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May 20, 2013 Monday

Neecha Nagar (1946) (Movies To See Before You Die - Drama) (Did You Know - 52)

Neecha Nagar - Bobby Talks Cinema.com

Much has been written and discussed about Cannes Film Festival in the recent years and it’s further publicized to be a great achievement for a film to feature there in any form whatsoever quite loudly. The festival is said to be considering Indian films more seriously now with many path-breaking and innovative film-makers strongly making their presence felt like never before.

But not many know about a sparklingly proud fact that the Cannes Film Festival’s first year of existence witnessed a classic Indian Film not only participating but also winning their prestigious Grand Prix Award (later called The Palme d’Or/Golden Palm) for the BEST FILM in the year 1946 fighting a pretty tough competition with many world cinema maestros. So it was actually long before the other pioneer personalities of Indian Cinema, Satyajit Ray & Bimal Roy, impressed & won over the western film-makers, that an Indian Film went on to win such high-profile laurels in a reputed International Festival standing tall amongst the giant stalwarts of the World Cinema.

This proud shining Indian cinematic achievement discussed above was NEECHA NAGAR talking about the social divide in the country even before the independence and was also the debut film of one of the most gifted, visionary yet under-rated directors of India, fondly remembered by the name of CHETAN ANAND.

In those last years before the Indian Independence, there were several restrictions over the creative expression in films, especially on the ones talking about any social reform or revolt. But being an active member of IPTA (Indian People’s Theater Association) and owner of many revolutionary ideas, Chetan Anand went on to make this ‘true masterpiece’ with the help of his group of friends in a restricted budget only. And the reference of its initial days of conception is also there in renowned actor Balraj Sahni’s autobiography “Meri Filmi Aatamkatha” (as both Balraj & Chetan were good friends). Due to the government restrictions they even faced the shortage of raw stock but somehow managed to overcome the problem with mutual efforts.

Well-known actress Kamini Kaushal made her debut in it as the leading female character along with Rafiq Anwar, Uma Anand, Hameed Butt, Zohra Saigal and more. Since it was the era of music, songs and melodrama, the film also featured some songs and dance sequences which were very intelligently edited out selectively in the print sent to the festival (a slide also reveals that in the beginning of the film). But despite these songs & dances, it still remains one of the most progressive, realistic and visionary films made in India, which was rightly rated to be “Ahead of its times” by many critics. As an additional unknown fact, NEECHA NAGAR was also the first film for which world famous Sitarist Pt. Ravi Shankar scored the music, before composing for many trendsetting films of Satyajit Ray.

But as its always been the fate of such futuristic films, the authorities (before independence) did not allow it to be released officially in the country itself and the film kept waiting to reach its own audience for years. So a film which was constantly winning ‘a rare appreciation’ abroad was not available for its own countrymen unfortunately and with the passing years its prints too got damaged and then were even reported lost. Later after more than a decade, one of the prints was thankfully recovered, saving the country from a great loss and that print was only used to make the presently available (poor quality) video versions of the classic for the Indian audience.

Coming to the film itself, it is said to be inspired from the play “Lower Depths” by the Russian writer Maxim Gorky. But here the inspiration or similarity was more due to the similar social divide existing in most of the countries at that time, eventually leading to many identical conclusions. And it was this universal applicability of the film only which in turn proved it to be an important international project of those times and one of the most memorable works by an Indian director before the Independence.

Surprisingly and shamefully too, the story of NEECHA NAGAR openly reveals the so called progress made by India in the last seven decades, since one can easily relate to its basic plot, even today in the year 2013. In straight words, if I narrate to you a script which talks about a powerful rich landowner who through his strong political connections gets a sewage system approved, which cuts right through a village situated on a lower land, then you are not going to find anything outdated or alien in it at all. Because sadly, we still get to read many similar scams in our daily newspapers and many remote areas or even cities are still dealing with these same problems only in the present decade.

Now NEECHA NAGAR, thoughtfully talks about this particular subject, which further crosses all the moral boundaries, when the execution of the sewage plans results in a contaminated water supply to the village and there is an epidemic kind of situation leading to loss of life. But the authorities are ready to take advantage of this grave situation too as they hurriedly build up a hospital to take care of all the diseased ‘free of cost’, posing as their only human saviour to depend upon.

With such a hard-hitting, socially relevant and realistic script depicting the actual ugly plight of poor Indian villagers, the film was bound to get noticed both in the country as well as abroad quite prominently. But apart from its burning subject, it also had the clear indications of a legendary director at work through his interesting use of images, creative montage and expressive shots, truly differentiating the film from many other being made all around the globe in the same genre. In fact the maturity with which Chetan Anand uses the camera movements, dialogues, silence and music in his various scenes, it’s actually hard to believe that this was the first film of the veteran director evidently.

However, today it’s sure going to be a tough watch for the younger generation as it does require a great amount of patience and passion to grasp the real essence behind all those superbly directed sequences by the maestro. Yet for the ones who truly wish to experience such precious Indian Gems widely appreciated by the world over almost a decade before Ray’s PATHER PANCHALI, the film is capable of both surprising and impressing together, making a solid impact. And that is the reason why NEECHA NAGAR still continues to enjoy a hugely respected stature in the history of Indian cinema till date.

Interestingly, it showcases another creative idea introduced by Chetan Anand (in 1946) wherein he didn’t use the word ‘Director’ in the credits of the film, but wrote ‘Film Creation’ along with his name, rightly indicating towards the history he was going to create in the later years of his career through many worth watching gems.

Ending with a different kind of sad praise for this important classic, NEECHA NAGAR can easily be called a priceless masterpiece which could not get released in its own country in the year of its making and still remains a lesser known or forgotten gem in a nation which is known to cherish cinema more than any other country in the entire globe.

As a matter of fact, such is the ignorance towards this rare classic that there was no poster available all over the net at the time of writing this article, apart from the one made by its home video company as their VCD Inlay. And that inspired me to design a new well deserved one for the film myself, which has been posted along at the top.

With a hope that we will soon realize the importance of saving and restoring our own rich heritage for the coming generations, may this article inspire few friends to find the time & courage to watch this timeless classic and witness the excellence achieved by our own Indian Cinema way back in 1946.

Directed by Chetan Anand
Written by Hayatulla Ansari
Starring : Rafiq Anwar, Uma Anand, Kamini Kaushal, Hameed Butt, Zohra Saigal and more.
Music by Pt. Ravi Shankar

Tags : Neecha Nagar (1946), Movies To See Before You Die Drama, Did You Know Facts of Hindi Cinema, Unknown Bollywood Trivia, Not To Be Missed Hind Films List, The first Indian Film at Cannes, Must See Movies List at bobbytalkscinema.com by bobby sing, Interesting Bollywood Trivia by Bobby Sing

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BALRAJ SAHNI and his autobiography "Meri Filmi Aatamkatha" - A burning tale of many blunt truths. (Did You Know - 50)

Balraj Sahni Autobiography

BALRAJ SAHNI, one of the most gifted, yet misfit personalities of Hindi Cinema is the one I admire dearly, right from the days I began watching films as the food for my thoughts.

The term ‘Most Gifted’ used above doesn’t need any explanation to anyone who is even vaguely familiar with the Golden Era of our Hindi films. And ‘Yet A Misfit’ is added, because that’s what the maestro reveals very honestly in his autobiography called “Meri Filmi Aatmkatha” which was earlier published by Hind Pocket Books in the 70s and is quite difficult to find at the present in its original edition.

Nevertheless, here I am not writing this just to praise my beloved actor-thinker-writer-poet-activist and much more, quoting many of his famous films and performances as a routine article. But I am writing this as I really wish that both the older and the present ‘cinema loving’ generation of this net-age should positively read this precious autobiography, which is sure going to be a big eye-opener for them (particularly the youngsters) undoubtedly. And which would probably open many new doors of creative thinking, creative living and creative values in their life, like nothing else.

His personal experiences in the field, as written by himself, show you many new facets of Hindi Cinema which are both ‘dark’ as well as ‘bright’, ‘open’ as well as ‘hidden’, without any holding back or hesitation of any sort. In other words, its only the burning truth poured on the pages by the veteran Balraj Sahni in his book and the following excerpts would clearly tell you what I am actually talking about.

Excerpt 1 :

“This meeting of four years ago with the versatile V. Shantaram was very much in my thoughts when I went to see ‘Shakuntala’. That a man of Shantaram’s calibre should be directing a film based on Kalidas’s classic drama was, I felt, a unique combination. You can well imagine then the high hopes I must have entertained, when I went to see that film.

But, Shantaram let me down badly, very badly indeed! At one stroke he shattered all the confidence and faith I had come to place in him, the supreme artiste! Shakuntala jarred on my nerves so very thoroughly that my soul cried out in anguish!”

Excerpt 2 :

“Our producers and directors are given to doing everything on the spur of the moment. For instance, everything hinges on the OK from a ‘Star’. The moment that is obtained, the producer, will set about planning the other details of the film in a tearing hurry. And one never knows when the ‘star’ will say that magic word. A meeting is then convened hastily in the producer’s office and whoever may happen to loiter about in the studio compound is caught hold of and given a role, and that is that!

Moreover, in this celluloid world, every man looks down upon everyone else. True, a fllmwallah will be all smiles and kindness when talking to you, but you can be sure, in his heart of hearts, he will be wishing plague on your house! The moment you are out of his sight, you cease to exist for him, and he heaves a sigh of relief and happiness! Consequently, if you are a successful film actor, you must see to it that your friends and colleagues are denied this ‘pleasure’.”

Excerpt 3 :

“My wife had only recently come from England. Once, while I was directing a play, she had told me not to behave towards the artistes like a dictator. She had said, ‘A director is not supposed merely to make his artistes dance like so many marionettes. An artiste’s inspiration must come from within himself and in support of her argument, she quoted Stanlslavski, whom I used to consider a bourgeois upstart!

I had shouted at my wife and told her to shut up. Today, I bow my head in shame at my stupidity.”

Excerpt 4 :

“In Hindi films, the writing of a screen play has always been treated on an ad hoc basis, which is the very antithesis of the way films are planned in foreign countries. In the titles of these films the pride of place is given to the screen play and its writer, followed by the name of the story on which it is based and the name of the story-writer.

The Hindi films, on the other hand, set great store by the story. It is only after the general outline of the story has been laid down that the screen-play writer comes into the picture. And all he does is to write a ‘scene’! After all the ‘scenes’ have been written, the dialogues of the players are ‘filled in!’ Indeed, our producers have come to place so much faith in the story that more often than not the ‘scenes’ and dialogues are left unwritten till the very day a particular set is to be erected.

It is not, therefore, a rare thing to find the cameraman ready with his lighting, while the dialogue is still being improvised! No wonder, then, character portrayal is relegated to a backseat in our films.”

Excerpt 5 :

“Finally, I hit upon a novel idea which I explained carefully to Badru. Next day, as we - Chetan, Dev, Guru Dutt and I sat in Chetan’s cabin, discussing “the script of Baazi, there was a commotion in the outer office.

Apparently, a drunkard had forcibly entered the office and was bothering the clerks. Presently, the intruder appeared at the door of the cabin. Walking right in, he went straight to Dev Anand and started talking nonsense to him. All of us there found the way the man was making a fool of himself excruciatingly funny and we burst out laughing For well over half an hour he entertained us and the rest of the office staff with his pranks.

At last, Chetan decided that enough was enough. He ordered that the man be thrown out bodily! At that point, I asked Badru to offer a ‘salaam’ to his ‘audience’!

And lo! The Sharabi sobered down instantly! The change in the man was so sudden that my colleagues could hardly believe their eyes! It is a measure of Badru’s acting talent that he keeps the bottle, which is such an inseparable companion of his on the screen, miles away from him in private life! I found Chetan looking askance at me! When I told him that Badru’s performance was a ‘make-believe’ and that the whole thing was ‘stage-managed’ by me, he gave the role to Badru without the slightest hesitation. That was the beginning of Badru’s glorious screen career.

His millions of fans, however, know him by the name Johnny Walker!”

Excerpt 6 - (On his world famous act in DO BIGHA ZAMIN) :

“Whatever success I could make of my role in “Do Bigha Zamin” is thus the result of this study I had made of the way of life of the Bhaiyyas.”

“I shall always look upon my role in “Do Bigha Zamin” with a sense of pride. Indeed, I shall cherish the memory of that role till I breathe my last.

After having made this confession, I become entitled to air my views on a few points of a technical nature. The film was based on Rabindranath Tagore’s well-known poem of the same name, and yet nowhere has Bimal Roy expressed his gratitude to the poet. I feel that in the name of justice and fairplay, such an acknowledgement was called for.

“’Do Bigha Zamin’ gave me too a good deal of fame and publicity. All of a sudden people woke up to the fact that I had been a professor at Shantiniketan and an announcer on the B.B.C. A few wise men even went to the extent of decking me in revolutionary plumage. They put about that I was out to lead the Indian Cinema on a revolutionary path! They hailed me as an actor, who chose to work only in those films which championed the cause of the toiling masses.
‘Look,’ they said, ‘here is a millionaire’s son, who has taken to acting, not for making money but out of sympathy for the poor.’ Interestingly enough, I began modeling myself on this image of mine, built up by the press!

The truth is, as in the case of the earlier ‘Hum Log’, ‘Do Bigha Zamin’ too did not exactly improve my financial position. I remained as ‘broke’ as ever.

I was jobless for the following six months.”

--------------------------------

The above excerpts are just the tip of the ice-berg (a really hot ice-berg indeed) as the book contains many more ‘at-the-face’ truths not only about the film-world but also about the pre and post independence era of India, the changing social structure of the country before the 60s and much more.

Sadly, Balraj Sahni later didn’t write about the time around his final cinematic achievement GARAM HAWA in the early seventies. Still, I hope someday we will get to read about those days too in some other similar memoirs of a veteran, just interested in telling the blunt truth about his life and nothing else.

Now coming to the good news here, the valuable autobiography is now available online (for free) in its English translated - PDF format which can easily be downloaded from the links given below.

http://www.apnaorg.com/books/english/balraj-sahni/balraj-sahni.pdf

http://issuu.com/toonfactory/docs/balrajsahni

But its my humble request that don’t let this downloaded file remain in your hard disks for months & years in the list of ‘to be read soon’…………., since it does have the power to change your thinking patterns both about Hindi Cinema as well as about LIFE in a truly worthy manner.
So just get it from the link and begin your enlightening read.

Cheers!
HIS BLESSINGS

Tags : BALRAJ SAHNI and his autobiography, BAlraj Sahni's autobiography, Meri Filmi Aatamkatha, Meri Filmi Atamkatha, Did You Know facts about Hindi Films by Bobby Sing, Unknown Trivia on Hindi Cinema, Books On Indian Cinema, Books on Hindi Films, Books on Hindi Movies, Books by Indian Actors, Books on Boolywood Stars, Books about Bollywood.

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When Kalyanji Anandji inspired the Western Rap Artists who won a GRAMMY. (Did You Know - 49)

Kalyanji-Anandji

May be not directly but the veteran music director Kalyanji Anandji’s musical creation did win the Grammy Awards in 2005 through the Rap Group “Black-Eyed-Peas” collectively.

The group very innovatively used the melody and the actual musical pieces of two Kalyanji Anandji’s songs, “Ae Naujawan, Hai Sab Kuchh Yahaan” from APRADH (1972) and “Yeh Mera Dil, Yaar Ka Deewana” from DON (1978) (both sung by Asha Bhosle) in their track “Don't Phunk With My Heart” in 2005. The combo creation won them a GRAMMY for the “Best Rap Performance for a Duo or Group” and they duly gave the credit to the original creators of the insertions used too by felicitating them in the right way. But since both Kalyanji and Indeewar had passed away, therefore Anandji was invited to USA and duly honored.

So though not directly, but Bollywood music did win a GRAMMY through the “Black-Eyed-Peas” group as a collaboration and here are the links for all the three songs representing the intelligent piece of adaptation done by the famous Rap Group.

“Aye Naujawan Hai Sab Kuchh Yahaan” – AAPRADH (1972)
http://www.youtube.com/watch?v=_KKGPYSqyEI

Don - Yeh Mera Dil Yaar Ka Deewana” – DON (1978)
http://www.youtube.com/watch?v=vIbX-eorCs4

Don't Phunk With My Heart – The Black Eyed Peas (2005)
http://www.youtube.com/watch?v=P4Bda6_usuc

Enjoy!
Cheers!

Tags : Bollywood Music Wins Grammy, The Black Eyed Peas And Kalyanji Anandji, Amazing Bollywood Trivia at bobbytalkscinema.com, Unknown Interesting Facts about Hindi Film Music, Don & Apradh Songs used in a Rap Song, Did You Know Facts about Bollywood at bobbytalkscinema.com

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The Art of making Fresh Songs derived from other Hindi Film Soundtracks. (Part Three - Complete Songs inspired from an already released track.) (Did You Know - 48)

Record-Music-3

In the third part of this series “The Art of making Fresh Songs derived from other Hindi Film Soundtracks”, here are the references of some memorable tracks which were just reworked from the compositions already used in a released song in a perfectly recognizable manner. But in most of the cases it’s only the opening of the song (Sthayi or Mukhda), which straight away reminds you of an another track of the past, whereas later on the composition takes a different turn altogether.

However once again I would like to remind that all the inclusions here are not mentioned in a negative sense to raise some allegations on our talented music directors of the Golden Era & present. Instead its all about the healthy & intelligent inspirations which they took either from their own earlier works or from the works of other fellow music composers as a humble gesture of mutual appreciation, which was once lovingly visible in our Hindi Film Industry prominently.

So in this Third Part of the series, here is the….

List of Songs extracted from the compositions of few already released tracks in the past, which can be easily spotted as you listen to them :

1. “Yeh Hawa Yeh Raat Yeh Chandni” in SANGDIL (1952) and “Tujhe Kya Sunayun Main Dilruba” in AAKHRI DAO (1958).

2. "Jiye Tumharo Lalna" in RAKHI AUR HATHKADI (1972) and "Kya Bura Hai Kya Bhala” in LIBAAS (1988).

3. “Kahin Pe Nigahen” from C.I.D. (1956) and “Ram Narayan Baaja Bajata” in SAAJAN CHALE SASURAL (1996).

4. “Dil De Ke Dard-e-Mohabbat Liya Hai” in MAINE PYAR KIYA (1989) and “Hum To Tere Aashiq Hain Sadiyon Purane” from FARZ (1967).

5. “Nandlala Gopala Daya Karke” in SADHU AUR SHAITAAN (1968) and “Upar Wale Teri Duniya Mein” in HAATH KI SAFAAI (1974) .

6. “Koi Baat Hoti Hai To Sab Baatein Hoti Hain” in DHUN (1991) and “Hum Jitni Baar Milenge” for KHILAAF in 1991 only.

7. “Lallah, Allah Tera Nigehbaan” from ABDULLAH (1980) and 'Jaane Jaana, Jao Kal Phir Aana" in SAMADHI (1972).

8. "Mere Saath Chale Na Saaya" from KINAARA (1977) and “Doli Mein Bithaike Kahaar" from AMAR PREM (1972).

9 “Mere Liye Zindagi Tere Beghair Kuch Nahin” in MERA JAWAB (1985) and “Yeh Zindagi Ka Safar Mushkil” in GUMRAH.

10. “Ki Gal Hai Koi Nahin” in JAANEMAN (1976) and “Bhoot Raja Bahar Aaja” in CHACHA BHATIJA (1977).

11. “Kisi Ne Apna Banake Mujhko” in PATITA (1953) and “Radha Bina Hai Kishan Akela” in KISHAN KANHAIYA (1990).

12. “Kuch Kehta Hain Yeh Saawan” from MERA GAON MERA DESH (1971) and “Kis Kaaran Naiya Doli” in DACAIT (1987).

13. “Main Teri Rani Tu Raja Mera” from LOOTERE (1993) and “Aankhon Se Tune Kya Keh Diya” in GHULAM (1998).

14. “Faqir Ki Jholi” in SHATRANJ (1969) and “Main Hun Ghoda, Yeh Hai Gaadi” in KUNWARA BAAP (1974).

15. “Gori Ka Saajan, Saajan Ki Gori” in AAKHRI RAASTA (1986) and “Gori Ho Kaali Ho” in BIWI O BIWI (1981).

16. “O Meri Needen Churane Waale” in CHAMATKAAR (1992) and "Aa Mere Jaise" from ARMAAN (1981).

17. “Barsaat Mein Jab Aayega” in MAA (1992) and “Main Zindagi Mein Hardam Rota Hi Raha Hun” in BARSAAT (1949)

18. “Aaj Ki Raat Badi Shokh Badi Natkhat Hai” in NAYI UMAR KI NAYI FASAL (1965) and “Humne Dekhi Hai Un Aankhon Ki Mehkati Khushboo” in KHAMOSHI (1970).

19. “Pehli Pehli Baar Mohabbat Ki Hai” from SIRF TUM (1999) and “Dil Deewana Na Jaane Kab Kho Gaya” in DAAG the Fire (1999).

20. “Kaamdev Jaisi Teri Suratiya” in TUM HASIN MAIN JAWAN (1970) and “Mere Paas Aao, Nazar To Milao” in SUNGHARSH (1968).

21. “Dekh Hamein Aawaz Na Dena” from AMAR DEEP (1958) and “Yeh Mera Deewanpan Hai” in YAHUDI (1958).

22. “Teri Sanson Mein Kaisi Khushboo Hai” in SHADI SE PEHLEY and “Koi Deewana Tumhe Chahega” in TERI TALASH MEIN (1968).

23. “Aap Ke Pehlu Mein Akar Ro Diye” from MERA SAAYA (1966) and “Ek Din Hasna Jo Chaha” in BAHAAR AANE TAK (1990)

24. “De Di Hamein Azaadi Bina Khadak Bina Dhaal” in JAGRITI (1954) and “Kya Mil Gaya Bhagwan” in ANMOL GHADI (1946).

25. “Dil-e-Nadaan Ko Jeene Ki Hasrat Ho Gayi Tumse” from CHUNARIYA (1948) and “Zamane Mein Aji Aisey Kayi Nadaan Hotey Hain” in JEEVAN MRITYU (1970).

26. “Ek Main Hun, Ek Tu” in DARLING DARLING (1977) and “Kahoon Kya, Tumse Apni Daastan” in GINNY AUR JOHNY (1976).

27. “Kabhi Khud Pe Kabhi Haalat Pe” in HUM DONO (1961) and “Ajeeb Saneha Mujh Par Guzar Gaya Yaaron” in GAMAN (1972).

28. “Ae Phoolon Ki Rani” in ARZOO (1965) and “Hamin Se Mohabbat” in LEADER (1964).

29. “Ek Baat Hui Kal Raat Hui” in PREM (1995) and “Bechain Hun Main” in RAJKUMAR (1996).

30. “Ishq Samunder” from KAANTE (2002) and “Nashe Nashe Mein Yaar” from JANASHEEN (2003)

31. “Kaisi Padi Maar” in VACHAN (1974) and “Zara Zara” in MAIN KHILADI TU ANARI (1994).

32. “Kehte Hain Pyar Kisko” in BAARISH (1957) and “Kitna Haseen Hai Mausam” in AZAAD (1940).

33. “Khubsoorat Haseena Jaanejaan Jaaneman” from MR. X IN BOMBAY (1964) and “Aye Mere Humsafar” in BAAZIGAR (1993).

34. “Yaad Mein Teri” in MERE MEHBOOB (1963) and “Band Hothon Se Jo Ek Baat” in SIR (1993)

35. “Munna Bada Pyara” in MUSAFIR (1957) and “Main Raju Deewana" in LAADLA (1994).

36. “Salaam Karne Ki Arzoo” in UMRAO JAAN (1981) and “Suni Jo Unke Aane Ki Aahat” in SATYAM SHIVAN SUNDERAM (1978).

37. “Meri Kali Kaluti Ke Nakhre Bade” from APNE RANG HAZAAR (1975) and “Tere Dard Se Dil Aabad Raha” from DEEWANA (1992).

38. “Ka Jaanu Main Sajania” in HUM PAANCH (1980) and “Do Hanson Ka Joda” from GANGA JAMUNA (1961).

39. “Aaja Aayi Bahaar” from RAJKUMAR (1964) and “Dekho Na O Babu” for GORI (1991)

40. “Woh Dil Kahaan Se Laaoon” in BHAROSA (1963) and “Dil Mein Kisi Ke Pyar Ka Jalta Hua Diya” in EK MAHAL HO SAPNO KA (1975).

41. “Do Anjaane Ajnabi” in VIVAH (2006) and “Nazar Lage Na Saathiyon” from DES PARDES (1978).

42. “Mera Sunder Sapna Beet Gaya’ from DO BHAI (1947) and “Main Tere Liye” in MAIN TERE LIYE (1988).

43. Though “Genda Phool” from DELHI-6 (2009) is said to be inspired from a traditional song but the notes are also quite similar to “Been Na Bajana” in SUNEHARI NAGIN (1963).

44. A. R. Raman’s “Latka Dikha Diya Humne” in HINDUSTANI (1996) has got the notes similar to “Har Nazar Mein Sau Afsaane” in SHABNAM (1964).

45. “Duniya Mein Rehna Hai To Kaam Kar Pyare” in HAATHI MERE SAATHI (1971) gets turned into “Do Me A Favour Let’s Play Holi” in WAQT (2005).

46. The first line of the track “Dhire Chal, Dhire Chal, Aye Bheegi Hawa” from BOYFRIEND (1961) is quite similar to “Kaatey Nahin Kat Tey, Yeh Din Yeh Raat” in MR. INDIA (1987).

47. “Yashomati Maiyaa Se Bole Nandlala” in SATYAM SHIVAM SUNDERAM (1978) completely derived from “Aayi Gori Radhika” which was in GOPINATH (1948).

48. “Hum Tumhare Hain” from HUM TUMHARE HAIN SANAM (2002) and “Dil Laga Liya” in DIL HAI TUMHARA (2002), although both have been taken from a Pakistani Punjabi Hit of HADIQA “Boohey Baariyan”.

49. “Jaan-e-Jigar Jaaneman” from AASHIQUI (1990) and “Duniya Mein Tere Siva” in AANDHIYAN (1990), both inspired from a Pakistani film song, “Bas Ek Tere Siva” in DOORIYAN (1984).

50. “Mujhe Tum Mil Gaye Humdum” from LOVE IN TOKYO (1966) becomes the basis of “Tum Dil Ki Dhadkan Mein” in DHADKAN (2000).

51. “Gore Mukhde Pe” in SPECIAL 26 (2013) reminds you of “Teri Tirchi Nazar Mein Hai Jaddo” from LOAFER and also of the Punjabi title track “Uchha Dar Babe Nanak Da” in UCHA DAR BABE NANAK DA (1982).

52. “Tera Gussa Aye Haaye” in KAREEB very intelligently uses the famous cult composition of “Happy Birthday To You” both in its opening and interlude.

53. A. R. Rahman’s “Roja Jaaneman” in ROJA (1992) has got the similar notes as used in GARDEN VARELI Advertisement (in the early 90s)composed by Vanraj Bhatia and arranged by Ranjeet Barot.

54. “Phaili Hui Hain”from HOUSE NO.44 (1955) gets reworked as "Raaton Ko Jagkar” in SATWAAN AASMAAN (1992).

55. “Vivin Lob-Ich Liebe Dich-I Love you” the English German song in SANGAM (1964) was taken inspiration from and reworked after many decades as “Sun Sahiba Sun” in RAM TERI GANGA MAILI (1985).

56. Hemant Kumar’s composition of the song “Tum Pukar Lo” from KHAMOSHI (1970) was again used for the title track of Hrishikesh Mukherjee's tele-serial TALAASH, “Jeevan Ek Pyaas Hai, Sabhi Ko Kuchh Talaash Hai” in the early 90s.

57. The Holi song in MASHAAL (1984), “Holi Aayi Re” was based on Hridaynath Mangeshkar’s Marathi song in JAIT RE JAIT (1977) which also has got traces in the original Punjabi folk tune used in SHAGOON (1964) as “Gori Sasural Chali”.

58. Runa Laila’s song 'Pukaro Pukaro' from her private album SUPERUNA (1982) and “Gawah Hain” track in DAMINI (1993) have similar compositions, although they both are actually based on a western song “Malaika” by Harry Belafonte.

59. The melody of song “Mausam Beeta Jaaye” from film DO BHEEGA ZAMEEN (1953) was adapted as the theme music of the hugely famous T.V. serial NUKKAD in the mid eighties. However that's another hard truth that this was originally composed by Lev Konstantinovich Knipper (1910-1949) as Soviet Army Chorus And Band / Meadowlands (Polyushko Polye).

60. “Aao Ni Bheno, Ral Mil Gayiye” in SHAHEED BHAGAT SINGH (2002) uses the notes of “In Hawaon Mein, In Fizaon Mein” from GUMRAH (1963) but the composition also has a traditional Punjabi folk base.

61. “Chain Aap Ko Mila” in HUNGAMA (2003) is surprisingly exactly similar to the song “Chain Aap Ko Mila” in FOOTPATH (2003) both in composition and lyrics.

Now some surprisingly inspirational collage found in more than 2-3 songs as mentioned below :

1. The song “Gori Hai Kalaiyan” was first recorded for GORI (1991), which was again heard with the same words “Gori Hai Kalaiyan” in AAJ KA ARJUN (1990) and later also inspired “Aap Jo Mere Meet Na Hote” in GEET (!992). However its notes, interestingly also remind you of “Maar Diya Jaaye Ya Chhorh Diya Jaaye” from MERA GAON MERA DESH (1971).

2. “Dil Ke Armaan Aansuon Mein Beh Gaye” in NIKAAH (1982), “Dil Hi Dil Mein Le Liya Dil from AAJ KI AAWAZ (1984), “Dheere Dheere Aap Meri” in BAAZI (1995) and “Tumse Kitna Pyar Hai” in COMPANY (2002), all have similar mukhdas resembling to a Mehdi Hassan ghazal “Rafta Rafta Aap Meri Hasti Ka Saaman Ho Gaye”

3. "Thandi Hawayein Lehra Ke Aayein" in NAUJAWAN (1951), “Tera Dil Kahan Hai” in CHANDNI CHOWK (1954), “Yehi Hai Tamanna” in AAP KI PARCHHAYIAN (1964), “Rahen Na Rahen Hum” in MAMTA (1966), “Saagar Kinare Dil Ye Pukare” in SAAGAR (1985), “Hamein Raaston Ki Zaroorat Nahin Hai” in NARAM GARAM (1981) and “Hamein Aur Jeene Ki Chaahat Nahin Thi Agar Tum Na Hote” from AGAR TUM NA HOTE (1983), all have strikingly similar mukhdas.

Link for the complete detailed article on this song :
http://bobbytalkscinema.com/recentpost.php?postid=postid011513150148

4. “Sham-e-Gham Ki Kasam” from FOOTPATH (1953), “Mere Man Ke Diye” from PARAKH (1960), “Mann Ke Panchhi” from NAINA (1973) and “Ek Din Aap Yun Humko Mil Jaayenge” from YES BOSS (1999) all have strikingly comparable beginnings.

5. R. D. Burman’s Bengali song "Tumi Koto Je Dure” was adapted in the song “Tune Kiya Kya Jadoo” in APNE APNE (1987) and then used again as “Aaja Meri Jaan” in AAJA MERI JAAN (1992). Later it also inspired another similar song “Aaja Sunle Sada” in GURUDEV (1992) and recently its again been used as a remix RDB version with the same words “Aaja Meri Jaan” in I LOVE NY (2013).

6. “Raja Jaani Na Maaro Nayanva Ke Teer” in WATAN PARAST (1934) was also heard in LAL KUNWAR (1952) and SANSAR (1971) which later was also found in SANSAR (1987) as “Radha Rani Na Jaiyo Ri Jamuna Ke Teer”.

Link for the complete detailed article on this song is given below:
http://urgetofly.blogspot.in/2012/10/one-tune-many-songsraja-jaani-radha-rani.html

And similarly there may be many more instances where talented music directors made complete masterpieces inspired from another already released songs in the past quite amazingly.

Cheers!

(With thanks to ‘Rajiv Vijaykar’ & his FB group on the same subject for being the inspiration behind this series on our own internal musical inspirations.)

(Note : If you also have an information of any such instance in Hindi films then please let me know as I would love to include it as your contribution to the list.)

CLICK on the link below to read the first & second part of the series:

The Art of making Fresh Songs derived from other Hindi Film Soundtracks. (Part One - Complete Songs made out of Background Scores of earlier films.) (Did You Know - 46)

The Art of making Fresh Songs derived from other Hindi Film Soundtracks. (Part Two – Complete Songs made out of Antras, Preludes o& Interludes of other songs) (Did You Know - 47)

Tags : Complete Hindi Songs from other film's background scores, Amazing Facts of Bollywood, Unknown Trivia of Bollywood at bobbytalkscinema.com, Amazing unknown facts on Bollywood and its music, Songs derived from Antras, Preludes and Interludes of other Hit Songs, Did You Know Facts about Bollywood at bobbytalkscinema.com

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submitted on 01 May 2013

submitted on 02 May 2013

submitted on 02 May 2013

submitted on 05 May 2013

Nice to see you back here and Yes, I surely remember our last interaction here plus thanks a lot for recommending my site to your friends too. Honestly it is such appreciation only which keeps my passion burning and keeps me going.

Regarding the references you have given they all are really useful and I am going to include them too in my related articles. Also I am pretty much aware of the website ITWOFS.com and have exchanged a mail too with Karthik (its owner I suppose) long time back.

But here I would like to add that my work is a little bit different from ITWOFS. Actually there are three articles in my series on inspiration here, which are not concerned about any foreign connections in our songs, but they are more into the instances when our music directors have taken inspirations either form their own earlier works or from the fellow music directors of Hindi Film Industry only, which hasn’t been featured anywhere else prominently.

And these three articles are :

1. Complete Songs made out of Background Scores of earlier films.

2. Complete Songs made out of Antras, Preludes & Interludes of other songs.

3. Complete Songs made out of / or similar to other already released tracks in the past.

So here its all about how we got inspired from our own works only within the Industry itself.

Now following the same path, you have given many valuable references in your comment, which are sure going to be added in the list in the coming days and many thanks for that.

However out of them all, the “Dhen Ten Nen” has already been featured in the site in a separate article but I forgot to put it in here too.

But the rest are soon going to there and do send in more as you get hold of them.

submitted on 07 May 2013

submitted on 14 May 2013

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