraction for spiritual fulfilment rather than materialistic fulfilment.
In many of Guru Dutt's films we see him caught between two women - Baazi, Aar Paar, Kaagaz ke Phool and Sahib Bibi aur Ghulam. In Pyaasa too there is another woman , his ex-girlfriend from college who leaves him and marries for security. Her priority is clearly materialistic fulfilment. In fact though having negative shades to it, this is actually the more difficult and challenging role in the film as against the standard prostitute with a heart of gold. The role has its shades of grey and counts as one of actress Mala Sinha's better performances, otherwise a rather mechanical and melodramatic performer. Talking of the acting, Waheeda Rehman is outstanding in the role of the prostitute and Guru Dutt himself is fine in the role of the poet. Perhaps the parallels between him and the character help him in coming out with his best everscreen performance.
Interestingly, Pyaasa has that rare element in a Guru Dutt film. A song treated like a fantasy. An idyllic daydream of the hero. The song 'Hum aapki aankhon mein' is picturised amongst clouds as the heroine descends from the moon. It sticks out when viewed against the whole film. Perhaps Guru Dut picturised it in such a manner just to get back at the distributors who felt that an 'item' was needed! So he provided them with one!
The music by S.D. Burman is extraordinary as is the rendering of the songs. The background music helps to create the necessary atmosphere for a number of individual scenes. The Mala Sinha character has her own signature tune - a simple yet haunting melody played on the harmonica. Whenever the poet sees her, the tune is repeated representing for him the love he has lost.
But if one person is the soul of Pyaasa it is lyricist Sahir Ludhianvi on whose poems the lyrics were based. Sahir's words seem to articulate Guru Dutt's own view of the world and experience of tragedy. Pyaasa sees some of Sahir's best work. 'Yeh mehlon, yeh thakhton', 'Jaane woh kaise log the jinke' and 'Jinhe naaz hai Hind par woh kahaan hai' - the last looking at the disillusionment that had set in a decade after the giddy euphoria of Indian Independence. It was taken from his poem Chakle( Brothels ). A fine example of political comment combined with humanitarian compassion.

To sum it up simply, a classic! Need one say more?!

CHIIN-O-ARAB HAMAARAA, HINDUSTAAN HAMAARAA

Here is another beautiful number from "Phir Subah Hogi" :-

CHIIN-O-ARAB HAMAARAA, HINDUSTAAN HAMAARAA

Chiin-o-arab hamaaraa, hindostaan hamaaraa
Rahane ko ghar nahii hai, saaraa jahaan hamaaraa
Chiin-o-arab hamaaraa ...

Kholii bhii chhin gayii hai, benchein bhii chhin gayii hain
SaRhakon pe ghuumataa hai ye kaaravaan hamaaraa
Jebein hain apanii khaalii, kyuun detaa varanaa gaalii
Woh santarii hamaaraa, vo paasabaan hamaaraa
Chiin-o-arab hamaaraa ...

Jitanii bhii bildingein thiin, seThon ne baaNT lii hain
FuTapaath Bambayii ke hain aashiyaan hamaaraa
Sone ko ham kalandar, aate hain borii bandar
Har ek kholii yahaan hai raazadaan hamaaraa
Chiin-o-arab hamaaraa ...

Taaliim hai adhuurii, milatii nahii majuurii
Maaluum kyaa kisiiko, dard-e-nihaa.n hamaaraa
Chiin-o-arab hamaaraa ...

Patlaa hai haal-e-apnaa, lekin lahuu hai gaaRhhaa
Phaulaad se banaa hai, har naujavaan hamaaraa
Mil-julke is vatan ko, aisaa sajaayeinge ham
Hairat se munh thakegaa saaraa jahaan hamaaraa
Chiin-o-arab hamaaraa ...

View this song at :-
http://www.youtube.com/watch?v=bBuYnVZBUzI