Monday, August 4, 2014

Aye Udi Udi Udi (Saathiya)

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Saathiya is one of those movies that I can watch any time. It makes me put my cynicism aside, and brings a smile to my lips. This is all the more true for its soundtrack, which is one of my all time favorites.

This particular song is picturised on the newly married couple, played by Rani and Vivek. Quite expectedly, all their time is spent making love and doing goofy things together - and the moments of resentment are few and far between. What makes it work so well is the sparkling chemistry between the lead pair - they make every frame shine with their madness and sudden smiles. It makes me want to fall in love all over again!

And the job of putting this young love to words was given to Gulzar, who was close to 70 years old at that time. One sometimes wonders what keeps his words so fresh, even though the situations in our movies remain more or less the same. The thought he gives while writing songs comes through here --  Vivek plays a character (Adi) who is very much in love and not at all shy about showing it. Rani's Suhani, on the other hand, is more mature and cynical. While they're both in love, it's quite obvious that Adi's is the head-over-heels kind; but Suhani's, not that much.

Lyrics, and translation:

Aye udi udi udi
Aye khwaabon ki pudi
Aye ang-rang kheli
Aye saari raat holi

[[The wrapper that held my dreams has come undone, giving them wings
Entire nights I now spend, soaked in colours of desire]]

Halki, ae halki, kal raat jo shabnam giri
Akhiyaan-vakhiyaan bhar gayin kal to; haath pe dab-dab giri
Pahli-pahli baarish ki boondein
Pahli baarish bheegein

[[As if the light dewdrops from last night
Filled my eyes; And on my hands fell
The first droplets of rains
And I feel drenched, as if in the first rain of the season]]
((My life is suddenly full of freshness (like dewdrops) and joy (such as brought on by rains).))

Uljhi hui thi, khul bhi gayi thi, lat wo raat bhar barsi
Kabhi manaaya, khoob sataaya, thi sab yaar ki marzi

[[Twining and untwining, that strand of your hair rained down on me all night long
A little cajoling, a lot of teasing around - whatever my beloved wanted (she did)]]

[Aye udi udi udi ...]

Chhed doon main kabhi, pyaar se to tang hoti hai
Chhod doon rooth ke, to bhi to jang hoti hai 
Chhed doon main kabhi, pyaar se to tang hoti hai
Khwaamkhaah choom loon, to bhi to jang hoti hai

[[Sometimes, it's my flirting that annoys her
But there's bound to be a war, if I leave her, sulking
Sometimes, it's my flirting that annoys her
And my unwarranted kisses are sure to begin a fight]]

Zindagi, aakhon ki aayat hai zindagi
Palkon pe rakkhi hai, teri amaanat hai
Zindagi ye zindagi ye zindagi

[[My life - a verse written by my eyes,
Held dear by the eyelids,
I'm trusting it all to you]]

 [Uljhi hui thi ...]

Lad-lad ke, jeene ko, ye lamhe tode hain
Mar-mar ke seene mein, ye sheeshe jode hain
Tum kah do, sab la dein, bas itna socho to
Ambar pe pahle hi, sitaare thode hain

[[We've fought everyone to snatch these moments away, (to live (with one-another))
We've put these pieces together, giving it all that we had
Just say the word, and I'll bring it all to you... but then
The sky only has a few stars left, as it is!]]

Zindagi, aakhon ki aayat hai zindagi
Palkon pe rakkhi hai, teri amaanat hai
Zindagi ye zindagi ye zindagi

[[My life - a verse written by my eyes,
Held dear by the eyelids,
I'm trusting it all to you]]

 [Uljhi hui thi ...]

  1. As I was going through some reviews of Saathiya yesterday, one thing that almost every reviewer noted was how Vivek Oberoi was the next big thing. A few even went on to say that Shah Rukh shouldn't have given a special appearance in the movie, given how it starred his rival. I really liked Vivek Oberoi at that time (specially in this movie), and think that he could have been so much more. I hope that both he and Rani can find their footing once again.
  2. Back in Banasthali, we used to watch this movie a lot. Not the entire movie, just a scene or two whenever we felt like. It was full of very witty sort of dialog (such as, शादी के बाद हर आदी इत्यादि बन जाता है जाता है). It was years later that I realized that the dialogs were written by Gulzar, who also won a Filmfare for it.

Wednesday, February 12, 2014

Raah Pe Rahte Hain (Namkeen)

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Some Gulzar songs elevate themselves from the status of being mere songs, and turn into a life philosophy. Be it "Aane waala pal, jaane waala hai" (Gol Maal), "Musafir hoon yaaron" (Parichay), "Ye lamha filhaal jee lene de" (Filhaal), "Goli maar bheje mein" (Satya), "Aye zindagi, gale laga le" (Sadma) or the song that is the subject of this blog post - these are not just easy on your ears, they can well be life anthems for you or me.

At its most superficial, Raah pe rahte hain is the song of a truck driver (Sanjeev Kumar), who seems visibly pained and disillusioned with life. And even though Sanjeev Kumar's face conveys his despair and the song talks about how memories are all he has; it will find a connect with anyone who's a wanderer at heart. Because it's not a song about looking back; it's a song about forging ahead and making your peace with the journey (called life).

Raah pe rahte hain, combined with Musaafir hoon yaaron make me believe that deep down, Gulzar is also a wandering soul ... intent more on the journey than the destination.

Lyrics and translation:
Raah pe rahte hain, yaadon pe basar karte hain
Khush raho ahal-e-watan, hum to safar karte hain
[[We are the nomadic ones, spending our lives on roads and making do with memories
Hoping you find your happiness, as we have found our solace in this journey]]

Jal gaye jo dhoop mein to saaya ho gaye
Aasmaan ka koi kona odha, so gaye
Jo guzar jaati hai bas uspe guzar karte hain
(Raah pe rahte hain ...)

Whatever the journey throws his way, a traveler finds a way to grow and learn with it...
[[When burned by the sun, we became the shade that gives others shelter
(We don't need fancy hotels to sleep) Tucked under a corner of the sky, we sleep peacefully
Memories are what keep us alive ... ]]

Udte pairon ke tale jab bahti hai zameen
Mud ke humne koi manzil, dekhi hi nahin
Raat-din raahon pe hum, shaam-o-sahar karte hain
(Raah pe rahte hain ...)

[[When the road seems to flow under the speeding wheels
How does one find the time to ponder over what's left behind?
We find comfort in the roads; and this is where the sun rises and sets for us]]

Aise ujde aashiyaane, tinke ud gaye
Bastiyon tak aate-aate, raste mud gaye
Hum thahar jaayein jahaan, usko shahar karte hain
(Raah pe rahte hain ...)

[[We have seen the worst of times... Seen homes torn apart in shreds
Soon as we find ourselves nearing a town, a turn in the road would take us elsewhere
That's how we have learnt to make home wherever we stay
('Cause we are the nomadic ones, spending our lives on the roads and making do with memories...)]]

A little history of the lines "Khush raho ahle-watan, hum to safar karte hain":
Some time back Sandeep (@stwta) sent me this link, which has a long poem by Bismil, written when he was in prison following the Kakori Kand. The poem had this line "Khush raho ahle-watan hum to safar karte hain". Of course, it made me immensely happy, 'cause I love finding connections between pieces of literature/poetry.

Later on, I chanced upon this link, which chronicles Bhagat Singh's conviction and execution for the murder of Saunders. In addition to other details, it also has Bhagat's last letter to his brother Kultar; which again quotes the line "Khush raho ahle-watan hum to safar karte hain" (in addition to couplets from Iqbal and others).

So it made me think, may be Bismil and Bhagat Singh were both quoting someone else. So I searched some more, and found this page. Here I finally found out, that the line was originally written by Wajid Ali Shah. He wrote this couplet while being exiled from a place he loved, Lucknow:
"Dar-o-deewar pe hasrat se nazar karte hain
Khush raho ahle-watan hum to safar karte hain

Humne apna dil-e-naazuk to zafa ko saunpa
Qaisari bagh jo hai usko saba ko saunpa ...."

Hmm! So there it is, my little piece of research off the Internet, which has obviously made me happy enough for today :)

Plus it adds another name to the list of poets that Gulzar has quoted - Ghalib (Satrangi Re, Dil Dhoondhta Hai) and Khusrau (Zeehal-e-miskin). And I must confess, till some 10 years back I thought "Dikhaayi Diye Yun" (written by Mir Taqi Mir) was penned by Gulzar.

Here's a video to the poem written by Bismil, which was later used in the movie "Aandolan", and sung beautifully by the inimitable Bhupinder. (Again, thanks to @stwta)

(The movie Namkeen is also available on Youtube)

Saturday, December 14, 2013

Khaali Haath Shaam Aayi Hai (Ijaazat)

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[Find the other songs of Ijaazat here]

Evenings are beautiful. Probably the second most beautiful part of the day for someone in love (other than dead at night, when the silence underscores every act of intimacy (think साँसों में उलझी रहे मेरी साँसें)) and magnifies it tenfold.

But the same evening can also be a time of suffering. If you have ever been in love and spent an evening waiting futilely for that someone, you'll know the pain it brings. Not a stabbing pain either, just a dull ache accompanied by a feeling of being deserted. Now imagine this happening to you day after day. This is what the song is about.

Gulzar himself has introduced this song thus, "रात और दिन कितने खूबसूरत दो वक़्त हैं, और कितने खूबसूरत दो लफ्ज़। इन दो लफ़्ज़ों के बीच में, एक वक़फ़ा आता है, जिसे शाम का वक़्त कहते हैं। ये वो वक़्त है, जिसे न रात अपनाती है, न दिन अपने साथ लेकर जाता है। इस छोड़े हुए, या छूटे हुए लावारिस वक़्त से, शायर अक्सर कोई न कोई लम्हा चुन लेता है, और सी लेता है अपने शेरों में। लेकिन कोई-कोई शाम भी ऐसी बाँझ होती है, के कोई लम्हा देकर नहीं जाती।"

The Song is Set Thus:

Sudha (Rekha) is waiting for her husband Mohinder (Naseer) to come back; while he is in the hospital, tending to his sweetheart Maya (Anuradha Patel) who has tried to commit suicide. Day after day, as Sudha waits for Mohinder, we see him spending time with Maya to help her recover. The song plays.

Lyrics and translation:

Khaali haath shaam aayi hai, khaali haath jaayegi
Aaj bhi na aaya koi, khaali laut jaayegi

[[Empty-handed this evening has come, and would end the same way
Seeing that no one has come, it'll leave feeling deserted yet again]]

Aaj bhi na aaye aansu, aaj bhi na bheege naina
Aaj bhi ye kori raina, kori laut jaayegi

[[Yet I find myself devoid of tears
And so the evening will return blank, just the way it came]]

Raat ki syaahi koi, aaye to mitaaye na
Aaj na mitaayi to ye, kal bhi laut aayegi

[[Wouldn't someone come and erase the ink of this black night?
Because if left unerased, it'll surely come to haunt me tomorrow as well]]

Thursday, September 5, 2013

Khaali Samandar (Raat Pashmine Ki)

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A while back I did this post (which finds a man describing his ladylove in the terms of the sea, sunset, the moon etc (the kind of exquisite imagery that we have come to associate with Gulzar)). 

The poem in this post also features almost the same set of elements, yet it takes the imagery a step further in that one is not sure till the end if the man is talking about his sweetheart or the tide (yes, that same high-tide, low-tide, ज्वार-भाटा वाली tide).

Anyway, here is my interpretation of the poem, which deeply appeals to me as a hardcore romantic and a sea-lover.

ख़ाली समंदर  (An Empty Sea)

उसे फिर लौट के जाना है, ये मालूम था उस वक़्त भी जब शाम की -
सुर्खोसुनहरी रेत पर वह दौड़ती आई थी 
और लहरा के -
यूं आग़ोश में बिखरी थी जैसे पूरे का पूरा समंदर -
ले के उमड़ी है 

[[She had to go back - we knew this even as 
She came --
Running on the evening-sand rendered crimson
And swaying, broke into my arms like the billowing ocean]]

उसे जाना है, वो भी जानती थी, 
मगर हर रात फिर भी हाथ रख कर चाँद पर खाते रहे कसमे 
ना मैं उतरूँगा अब साँसों के साहिल से,
ना वो उतरेगी मेरे आसमाँ पर झूलते तारों की पींगों से 

[[Even knowing that she had to go,
We kept swearing on the moon, night by night
That I won't descend into this sea of breathlessness
And she won't come swooping down from the stars fastened to my sky]]

मगर जब कहते-कहते दास्ताँ, फिर वक़्त ने लम्बी जम्हाई ली,
ना वो ठहरी --
ना मैं ही रोक पाया था!

[[Oblivious to these vows,
When the time yawned in between telling its eternal tale
Neither she stopped --
Nor was I able to make her stay!]]

बहुत फूँका सुलगते चाँद को, फिर भी उसे 
इक इक कला घटते हुए देखा 
बहुत खींचा समंदर को मगर साहिल तलक हम ला नहीं पाये,
सहर के वक़्त फिर उतरे हुए साहिल पे 
इक डूबा हुआ ख़ाली समंदर था!

[[No matter how hard we tried to keep the moon aflame
We saw it dying, one phase at a time
We couldn't pull the sea any closer to the shore,
By dawn, all that there was on the shore
Was a sea -- sunken and empty]]

My two cents:
1. It's not just the metaphors used in the two poems (this one and this one) that are similar; even the flow is quite alike. The lovers meet as the evening is descending upon the sea shore, and they have to part ways as the night ends. The poems are both very beautiful but in a tragic way, leaving you with a wistful heart and an unfathomable yearning. At least that's what happened with me on both occasions.

2. I was not justifiably able to translate the "ना मैं उतरूँगा अब साँसों के साहिल से / ना वो उतरेगी मेरे आसमाँ पर झूलते तारों की पींगों से" part. I think he is talking about how, every night, the shore and the tide vow to never leave each other; but they're helpless in the hands of the time. Your comments?

Saturday, August 17, 2013

O Saathi Re (Omkara)

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आज-कल बहुत कम ही फ़िल्मी गीत ऐसे बन पा रहे हैं जो दिल को छू सकें और दिमाग़ में ठहर जायें।ओंकारा फिल्म का गीत 'ओ साथी रे' उन चुनिन्दा गीतों में से एक है।तो जब इस ब्लॉग पर कई महीने बाद लिखने की बात आई (वो भी गुलज़ार साब के जन्म दिन पर), तो इसको चुनना लाज़मी था।(पर इसे चुनने की उससे भी बड़ी वजह हैं रोहन देसाई जी, जो कई बार मुझसे इस गीत पर लिखने को कह चुके हैं।)

(Longish post)

Gulzar calls Vishal Bhardwaj and extension of himself, and this harmony is quite apparent in the songs they have produced together. Out of my favorite romantic numbers in recent times, quite a few come from this collaboration. Be it the utterly beautiful "Bekaraan" from 7 Khoon Maaf, the playful "Dil to Bachcha Hai Ji" from Ishqiya, the soulful "Aur Phir Yun Hua" from Striker or "Pehli Baar Mohabbat Ki Hai" from Kaminey - they manage the strike a chord with you.

In the same line, another favorite is "O Saathi Re" - with its haunting melody and exquisite imagery, the memory of this song lingers on long after it has ended. Props to Shreya Ghoshal and Vishal Bhardwaj for making the song even more ethereal with their fervent and touching voices.

In Omkara, all the leads characterize a facet of human nature. (Posters displaying the leads and their basic underlying nature can be seen in the picture above (spoken like a school student)).

This song features Omi (Ajay Devgn), who is driven by passion and Dolly (Kareena Kapoor), who is the face of innocence - both deep in love. As it happens in love, time simply flies. And like any other couple in love, they just don't want the day to end, ever.

Lyrics, and translation:

O saathi re, din doobe na
Aa chal din ko rokein, dhoop ke peechhe daudein
Chhaon chhue na
O pihu re

[[O dearest, wish the day never ends!
Come, let's stop the day; let's run after the sun
Lest the darkness catches up with us
Come, O beloved!]]

Thaka-thaka sooraj jab, nadi se ho ke niklega
Hari-hari kaai par, paaon pada to phislega
Tum rok ke rakhna, main jaal giraaun
Tum peeth pe lena, main haath lagaaun
Din doobe na

[[When the sun, tired after its day's hard work, reaches the river
It might slip on the moss-covered stones
You stop it from drowning, while I drop the net to fish it out
You carry it on your back, and I'll give you a hand
(Whatever we do) let's stop the sun from setting]]

[[Typical Gulzar imagery here at work.]]

Teri meri atti-patti
Daant se kaati katti
Re jaiyo na
O pihu re

[[Let's make this pact that we will never leave one another
O, my dearest!]]

O pihu re, na, jaiyo na

[[Never leave me, my love!]]

Kabhi-kabhi yun karna, main daatun aur tum darna
Ubal pade aankhon se, meethe paani ka jharna

[[At times, pretend that you are afraid of me
Then if I scold you, act scared and start crying rivers]]

[[Lovers are often seen to reflect each-others' nature. Here, the usually grave Omi agrees to play along with the impish Dolly's whims, to see a smile on her face.]]

Tere dohre badan mein, sil jaaungi re
Jab karvat lega, chhil jaaungi re

[[Let's be so close as if we are stitched together
So much so, that if you so much as turn side, I'll get bruised]]

Sang le jaaunga
Teri meri angni mangni
Ang sang laagi sangni
Sang le jaaun, o pihu re

[[You will be with me wherever I go
We are inseparableu
You will be by my side
And wherever I go, you will go with me]]

(O saathi re, din doobe na...)

Three bonus bullet points :)
1. Gulzar talks about the musical form of this song (Excerpt from the book - In the company of a poet by Nasreen Munni Kabir):
"Sanchaari is a Bengali form of music that he (Vishal Bhardwaj) and I have discussed many  times. He used it in the Omkara song, 'O Saathi Re'. The Sanchaari allows you to go away from the antara [the second stage of a musical composition] and later return to it."
2. In an imagery similar to the first antara - in the poem "Sun Set" by Gulzar (from the collection Pandrah Paanch Pachhattar), the sun slips on moss covered clouds. Excerpts:
बिदक के हट गया था वो (सूरज) / बहुत फिसलन थी और काई जमी थी बादलों की / पकड़ के आसमां, कोशिश भी की थी उसने संभलने की 
 3. In this youtube video, Gulzar speaks about how if we choose "Bidi jalai le" over "O saathi re" from the same film, he cannot be questioned about writing songs of the commercial kind.

My favorite lines from the song:
तेरे दोहरे बदन में सिल जाऊँगी रे / जब करवट लेगा, छिल जाउंगी रे 

O Saathi Re video:

Thursday, June 6, 2013

Matka Bharke Sooraj Ulta... (Pandrah Paanch Pachhattar)

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While browsing through Gulzar's book 'Pandrah Paanch Pachhattar' (Fifteen Fives are Seventeen Five), I suddenly came across this beautiful nazm. I say suddenly, because I had read the book before, and it was like I had completely skipped this poem. And what a poem it is! 

Somewhat similar in sentiments to the lines 'Tu ab se pahle sitaaron mein bas rahi thi kabhi' by Sahir Ludhianvi (incidently, one of Gulzar's favorite lyricists); this nazm goes one step further and weaves the entire persona of the leading lady and her meeting with the poet around the universe and its miracles. 

And since I've always been in love with seas, seashores, sunsets and such; the fact this meeting takes place after sunset and before sunrise makes it all the more alluring to me. How I long for a romantic night-out by the sea!

Not surprisingly at all for a Gulzar poem, it once again makes stellar use of similes and metaphors.

मटका भरके सूरज उल्टा, शाम ने दूर समंदर की दहलीज पे जाकर 
रात का पश्मीना पहने तुम आई थीं !

You came!
When the evening was pouring a pitcher-full of sun at the far end of the sea
You came, wearing the pashmeena of the silken night

रात तुम्हारे जिस्म से फिसली पड़ती थी 
जिस्म तुम्हारा एक जलते सय्यारे सा 
दूध और धूप से गूंधी मिट्टी 
एक फ़लक भर खुश्बू थी आवाज़ तुम्हारी !

The silken night kept sliding off your body
Your body, like a smoldering celestial object
Molded from clay kneaded in milk and sunshine
Your voice, like a sky-full of fragrance!

तुम बोल रही थीं 
होंठ तुम्हारे चाँद की काशें काट रहे थे !
मैं हैरां ...
हैरां हैरां ...

As you spoke,
Your lips sliced slivers off the moon
I was disconcerted ...
Bewildered, amazed ...

मटका भर के सूरज का, एक और सहर निकली पानी से 
उँगली थाम के सुबह की तुम पानी पर चलते-चलते एक और उफ़क को लौट गईं !

And when another morning emerged from the sea, with a pitcher-full of sun
You went back to another horizon, holding the morning's finger in your hand

वक़्त के पुरइसरार किसी 'कॉमेट' की तरह 
क़ायनात से आईं तुम और क़ायनात में लौट गईं !!

Time-bound, like a comet
You went back to the universe you came from !!

Friday, April 12, 2013

Chupke Se (Saathiya)

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"All happy families are alike. Every unhappy family is unhappy in its own way." - Begins the novel Anna Karenina by Tolstoy. The same could be said of couples as well. And if you follow closely the lyrics and poetry by Gulzar, you'll notice a lot of non-perfect couples, and very few perfectly happy ones.

So there is someone who has been just a touch unfaithful (Hazaar raahein mud ke dekhin), someone very much in love but forced to part ways with their loved one (Mera kuchh saamaan), a wife waiting, in vain, for her husband who doesn't show up (Khaali haath shaam aayi hai), a hero yearning for a woman who refuses to be with him (Aye Ajnabi, Satrangi Re), a couple living separately but still in love (Tere bina zindagi se koi), or even a ghost wondering if he will be able to stay with the woman he loves, forever (Dheere Jalna). The same pattern of less than perfect relationships can be traced throughout his non-filmy poetry as well. It's as if his universe is populated with these couples, living apart but constantly striving to come together.

This particular song features a star-crossed couple - married, but forced to live separately due to circumstances. And needless to say, anyone who has ever been in love can identify with what Gulzar has said about separation pangs.

Lyrics, and English Translation:
Doston se jhoothi-moothi doosron ka naam le ke,
teri-meri baatein karna
Yaara, raat se din karna
 Lambi judaai teri bada mushkil hai,
aahon se dil bharna
Yaara raat se din karna

(The hero says -)
 [[Every time I talk about us, I have to use the false cover-up of others' names
And with each passing day, it is becoming more and more difficult to fill the empty space in my heart with sighs and wait for another night to turn to day]]

 [My comments: It's quite uncanny how Gulzar takes something very usual amongst youngsters (at least of yerster-years) and slips it into his songs - namely, covering up one's secret love life by hiding behind others' identities. I have always loved this line the most, for saying so much in so few words!]

Kab ye poori hogi door ye doori hogi
Roz safar karna - Yaara raat se din karna

[[When will this distance go away
When will this journey that I have to make everyday, the journey of turning another night into day, end?]]

Chupke se, chupke se, raat ki chaadar tale
Chaand ki bhi aahat na ho, baadal ke peechhe chalein
Jalein katra-katra, galein katra-katra
Raat bhi na hile aadhi-aadhi, 
Raat bhi na hile aadhi-aadhi aye
Chupke se, chupke se, raat ki chaadar tale

(The heroine says -)
[[Hush, my love, let's meet secretly under the veil of the night
Let's hide behind the clouds, lest the moon comes to know and creates a scene
Let us burn together and melt bit by bit
While the night waits with bated breath]]

[My comments: Gulzar's association with the moon is legendary. Almost as noticeable in his songs is the recurrence of lovers meeting under the moon light. Right from his first song Mora Gora Ang Lai Le, where the heroine begs to be made darker, so she can easily meet her lover at night; to a more recent O Humdam Suniyo Re, where the moon (hero) frequents his lover's street at nights.] 

Farvari ki sardiyon ki dhoop mein
Moondi-moondi akhiyon se dekhna
Haath ki aad se
Nimmi-nimmi thand aur aag mein
Haule-haule maarwa ke raag mein
Meer ki baat ho

[[(I wait for the day when) In the soft sunlight of February, you would look at me, shading your half-open eyes with your palm
When the mild winter meets fire, I wish we could sit together and talk about Mir, with the Raag Maarwa playing in the background]]

[My comments: For a beautiful interpretation of this paragraph, I must guide you towards this amazing post by the equally amazing Pavan Jha who is an encyclopedia of anything and everything Bollywood.

I must also mention how it reminds me of the para "Jaadon ki narm dhoop aur aangan mein let kar" from "Dil Dhoondhta Hai"] 

Din bhi na doobe, raat na aaye, shaam kabhi na dhale
Shaam dhale to subah na aaye, raat hi raat chale
 [Chupke se ...]

[[(When we are together) I wish the day would never end, the night never come, and the evening stays with us
And even if the evening ends, I wish the next morning doesn't come and the night goes on and on]]

[My comments: Who else is reminded of "O Saathi Re, din doobe na" from Omkara?] 

Tujh bina pagli ye purwai
Aa ke meri chunri mein bhar gayi
Tu kabhie aise hi gale lag jaise ye purwai
Aa gale lag jaise ye purwai 

[[Without you, even the winds go crazy
I wish that some day, you will embrace me like this breeze
Come, engulf me completely like the crazy winds...]]

Saathiya sun tu
 Kal jo mujhko neend na aaye paas bula lena
God mein apni sar rakh lena, lori suna dena
[Chupke se ...]

[[Listen, my love!
I wish a day comes when, if I am unable to sleep, you would make me lie next to you
Or sing a lullaby to me, with my head in your lap

Till that day comes, meet me secretly under the veil of the night ...]]

Of course, I need not talk again and again on how I love the movie and its music! The coming together of ARR and Gulzar has always spelled magic, well may be except in JTHJ.
For my take on other songs from the movie Saathiya, click here.
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