Gulzar 101

Kajraare (Bunty aur Babli)

2012-02-02T22:58:00.000-08:00

Warning: Long post ahead. But interesting, I promise (Kaali kamli waale ki kasam khake)!

Kajrare - for me, the baap of all item songs ever! Shaad Ali, take a bow for bringing together the first family (OK, second) of Bollywood even before they were a family. And SEL, Gulzar, Alisha Chinoy, Javed Ali - take a bow for composing, writing and singing the perfect item song.

Why, some may ask, do I keep referring to it as the best ever? Many out there consider this song to be average at best - what is with Gulzar writing sub-par lyrics, a rather fat Aishwarya spilling out of her tiny clothes and vulgar dance moves anyway? Well, let me ask you a question - what is an item song? Surely you didn't expect words like "Katra-katra milti hai" in it! Surely you didn't think a super-fit, gym-toned Shamita Shetty type is the usual sight at a dhaba!

Here is what Gulzar has to say about the 'sub-par' lyrics:

"Just because it is popular it doesn't mean it's devoid of poetry. I don't think the words "Teri baaton mein kimaam ki khushboo hai, tera aana bhi to garmiyon ki loo hai", is frivolous. Poetry with a serious thought doesn't mean it has to be serious in mood."

"When it’s a song sung on the roadside, you have to write poetry with a different flavour altogether, similar to that you’d find on the backs of trucks and lorries. So you have lines like, Aisi nazar se dekha us zaalim ne chonk kar, humne kaleja rakh diya chaku ki nok par."

The stage is set thus

The two Bachchans are involved in a cat and mouse game - Bunty (Abhishek) being the mouse, and DCP Dashrath Singh (Amitabh) being the cat. Before this song, they have not come face-to-face. Initially, director Shaad Ali thought he'd have a scene that would bring them together. But then decided a song would work better. Hence this item song at a roadside bar, where the two get to know each other over a few pegs of cheap whiskey.

Before we begin
Before the song begins, Amitabh has been telling the story of his brush with love in Delhi. Hence the various references to Delhi (specifically, old Delhi, in and around Chandni Chowk) in the song as well. There is this line "Ballimaran se Daribe talak, teri meri kahaani Dilli mein" - Ballimaran is Ghalib's haveli situated in Chandni Chowk. Dariba Kalan (Street of the Incomparable Pearl) is a street in Chandni Chowk, which used to be a popular market of precious stones, gems, gold and silver jewelry.

Lyrics, and translation (English)

(The translation follows the now usual format of translation followed by my interpretation.)

Aisi nazar se dekha us zaalim ne chowk par

Humne kaleja rakh diya, chaaku ki nok par

[[With such a vicious gaze did he look at me at the Chowk,

That I put my heart at knife's point

His conspicuous stare at me (in front of everyone) felt like a knife through my heart.]]

Mera chain-vain sab ujDa, zaalim nazar hata le

Barbaad ho rahe hain ji, tere apne shahar waale

Ho, meri angdaayi na toote tu aaja,

Meri angdaayi na toote tu aaja

[[I've lost my calm and composure; now take your eyes off me, O pitiless brute!

After all, it's people of your own you're destroying.

Now, come to me before I become anxious ('cause I've been waiting long enough for you)

Angdai means stretching yourself after a sleep. So basically you're relaxed. So "Andgai na toote" could mean coming out of this relaxed state, becoming anxious etc.]]

Kajrare....

Kajrare-kajrare, tere kaale-kaale naina - x4
[[Your kohl-lined, black eyes]]

Ho mere naina, mere naina, mere naina judwa naina
[[My eyes, my twin set of eyes]]

Kajrare-kajrare, tere kaale-kaale naina

Doesn't matter if the official soundtrack lists this song as "Kajra Re", I think it's "Kajrare". Because Kajrare naina (कजरारे नैना) would mean "kohl-lined eyes", while Kajra re naina (कजरा रे नैना) would mean absolutely nohing.]]

Surame se likhe tere waade, aankhon ki zabaani aate hain

Mere roomaalon pe lab tere, baandh ke nishaani jaate hain

[[Your promises, written with kohl, speak the language of eyes
Your lips leave a mark on my handkerchief

Even when you don't say them out aloud, your eyes and your kisses on my handkerchief betray the promises you want to make.]]

Teri baaton mein kimaam ki khushbu hai,

Tera aana bhi garmiyon ki loo hai

[[Your words have the fragrance of kimam. When you come, the effect is that of a hot summer wind.

Kimam (aka Qiwam): A fragrant paste put in paan (betel leaves) made with tobacco leaves (boiled and soaked in water flavored with spices (cardamom, saffron etc)). The resulting pulp is mashed, strained, and dried into a paste. ]]

[Aa-ja, toote na, toote na andgaayi
Meri angdaayi na toote tu aaja,

Meri angdaayi na toote tu aaja

Kajrare ... ]

Aankhein bhi kamaal karti hain, parshanal se sawaal karti hain

Palkon ko uthaati bhi nahin (hmmm), parde ka khyaal karti hain

[[Eyes, at times, cross their limits. And begin asking personal questions. But even while doing so, they keep the eyelids downcast, because they respect the tradition of purdah.

In India, the women keep purdah, which is the tradition of keeping women concealed from men. Even when they come out, they cover their faces while speaking to men.]]

Mera gham to kisi se bhi chhupta nahin

Dard hota hai dard jab chubhta nahin

[[My pain is for everyone to see (it's not hidden from anyone). I've become so used to pain, that it hurts when the pain doesn't sting enough.]]

[Aa-ja, toote na, toote na andgaayiMeri angdaayi na toote tu aaja,

Meri angdaayi na toote tu aaja

Kajrare ... ]

Ho, tujhse milna puraani Dilli mein

Chhod aaye nishaani Diili mein

Ballimaran se Daribe talak,

Teri-meri kahaani Dilli mein

[[I still remember meeting you in Old Delhi. The entire city is dotted with symbols of our love. From Ghalib's haveli in Ballimaran to Dariba Kalan, our story is famous in all of Delhi.]]

Kaali kamli waale ko yaad karke,

Tere kaale-kaale naino ki kasam khaate hain

Teri kaali-kaali naino ki balaayein le loon

Tere kaale-kaale naino ko duaayein de doon

Meri jaan udaas hai, hothon pe pyaas hai

Aa ja re, aa ja re, aa ja re

[[ (In the name of God), I swear upon your black eyes.
I'll take away all troubles and bless these dark eyes.
(Because) I'm heartbroken, and longing for love,
So come to me.

Kaali kamli waale: Interestingly, it could mean either Krishna (he was dark-skinned) or Prophet Muhammad (he wore a black shawl / blanket).
Balaayein le loon: Elders, while blessing the younger ones, often use this term. It means that they're taking away the evil from the person who's being offered blessing, and taking all their troubles upon themselves.]]

[Teri baaton mein kimaam ki khushbu hai,

Tera aana bhi garmiyon ki loo hai

Aa-ja, toote na, toote na andgaayi

Meri angdaayi na toote tu aaja,

Meri angdaayi na toote tu aaja

Kajrare ... ]

(The video contains a few dialogues before the song begins)

On a parting note
When Gulzar lashed out at Chetan Bhagat - http://www.dnaindia.com/lifestyle/report_lyricist-gulzar-lashes-out-at-chetan-bhagat_1389623

Naina Thag Lenge (Omkara)

2012-01-18T04:35:00.000-08:00

Omkara is a tale of love, passion, loyalty and betrayal. If you haven't watched this movie, let me also pitch in my recommendation here - because this is one Bollywood movie that absolutely must be watched. All those who are allergic to swear words (like my mom :D) can stay away, though. But even for them, once you begin to overcome the initial shock of these words, this movie is like poetry. It's heartbreaking and it'll also make you angry. It'll grab your attention from the first scene and hold it till the end credits roll.

Coming to the song in question, it beautifully complements (and sums up) the movie. The lyrics are majestic in their simplicity. For once, Gulzar has stayed away from ornate words and seems to have consciously chosen stark severity to complement the movie's complexity.

Lyrics, and translation

Naino ki mat maaniyo re, naino ki mat suniyo

Naino ki mat suniyo re

Naina thag lenge

Naina thag lenge, thag lenge, naina thag lenge

[[Don't trust your eyes, do not listen to them

They'll con you.

Don't trust everything your eyes show you. Because sometimes appearances fool us, and things are not what they seem to be on the first look.

'Thagna' is such a nifty little word. It combines deceiving and stealing. So basically you trust someone and they con you - it hurts more than when an unknown person steals from you.]]

Jagte jaadu phookenge re, jagte-jagte jaadu

Jagte jaadu phookenge re, neenden banjar kar denge

Naina thag lenge

[[When awake, they'll cast a spell on you.

And then even sleep will desert you.

These eyes will fool you.

You'll have respite neither sleeping nor awake, since when you're awake you're under their spell and you'll have no dreams to comfort you in your sleep.]]

Bhala-manda dekhe na, paraya na saga re

Naino ko to dasne ka chaska laga re

Naino ka zahar nasheela re

[[They'll not differentiate between good or bad, a stranger or their own

Since they have become addicted to biting

And their venom is intoxicating.

Dasna is basically snake-bite. So just like a snake doesn't care who it is biting, eyes can also deceive their owner. Add to that, once you have fallen prey to their deception, you only take things at face value and lose your sense of right or wrong.]]

Baadlon mein satrangiyaan boyein, bhor talak barsaavein

Baadlon mein satrangiyaan boyein, naina baavra kar denge

Naina thag lenge

[[They'll sow rainbows in the clouds, and make it rain till the morning

They'll surely drive you crazy.

These eyes will cheat you.

I don't know what these lines mean, but I'll try. If we associate it with the previous line (naino ka zahar nasheela re (their venom is intoxicating)) - you know, how when you're inebriated, everything seems more psychedelic and beautiful and colorful. Similarly, these eyes will make you see rainbows in the clouds. -- What do you think these lines mean?]]

Naina raat ko chalte chalte swarga mein le jaavein

Megh-malhar ke sapne beejein, hariyali dikhlaavein

[[These eyes will transport you to Utopia

They'll sow dreams of rain and it would appear as if everything is perfect.

Rains and greenery is associated with prosperity and happiness. Plus swarg (heaven/Utopia) is an imaginary place where there're no worries and everything is well. Your eyes will make you see good things when there are none.

Again, this may be in continuation to the previous para (baadalon mein satrangiyaan boyein)]]

Naino ki jabaan pe bharosa nahin aata

Likhat-padhat, na raseed na khaata

Saari baat hawaai hai

[[Don't take their word for anything

Because there's no written agreement, no receipt or record to hold against them

Everything they say is just hot air.

- My favorite lines. These eyes cannot be held accountable for anything, because you have nothing in writing against them. Everything they say is just empty talk.]]

Bin baadal barsaayein saawan, saawan bin barsaata

Bin baadal barsaayein saawan, naina baavra kar denge

[[They'll make it rain when there're no clouds

They'll surely drive you crazy

These eyes will cheat you.]]

Special mention

I love the poster design of this movie. In various posters, each major character is identified along with their primary characteristic. It's very different and creative, and IMO pretty awesome! (I've spent some time in finding all these poster, so direct some appreciation towards me as well :P )

(click to enlarge)

Assorted (Pukhraj)

2012-01-12T09:21:00.000-08:00

As promised in the last post Chhaiyya-chhaiyya, here are a few lines from various poems from Pukhraj, with slight or pronounced devotional undertones. In these poems, the beloved is made out to be sacred enough to be worshiped.

1. From the poem Raat-din (रात-दिन)
तेरी आँखें हैं या सजदे में हैं मासूम नमाज़ी

पलकें खुलती हैं तो यूं गूँज के उठती है नज़र
जैसे मंदिर से जरस की चले नमनाक सदा
और झुकती हैं तो बस जैसे अज़ान ख़त्म हुई हो

[Teri aakhein hain ya sajde mein hain masoom namaazi

Palkein khulti hain to yoon goonj ke uthti hai nazar
Jaise mandir se jaras kee chale namnaak sada
Aur jhukti hain to bas jaise azaan khatm hui ho]

2. From the poem Takhleek (तख़लीक़)

मैं अपने होठों से चुन रहा हूँ तुम्हारी साँसों की आयतों को
कि जिस्म के इस हसीन काबे पे रूह सजदे बिछा रही है

[Main apne hothon se chun raha hon tumhari saason ki aayaton ko
Ki jism ke is haseen kaabe pe rooh sajde bichhaa rahi hai]

3. From the poem Sparsh (स्पर्श)
तुम्हारे हाथों को चूमकर, छूके अपनी आँखों से आज मैंने
जो आयतें पढ़ नहीं सका, उनके लम्स महसूस कर लिए हैं

[Tumhare haathon ko choomkar, chhooke apni aakhon se aaj maine
Jo aayatein padh nahin saka, unke lams mahsoos kar liye hain]

4. Guzaarish (गुज़ारिश)

मैंने रखी हुई हैं आँखों पर
तेरी ग़मगीन-सी उदास आखें
जैसे गिरजे में रक्खी ख़ामोशी
जैसे रहलों पे रक्खी अन्जीलें

एक आंसू गिरा दो आँखों से
कोई आयत मिले नमाज़ी को
कोई हर्फ़-ए-कलाम-ए-पाक मिले

[Maine rakhi hui hain aankhon par
Teri gamgeen-si udaas aankhein
Jaise girje mein rakkhi khamoshi
Jaise rahlon pe rakkhi anjeelein

Ek aansoon gira do aankhon se
Koi aayat mile namaazi ko
Koi harf-e-kalaam-e-pak mile]

Chhaiyya-Chhaiyya (Dil Se..)

2011-12-20T09:41:00.000-08:00

In Banasthali, we had offs on Tuesday (yes, not on Sundays). So instead of Saturday nights we used to celebrate Monday nights. I had joined Banasthali some time in July 1998, when Dil Se.. was just about to be released. So on our first few Monday nights, half the time we ended up dancing to Chhaiya-chhaiya (the other half was taken up by Chhamma-chhamma). So this song still reminds me of those crazy (but well practiced) dance-steps from 13 years back.

All the dance memories aside, the lyrics are not typical for a dance track. Initially, Sukhwinder Singh had offered a Punjabi devotional track 'Thaiya-thaiya' (based on Bulleh Shah's verses) for this situation. Gulzar wrote Chhaiya-chhaiya drawing inspiration from the devotional undertones but essentially interpreting it in his own inimitable way. These devotional undertones are often present in his non-filmy poetry as well, where the beloved is depicted as almost sacred or divine. (Will update the blog with a few such lines soon - updated here).

Once again, I'll give the literal translation (shabdaarth) first, followed by my interpretation of the intended meaning (bhaavaarth), wherever required. Specifically, I've tried to explain the paragraphs which allude to faith etc. in detail. I've tried to do a little research before writing; but if I've interpreted something incorrectly, please do correct me. Because I do not want to hurt any religious sentiments here.

Lyrics, and translation

Jinke sar ho ishk ki chhaon, paaon ke neeche jannat hogi

Jinke sar ho ishk ki chhaon

[[Those, who have the shade of love over their head, will have heaven at their feet.

This world is not a pretty place to live in. And living here without love is like walking under the glaring sun, and it could get really unpleasant without (the shade of) love. But if you've loved someone, life becomes so beautiful it's almost as if you're in heaven - without any pain or suffering.]]

Chal chhaiya-chhaiya chhaiya-chhaiya

chhaiya-chhaiya chhaiya-chhaiya

Chal chhaiya-chhaiya chhaiya-chhaiya

chhaiya-chhaiya chhaiya-chhaiya

[[So, walk in this shade (of love).]]

Sar ishk ki chhaon chal chhaiya-chhaiya

Paaon jannat chale chal chhainya

[[Walk in this shade of love, and you'll feel like you're in heaven.]]

(Chal chaiya-chaiya...)

Wo yaar hai jo khushbu ki tarah, jiski zubaan Urdu ki tarah

Meri shaam-raat, meri kaaynaat, wo yaar mera saiyaan-saiyaan

[[My beloved, who's sweet like a fragrance; and whose voice is like a beautiful poetry in Urdu language,

The one who is my day and night, who's the whole world for me - only she can be my lover.

Khushbu ki tarah - like a fragrance: sweet and pure, but cannot be caught or held down.]]

(Chal chaiya-chaiya...)

Gulposh kabhi itraaye kahin, mahke to nazar aa jaaye kahin

Tabeez (Taveez) bana ke pahnoon use, aayat ki tarah mile jaaye kahin

[[She, who's clad in flowers, loves to flaunt (her beauty); her fragrance is so bewitching that you can find/recognize her by her fragrance alone.

She's sacred like an aayat (a verse from Quran). I wish I come across her (by a miracle), then I'll wear her like a amulet.

Aayat is the plural of aayah which means a verse from the Quran but it can also mean signs, revelations, miracles, etc. (source).

Tabeez is an amulet with Quranic inscription, which protects you from evil.

So the second line could mean that "If I meet her, I'll treat her as a sacred verse from Quran, and always keep her close to me." Also, she's like his good-luck charm.]]

Wo yaar hai jo imaan ki tarah, mera nagma wahi mera kalma wahi

(Mera nagma-nagma, mera kalma-kalma)

[[She's like my faith, she is my song and my Kalma from Quran.

In this line as well as in the previous lines, the devotional, almost reverential allusions are pretty apparent. There are six Kalma's in Quran (Please correct me if I'm wrong), the first one being "Laa ilaaha illal Lahoo Mohammadur Rasool Ullah", considered very sacred by in Islam.]]

Yaar misaal-e-os chale, paaon ke tale firdaus chale

Kabhi daal-daal, kabhi paat-paat, main hawa pe dhoondhoon uske nishaan

[[My beloved walks like dew-drops, it's as if she's walking with the paradise under her feet

I keep looking for her everywhere, I search for her signs in the air.

Misaal-e-os - Like dew-drops. One moment she's there, and the next she has disappeared.

Paaon ke tale firdaus chale - Again referring to 'paon ke neeche jannat' line, perhaps?

Hawa pe dhoondhoon uske nishaan - Could refer to the first line 'misaal-e-os' where she has disappeared like a dew-drop and now I'm looking for her in the air. Or could refer to a previous line 'mahke to nazar aa jaaye kahin' - he's searching for her fragrance in the air. In all, he's hoping that the air will whisper to him about her whereabouts or give him a clue about how to find her.]]

(Sar ishk ki chhaon chal chhaiya-chhaiya...)

Main uske roop ka shaidaayi, wo dhoop-chhaon sa harjaayi

Wo shokh hai rang badalta hai, main rang-roop ka saudaayi

[[I'm an admirer of her beauty, but she's elusive like sun and shade.

She is playful and keeps changing her colors, and I deal in beauty and colors.

Rang badalta hai - Changes colors. Doesn't stay the same. Is fleeting and deceptive.

The other recurring theme in this song is the elusive nature of this beloved. She's been referred to as fragrance, dew drops, sun-and-shade at various points in this song - basically she's not easy to catch or pin down. She's like an enigma, which makes her all the more desirable to this saudaayi (derived from 'sauda' (trade).]]

(Jinke sar ho ishk ki chhaon...)

Totally unrelated: Watch SRK's jump atop the train at 3:30 minutes in the video.

Huzoor is kadar (Masoom)

2011-12-15T01:15:00.000-08:00

Indian men are not known for their expressiveness. I'm not talking about writing novels or making movies (and recently, writing blogs) running over with emotions. I'm talking about them expressing their (soft) emotions (love, romance, happiness, sadness) in real life. Have you seen a middle-class, middle-aged Indian man tell his wife how beautiful she is, in public? I'm sure you haven't - because they just don't do that.

Unless they're drunk.

We've often been to parties where a very disciplined and strict by the day uncle, after a peg or two, would suddenly go all soft, declaring his love for his wife, even singing songs for her. The shocked but amused wife will pretend to be angry and scandalized, though she's enjoying every minute of this attention.

All this has been perfectly captured in this song. Naseeruddin Shah and Saeed Jaffrey are at their suave but impish best, mirroring on screen the playfulness of Bhupinder and Suresh Wadkar's voice. This, in my opinion, is the ultimate grown-up party song :D

Lyrics, and translation

Huzoor is kadar bhi na itra ke chaliye

Khule aam aanchal na lehra ke chaliye

[[My lady, don't be so vain!

Don't walk with such a carefree, breezy attitude.

In Indian society, women are supposed to cover themselves (in this case, in saree) and walk with care, so they wouldn't be considered promiscuous. So walking 'khule aam aanchal lehra ke' (with her scarf flowing away) would mean that she doesn't care what others are thinking about her.

My translation might have made it look like it's said in a serious manner, but read it all as a playful banter - because that's how it is meant.]]

Koi manchala gar pakad lega aanchal

Zara sochiye aap kya keejiyega

Laga de agar, badh ke zulfon mein kaliyan

To kya apno zulfein jhatak deejiyega

(Huzoor is kadar...)

[[What would you do, if someone starts flirting with you?

If someone puts flowers in your hair, would you simply wrench it off your hair?

(That's why, my lady, don't walk with such an attitude..)]]

Badi dilnasheen hain haseen ki ye ladiyaan

Ye moti magar yoon na bikhraaya keeje

Uda ke na le jaaye jhonka hawa ka

Lachakta badan yoon na lehraya keeje

(Huzoor is kadar...)

[[Your smile is really divine, but don't waste these pearls so freely (on everyone who looks your way).

The way you seem to glide about, I'm afraid lest a gush of wind takes you away.

(That's why, my lady, don't walk so vainly...)]]

Bahot khoobsoorat hai har baat lekin

Agar dil bhi hota, to kya baat hoti

Likhi jati phir daastaan-e-mohabbat

Ek afsaane jaisi mulakat hoti

(Huzoor is kadar...)

[[Everything about you is beautiful, if only you also had a heart!

Then we'd have had a fairy-tale encounter, and stories would have been written about us.

(If only you were not so cruel and heartless, you would have noticed my love for you. And we might have even had a fairy-tale romance.]]

(Side note: As a kid I thought Javed Jaffrey was Saeed Jaffrey's son :D)

Qatra-qatra milti hai (Ijaazat)

2011-11-28T22:22:00.001-08:00

Dear readers, let me warn you on the outset, that I expect this to be a long post. But I hope you'll bear with my raves and rants for the sake of this beautiful song.

This is my favorite composition by Pancham, coming from an all-time favorite album Ijaazat (1987). The movie has just four songs, 'Chhoti si kahaani se', 'Qatra-qatra', 'Mera kuchh saamaan' and Khaali haath shaam aayi hai' - all sung by Asha Bhosle, making her the sole singer for the entire album. This particular song makes extraordinary use of Asha's dual vocals - one on a slightly lower note than the other - and the outcome is just spectacular. Pancham has given so many great songs, but if he had composed nothing but this song, I'd still consider him a genius.

The stage is set thus

Mohinder (Naseeruddin Shah) loves Maya (Anuradha Patel), but is forced to marry Sudha (Rekha) because of his grandfather's wish; and also because Maya, the free spirited woman that she is, has disappeared for a few months without so much as a word to Mohinder.

Sudha, though aware of Mohinder's love for Maya, is too much in love with him to let Maya's presence in his heart affect her. She just wishes to live and enjoy each moment as it comes, even if it is not hers alone. This is her song.

Lyrics, and translation

Like a kid translating a poem with 'shabdaarth' (word-by-word translation) and 'bhaavaarth' (interpretation); I'll give the literal translation first, followed by my interpretation of certain parts.

Qatra-qatra milti hai, qatra-qatra jeene do

Zindagi hai (zingadi hai), bahne do (bahne do)

Pyaasi hoon main, pyaasi rahne do

(Rahne do, na)

[[Translation: It's given to me a moment (drop) at a time, let me live it like that

Such is life (such is life), just let it flow (let it flow)

If it leaves me thirsty, let that be so

(Just let it be)

Interpretation: 'Qatra' means drop. Here ,since Gulzar is referring to time, so it means a drop of time or a moment. Sudha knows that Mohinder is not hers completely, but she's grateful for every moment she gets to spend with him, even if it leaves her thirsty (asking for more); because those moment are what's keeping her alive.]]

Kal bhi to kuchh aisa hi hua tha

Neend mein thi, tumne jab chhua tha

Girte-girte baahon mein bachi main

Sapne pe paaon pad gaya tha

Sapnon mein, bahne do

Pyaasi hoon main, pyaasi rahne do

[[Translation: Do you remember what happened yesterday? I was deep in sleep when you touched me.

It made me start, and I almost fell in your arms on stumbling upon a dream.

Just let me live in this dream, and if it leaves me asking more more, let that be so!

Interpretation: Your touch makes me start even in my sleep. It's as if I stumbled upon a dream. And I want to live this dream-like life forever.]]

Tumne to aakaash bichhaaya

Mere nange pairon mein zameen hai

Paa ke bhi tumhari arzoo ho

Shayad aise zindagi haseen hai

Arzoo mein, bahne do

Pyaasi hoon main, pyaasi rahne do

[[Translation: You have given me the sky to walk on, but my bare feet are still on the ground.

Life is a lot more beautiful, when I still long for you when you're with me.

Let me live in this desire. And if it leaves me thirsty, so be it!

Interpretation: Though the time spent with you has taken me to cloud nine (given me hope of our future together), I'm still aware of the ground reality (that you love someone else).

And I feel that it's much more beautiful to desire you than having you all for myself. So let me enjoy this yearning.]]

Halke-halke kohre ke dhuen mein

Shaayad aasmaan tak aa gayi hoon

Teri do nigaahon ke sahaare

Dekho to kahaan tak aa gayi hoon

Kohre mein, bahne do

Pyaasi hoon main, pyaasi rahne do

[[Translation: (Walking) in this soft mist of fog, looks like I've touched the sky.

Guided by your eyes, look where I've reached.

Now just let me float in this mist, and if it leaves me thirsty, so it be!

Interpretation: Being with you is as if I'm on sky (cloud nine). I trust you (with my eyes closed) to take me to a beautiful place, even if I don't know where I'm going.]]

Though the video of original song (from the movie) is available on youtube, I'm sharing the one from the album 'Pancham : Gulzar remembers RD Burman'. Even though this version doesn't contain a video, it's worth sharing simply for listening to Gulzar's words as he remembers his dear friend Pancham. Pancham's vocals, as he hums notes from the song, sound out-worldly.

"Yaad hai baarishon ke din the woh, Pancham! Aur pahaadi ke neeche vaadee mein dhundh se jhaank kar nikalti hui rail ki patariyaan gujarti theen. Aur dhundh mein aise lag rahe the hum, jaise do paudhe paas baithe hon. Hum bahut der patariyon pe baithe us musafir ka zikr karte rahe, jisko aana tha pichhli shab, par uski aamad ka waqt talta raha. Hum bahut der patariyon pe baithe hue train ka intezar karte rahe. Train aayi, na uska waqt hua, aur tum yoon hi do kadam chalkar dhundh par paon rakhke gum ho gaye. Main akela hoon dhundh mein, Pancham! "

- Gulzar, from the album 'Pancham' by HMV

To read other posts about Ijaazat songs on my blog, click here.
(On Swati's request)

Saathiya (Title track)

2011-11-24T07:11:00.001-08:00

So I was on the road today, when some FM channel started playing 'Do pyaar karne waale' from Jungle. And I thought, there are some songs that I could listen simply for Sonu Nigam's voice. Now add AR Rahman and Gulzar to the mix, and the song is sure to feature in my all-time favorites (think 'Satrangi Re' from Dil Se). Saathiya title track is no different. So it was a happy moment for me when it won a Filmfare Award each for its musical trio of Sonu, Rahman and Gulzar (Filmfare has often disappointed me in the past).

The lyrics of this song are hardly what you'd call linear or simple. In fact, I feel they are less like Gulzar's Bollywood work, and more like his poems - metaphors, allegories and analogies galore! But the thought is pretty simple - it's a love song from a boy to girl. A boy with a pretty vivid imagination too! Such is his love, that his entire world revolves around this girl.

Lyrics, and translation

Translating this song literally will kill its beauty. So please ignore the literal translation, and focus on the feelings behind it.

Saathiya, saathiya, maddham-maddham teri geeli hansi

Saathiya, saathiya, sun ke humne saari pi li hansi

[[Literally: My beloved, your laughter is soft and fluid, which I drank upon hearing it.

'Geeli' (wet) is not an adjective used very often for laughter. These lines could could mean that our hero drank up the laughter like someone who has been thirsty. Or it could mean that he is drunk on (intoxicated by) this girl's laughter. Or it could mean that like a liquid seeps inside surfaces, the laughter has soaked his soul. You prefer!]]

Hansti rahe tu hansti rahe, haya ki laali khilti rahe

Zulf ke neeche gardan pe, subah-o-shaam milti rahein

Saundhi si hansi teri, khilti rahe, milti rahe

[[May you keep smiling forever, your cheeks blushing

May the mornings and evenings keep meeting at the nape of your neck, under your hair.

May your fragrant laughter keep blooming for ever.

I wish more poets would think beyond the eyes and lips of a girl! How sensuous is the description of the dark hair brushing the fair neck of the girl - how beautiful is its comparison to the meeting place of mornings and evenings! The blush of the girl's cheeks is like the redness of sky at dusk or dawn.]]

Peeli dhoop pahan kar tum, dekho baag mein mat jaana

Bhanvre tumko sab chhedenge, phoolon mein mat jaana

[[Don't go out in the garden, dressed in (yellow) sunshine

All those insects will bug you, don't go near the flowers

(PS: Bhanvra is a black insect that eats flower nectar. What's it called in English?)]]

Maddham-maddham hans de phir se

Sona-sona phir se hans de

[[Smile that soft, beautiful smile of yours yet again]]

Taaza gire patte ki tarah sabz laan* par lete hue

Saat rang hain bahaaron ke, ek ada mein lapete hue

Saavan bhaadon saare tumse

[[Like a freshly fallen leave, lying still on the green lawn.

Yet containing all the shades of spring in every glance

(It's as if) all my seasons are because of you

*Laan = lawn]]

Mausam-mausam hanste rahna

Maddham-maddham hanste rahna

[[Keep smiling that soft smile of yours in every season]]

Saathiya, saathiya ...

Kabhie neele aasmaan par, chalo ghoomne chalein hum

Koi abr mil gaya to, zameen pe baras lein hum

[[Some time, let's go on a stroll through this blue sky

And rain down on the earth, when we come across a cloud

(At times, I wish it was just you, me and the sky and the rain - we would be one with each-other, and one with the nature)]]

Teri baali hil gayi hai

Kabhie shab chamak uthi hai, kabhie shaam khil gayi hai

[[A flicker in your earring

Makes my nights glitter, makes my evenings bloom]]

Tere baalon ki panaah mein, ye siyaah raat guzre

Teri kaali-kaali aankhein, koi ujli baat utre

[[I wish I could spend these dark nights in the shade of your hair

And see your dark eyes sparkle when a bright idea flits through your mind]]

Teri ik hansee ke badle, meri yeh zameen le le

Mera aasmaan le le

[[I could sacrifice my earth and sky in exchange for even one of your smile]]

Saathiya, saathiya ...

Barf giri ho vaadi mein, oon mein lipti simti hui...

Barf giri ho vaadi mein, aur hansi teri goonje

Oon mein lipti simti hui, baat kare dhuaan nikle

Garm-garm ujla dhuaan, narm-narm ujla dhuaan

[[Some time, when the valley is snow-clad; shivering despite being clad in woolen clothes...

Some time, when the valley is snow-clad, I wish it was echoing with your laughter

And I can see you clad in woolen clothes, smoke coming out of your mouth as you speak

A warm, bright, soft smoke]]

My three cents

The line 'Teri ik hansi ke badle, meri yeh zameen le le, mera aasmaan le le' is by far my favorite line of the song. So simple, yet all-giving. He's ready to give everything up just to see his beloved smile once. That's how deeply a girl wants to be loved. Plus, this line is sung with such intensity by Sonu Nigam, it's as if he really means it. Wow, I get goosebumps every time I listen to it!
My favorite part - Gulzar's use of colors throughout the song - haya ki laali khilti rahe (red), peeli dhoop pehen ke tum (yellow), taaza gire patte ki tarah (green), kabhie neele aasmaan par (blue), yeh siyaah raat guzre (black), barf giri ho vaadi mein (white), saat rang hain bahaaron ke.
The song is picturised (and performed) well. Even Manish Malhotra's costumes for Rani are in tandem with the colors (see 2 above).

Mora gora ang lai le (Bandini)

2011-11-09T04:04:00.000-08:00

There's a saying in Hindi "पूत के पाँव पालने में ही दिख जाते हैं", meaning "Even in infancy you can tell what the child will turn out to be". With 'Mora gora rang lai le' as his first song as a lyricist*, a star was born on the horizon of Bollywood music industry - a star that will show others the way for decades to come.

Gulzar (at that time probably 26 or 27 years old) takes firm and assured steps as a first-time lyricist, not falling prey to either over-simplifying or over-complicating his words. The words used in this song are simple enough; the multiple layers, metaphors and complexity noticeable in the his later works not coming into play here.

Though the song is about a woman in love, secretly going out to meet her lover, Gulzar steers clear of the typical choice of words - pyaar, milan, dil etc. In a country besotted with all things fair, he chooses a novel path, making the heroine wish that she was darker, so she could go out to meet her lover in the night undetected (becoming one with the night).

The song turns out to be a winner, with just the right mix of naïveté in the lyrics, sweetness in Lata's voice and innocence in Nutan's expressions - and the formidable backbone of SD Burman's score.

Lyrics, and translation

Mora gora ang lai le, mohe shyaam rang dai de

Chhup jaungi raat hi mein, mohe pee ka sang dai de

[[Take my fair body away, and give me a dark skin
If it gives me my beloved's company, I am ready to be one with the night.]]

Ek laaj roke paiyaan, ek moh kheenche baiyaan

Jaaun kidhar na jaaun, humka koi batai de

[[While shyness stops me from going ahead; yearning propels me ahead, tugging at my arms
Will someone tell me, whether to go ahead or not?]]

Badari hata ke chanda, chupke se jhaanke chanda

Tohe raahu laage bairi, muskaaye jee jalai ke

[[The moon peeps at me from behind the clouds
May you get eclipsed, o evil moon, for mocking my misery!]]

Kuchh kho diya hai pai ke, kuchh pa liya ganwaayi ke

Kahaan le chala hai manwa, mohe baavari banai ke

[[I have lost something in me after finding you, and found something new in myself after losing a part of myself to you.
Where is my heart taking me to, now that I'm already crazy in love?]]

Blog author's comments:
1. My favorite line is "Tohe raahu laage bairi" - it has a very spontaneous and rustic feel to it. (In Hindu mythology, Rahu is an asura that causes solar or lunar eclipse.) The word 'Bairi' has a nice mocking tone as well.
2.* Apparently, there's some controversy regarding the first song written by Gulzar. (As pointed out to me by Raj Shekhar ji), but I'll stay out of it for now. :)

Ek Akela Is Shahar Mein (Gharonda)

2011-11-01T11:42:00.000-07:00

Cities can be cruel. The bigger the city, the more ruthless it is. Many a men come to cities with dreams in their eyes and hope fueling there ambitions. The anguish caused by crushing of these dreams and hopes has been captured by Gulzar a few times. This song is one of the most memorable examples that come to mind.

Another striking one that I came across while reading his book 'Pukhraaj' is as follows:

"मैं इस शहर की मशीन में फिट हूँ जैसे ढिबरी,

ज़रूरी है ये ज़रा सा पुर्जा...

अहम भी है क्योंकि रोज़ के रोज़ तेल देकर,

इसे ज़रा और कस के जाता है चीफ़ मेरा...

वो रोज़ कसता है,

रोज़ इक पेंच और चढ़ता है जब नसों पर,

तो जी में आता है ज़हर खा लूं...

या भाग जाऊं..."

(excerpt from a poem titled 'Diary')

A pattern I've noticed is that Gulzar makes use of inanimate objects to describe hardships. So, while a person becomes a 'purza' or a 'dhibree' (a part of machinery), life becomes a 'khaali bartan' or an empty vessel etc.

This song becomes even more effective due to the deeply resonant voice of Bhupinder (perfect for this song) and the non-intrusive music of Jaidev.

Lyrics, and translation

Ek akela is shahar mein, raat mein aur dopeher mein

Aab-o-daana dhoondhta hai, aashiyaana dhoondhta hai

[[The mukhda begins simply enough by describing an outsider in town, lonely, day and night searching for something to eat and drink, searching for a house. The sadness in Bhupinder's voice sets the tone for the song. (Aab-o-daana = water and food)]]

Din khaali-khaali bartan hai, aur raat hai jaise andha kuaan

In sooni andheri aankhon mein, aansoo ki jagah aata hai dhuaan

[[Days are like empty vessels, and nights are like bottomless pits. My eyes have dried up and instead of tears, they only have smoke in them. (see points 1 and 2 below)]]

Jeene ki wajah to koi nahin, marne ka bahaana dhoondhta hai, dhoondhta hai,

Dhoondhta hai, dhoondhta hai

[[There are no longer any reasons to live, so I just look for an excuse to die. And I keep looking, I keep looking...]]

In umr se lambi sadkon ko, manzil pe pahunchte dekha nahin

Bas daudti phirti rahti hain, humne to thaharte dekha nahin

[[These roads, longer than lifetimes of those running on it, keep running without pausing for breath; and are still somehow incapable of making people reach their destinations/destiny. (see point 3 below)]]

Is ajnabee se shahar mein, jaana-pehchana dhoondhta hai,

Dhoondhta hai, dhoondhta hai

[[In this city of strangers, I keep looking for a known face. And I keep looking, and I keep looking...

(When you are new and alone in town, few things can match the happiness a known face gives you. Beautiful!)]]

My ~~two~~ three cents

Khaali-khaali bartan (Empty vessel): Anyone who has lived alone for long enough could understand what a depressing sight an empty vessel is. In India, we are so used to mothers keeping food prepared when we get home that almost everyone has faced the issue of not wanting to eat when living alone. The utensils in kitchen somehow seem to mock your loneliness, making it all the more worse.
Ansoo ki jagah aata hai dhuaan: Could mean either of (a) you've cried so much that you are no more capable of doing that; and (b) the city has made you heartless, and you've lost the capacity of crying.
For someone coming from a small town, the roads of a city are a labyrinth, a sea of people constantly running, faces wrought in grim determination. They can be most intimidating and can make you feel so small, insignificant and lonely. I think these feelings (and more) have been perfectly described in second antara.

(Sharing this song sung in beautiful karaoke style, that I came across while browsing. I don't know who the singer (Amitabha Bhattacharya) is, but he's quite good!)

Chhod aaye hum wo galiyaan (Maachis)

2011-10-25T04:55:00.000-07:00

In a listener's mind, this song's iconic whistling is so important a part of the complete package, that last I started writing about this song, the post was hijacked by the whistling part alone and I ended up writing this post instead. While whistling is often associated with a carefree disposition and an untroubled mind, the feelings behind this song are anything but carefree or untroubled.

Maachis (1996) is a movie about the aftermath of Indira Gandhi's assassination by her Sikh bodyguards. As violence broke out, the atrocities against Sikhs resulted in many Sikh youths joining militancy.

The song itself shows a transition - from four (apparently) happy young men singing (and whistling) about leaving behind their loved ones' streets (in the mukhda) - to a slightly melancholic mood (in the first antara) - and suddenly shifting gears to a hard-hitting second antara talking about 'Ek chhota sa lamha hai, jo khatm nahin hota' - those moments of atrocities that one tries hard to forget, but is unable to.

Lyrics, and translation

Chhod aaye hum wo galiyaan... - 2

[[We've left behind those streets...]]

Jahaan tere pairon ke kanwal gira karte the

Hanse to do gaalon mein bhanwar pada karte the

Teri kamar ke bal pe, nadi muda karti thi

Hansi teri sun-sun ke, fasal paka karti thi

[[Where the lotuses of your feet used to fall /

When you used to laugh, the dimples in your cheeks were deep like whirlpools /

The river used to take its curves from your waist /

And the crops ripened with the sound of your laugh

(Everything beautiful revolved around you)]]

Chhod aaye hum wo galiyaan... - 2

[[We've left behind those streets...]]

Jahaan teri eDi se dhoop uda karti thi

Suna hai us chaukhat pe, ab shaam raha karti hai

Laton se uljhi lipti ek raat hua karti thi

Kabhie-kabhie takiye pe, wo bhi mila karti hai

[[Gulzar shifts into a more melancholic gear with this antara - though the hero has left behind his love for a greater(?) cause, he is missing those times and places.

When you used to walk, sunlight took off from your heels (you set free the sunlight) /

(I've heard that) that doorstep of yours is now under a gloomy shadow of dusk /

The night that I found entangled and coiled around in your hair /

Once in a while it comes to pay me a visit when I'm lying awake at my pillow]]

Chhod aaye hum wo galiyaan... - 2

[[We've left behind those streets...]]

Dil dard ka tukda hai, patthar ki dali si hai

Ek andha kuaan hai ya, ek band gali si hai

Ek chhota sa lamha hai, jo khatm nahin hota

Main laakh jalata hoon, yeh bhasm nahin hota

[[The song shifts mode yet again, giving a glimpse of the heart of a militant. No one becomes a terrorist for the heck of it. It often results from deep-rooted pain and suffering.

My heart is like a lump of pain, it's like a piece of stone /

(It's) Like a bottomless pit, or a blind alley /

There is this fragment of time, which just wouldn't end /

No matter how much I try to burn it, it just wouldn't reduce to ashes]]

Music Director: Vishal Bhardwaj
Lyricist: Gulzar
Singers: Hariharan, KK, Suresh Wadkar, Vinod Sahgal

My two cents:

The last para talks about how there are some memories which, no matter how much one tries to forget, are impossible to get out of your mind. They change your life for ever.
This song somehow reminds me of Bhagat Singh - also a young man who left behind his family and loved ones to join a cause he believed in.

(On Samyak's request)

Mujhe jaan na kaho meri jaan (Anubhav)

2011-10-15T05:21:00.000-07:00

This is one song that is mellow, yet so sensuous and fiercely intimate, it takes your breath away. Sung superlatively by Geeta Dutt, composed by (my namesake) Kanu Roy, and penned by the inimitable Gulzar; this song is like liquid romance in your ears. The playfulness of Geeta Dutt's voice perfectly balances the witty wordplay by Gulzar; and Roy's minimal musical arrangement provides the perfect foil to the package.

Backed by a stunning cinematography by Nando Bhattacharya, this song is a joy to behold visually as well. The palpable chemistry between Sanjeev Kumar and Tanuja gets sparks flying even in the constant drizzle outside. There's no mindless running around trees or fancy sets, as the song is almost entirely filmed within the frame of one window, with only the rain-soaked plants and rain-stained windowpanes for backdrop. (Do watch the video at the end of the post, it's truly beautiful.)

This is another one of those songs that mom had in one of her cassettes, and I was not able to appreciate till much later in my life. Ironically, both starred Sanjeev Kumar, one of the finest actors Bollywood has produced.

Movie: Anubhav (1971)

Music director: Kanu Roy

Lyricist: Gulzar

Singer: Geeta Dutt

Lyrics, and translation

Meri jaan, mujhe jaan na kaho meri jaan

Meri jaan!

[[My life, don't call me your life, oh my life!

This right here is a classic Gulzar wordplay at work. While the first 'jaan' could be taken to mean 'my dearest/darling', the second one is in fact, life. Though why she is asking him to not call her his life is only made clear in the next antara.]]

Jaan na kaho anjaan mujhe, jaan kahan rahti hai sada - 2

Anjaane, kya jaanein, jaan ke jaaye kaun bhala

[[Oh ignorant one, don't call me your life, since life is not permanent. It doesn't stay with you forever.

So, though unknowingly people say that; knowingly no one would go down that path.]]

Sookhe saawan baras gaye, itni baar in aankhon se - 2

Do boondein na barsein, in bheegi palkon se

[[I've cried so many times with dry eyes,

But my moist eyelids have never allowed even 2 teardrops to escape from them.

The beauty of this couplet can only be understood in the original lines :( I feel bad about ruining their beauty. But such is the nature of this blog!]]

Honth jhukein jab hothon par, saans uljhi ho saanson mein - 2

Do judwa hothon ki, baat kaho aankhon se

[[When your lips are near mine, and our breaths are entangled in one another's;

At such time, let the eyes speak what our (twin) lips want to say.

This is so beautifully written. No one can describe intimacy quite the way Gulzar does! My favorite couplet :)]]

Some more random thoughts

Tanuja is one underrated actress. For me the most appealing part of her is that she seems so full of love for life. There's a constant spark in her eyes. I think Kajol got that from her. Also, I think she's more beautiful than her more illustrious sister Nootan.
As a kid, I didn't like Geeta Dutt's (what I thought) nasal voice. But she was such an awesome singer. Songs such as this one are sung with such exquisite simplicity. Also love the playfulness in her voice.
So few truly romantic songs are filmed on married couples. But this one right here kicks ass of all those n00b unmarried romances.

Woh khat ke purze (Marasim)

2011-10-10T09:56:00.000-07:00

I've been thinking about writing this post since forever. Will finally finish it today as my (inadequate and delayed) tribute to the Late Jagjit Singh (February 8, 1941- October 10, 2011). Though I had never been much of his fan, I do honour and respect him for almost single-handedly keeping ghazals alive in India for so many years; and introducing at least 2 generations of Indians to nazms and ghazals. And like so many others, I have listened to, loved and hummed his songs since I was a kid.

Trivia: The famous Lifebuoy jingle from our childhood "Tandurusti ki raksha karta hai Lifebuoy" was sung by Jagjit Singh. :)

This particular ghazal is part of the music album 'Marasim' (meaning relationship, rishta) - composed and sung by Jagjit Singh, written by Gulzar. Putting it very crudely, in this ghazal, a person (let's say a guy, for the sake of consistency in the remaining post) is talking about his observation of his lover's behaviour after their breakup. The ghazal itself is anything but crude, though.

Since it will be a gross injustice to the beauty behind these words if I translate them literally, I'll try to go into the thought (or what I think is the thought) behind each couplet. In green is my interpretation, while blue is the literal translation of the couplet.

Lyrics, and translation

Wo khat ke purze uda raha tha

Hawaaon ka rukh dikha raha tha

[[Letters are often some of most precious keepsakes in any relationship. By tearing them up and throwing them, one is not only making clear one's intention of ending this relationship, but showing that it has lost all its meaning to them. 'Hawaaon ka rukh dikhana' is used metaphorically to mean 'show the way things are going to be'.
Literal meaning: She was showing me the direction of the wind, by tearing my letters to pieces, and throwing them in the air.]]

Kuchh aur bhi ho gaya numaaya

Main apna likha mita raha tha

[[Sometimes, when a relationship goes bad, we go back and try to relive as to what might have gone wrong. At times, we realize just how wrong the whole thing was, and that it's better to forget it and begin the rest of our with a clean slate. At such times, it becomes obvious that it's time to move on.
Literal meaning: Something else also begin apparent, since I find myself erasing what I had written earlier.
Numaya = apparent, obvious]]

Usi ka imaan badal gaya hai

Kabhi jo mera khuda raha tha

[[How would you feel if for as long as you can remember you have had some conviction, some belief and something or some event makes it go off in pieces? How would you feel if you loved and trusted a person with all that you have, and one day that person turns out to be someone completely different from what you thought he was? Would it ever be possible to hold on to your own faith/beliefs after that?
Literal meaning: The person who used to be my God, has now changed her religion.]]

Wo ek din ek ajnabi ko

Meri kahaani suna raha tha

[[There are secrets to any love story, that are intensely personal, to the point of being sacred. To discuss your ex-lover with a stranger means you're letting a third person in on that relationship's solemn secrets, thus invading its sanctity.
Literal meaning: She was telling my story to a stranger the other day.]]

Wo umr kam kar raha tha meri

Main saal apne badha raha tha

[[Honestly, I'm quite confused about this couplet, but will share what I think, which is -
While she (my ex) was trying to belittle me and the time we spent together; I thought it was the best thing that happened to me, and the most meaningful period of my life - I was attaching more and more significance to that time.
Literal meaning: She was decreasing years from age, while I was adding them on.]]

Aye Ajnabi (Dil Se)

2011-10-07T12:27:00.000-07:00

Rahul, this one's for you -
Because it's like I'm only half-alive when you're not here.
Because I miss you so much everything else seems unimportant and uninteresting.
Because even this festive season seems like a drag without you.
Because without you, even breathing seems like an effort.
Because I miss you so much, it's as if my whole being is aching to be with you.
Because, if it weren't for you, I'd never have realized that all these clichés I was so quick to diss were actually true.

Honestly, I had no intentions (as yet) of posting this song on this blog. I have always loved this song, but today it's been playing on a loop in my head, and it's today that I fell in love with it all over again. How fitting are the words of this song! It's a song of separation, of yearning, but above all of love. And how haunting is the melody! I'll go on to say, at the risk of sounding redundant because I've said this already, that Dil Se is one of A.R. Rahman's finest albums.

Do read the translation too, there are some 'Words of wisdom' inserted here and there :P. Yes, they break the flow of the song. Yes, I'm sorry about that. :-|

Lyrics, and translation

Paakhi paakhi pardesi... ^n

[[Oh you, of the distant land!]]

(Pakhi means bird, so the line could refer to a (migratory?) bird, that only comes to some land for a season and then leaves for its own land. ~Words of wisdom-I)

Aye ajnabi, tu bhi kabhie, aawaz de kahin se

[[Oh stranger! you should also call out for me at times.]]

(The line could be interpreted as 'You, who's acting unaware of / indifferent to my condition, some time you should also show that you care'. Which is more fitting, IMO. ~Words of wisdom-II)

Main yahan tukdon mein jee raha hoon, -2
Tu kahin, tukdon mein, jee rahi hai
[[Because I'm living in pieces here; and somewhere, you too, are living in pieces.]]
(We're neither of us complete, without one another.)

Roz-roz resham si hawa, aate-jaate kahti hai, bata
Resham si hawa kahti hai, bata
[[Every day, the silken wind; while blowing, it asks me - ]]

Wo jo doodh dhuli masoom kali,
Wo hai kahan, kahan hai?
Wo roshni kahan hai?
Wo jaan-si kahan hai?
[[She, of the pure innocence of a bud
Where is she?
Where is she, of the light?
Where is she, who was like life itself?]]

Main adhura, tu adhuri jee rahi hai
[[I'm incomplete (without you), and you're also only half-alive.]]

Aye ajnabi ...

Tu to, nahin hai lekin, teri muskurahat hai
Chehra, kahin nahin hai, par teri aahatein hain
[[You are not here, but I can feel your smile.
Though I can't see your face, but I can feel your presence around me.]]

Tu hai kahan, kahan hai?
Tera nishaan kahan hai?
Mera jahaan kahan hai?
[[Where, oh where, are you?
Where's your sign?
Where's my world?]]

Main adhura, tu adhuri jee rahi hai
[[I'm incomplete (without you), and you're also only half-alive.]]

My two cents

Mahalaxmi Iyer's vocals are used to add a different texture + layer to the song with the line 'Paakhi-paakhi pardesi'; quite like Kavitha Krishnamurthy's 'Ishq par zor nahin' in Satrangi Re, also from Dil Se.
It's one of those rare songs in which Udit Narayan's voice was used in all its glory. He's the most underrated and under-utilized singer of our time, in my opinion.

Go ahead, turn your speakers/headphones on, and enjoy the song. :)

Why 'Jai Ho' deserved an Oscar

2011-10-04T02:41:00.000-07:00

(+ Jai Ho Hindi and Spanish lyrics with English translation)

Whether or not Slumdog Millionaire (2008) deserved the 8 Academy Awards it got will always be a question that could lead to much heated discussions. The movie was good. But was it good enough? Mere rhetorical questions now. But in my mind, there are no such questions about 'Jai Ho' winning its Oscar (or Grammy).

It has a breathtaking soundtrack

I have heard many say, that by this time, A.R.Rahman had already hit his lean patch, and that Slumdog Millionaire had a pretty average soundtrack when compared to his previous work. I disagree, specifically when the song in question is 'Jai Ho'. While there's no denying the fact that Rahman has given some outstanding soundtracks before and since Slumdog Millionaire, it surely doesn't take away from the breathtaking arrangement of this masterpiece.

It's not just an item number

Another reason often quoted against the song is that it merely acts as an item song, and the movie could well have done without it. Surely, there are a thousand little things a movie could do without. But it's these little things that give the movie that extra something. Suppose the movie simply ended after Jamal had won his million bucks. Would it have given the same feeling of elation without the uplifting chord progression of 'Jai Ho'?

It's a song of triumph and hope
It's not just a song, it's a hymn of victory, of closure - on all those years of waiting. It's that moment when the entire universe conspires to give you what you have been toiling for. It's the victory lap after India won its second cricket world cup after a wait of 28 years. Remember those goosebumps? And when I listen to this song with my eyes closed, even my musically immature ears can feel the urgency - of hope and freedom and triumph in its relentless beats. According to Rahman, “Jai Ho,” or “Victory to You,” was meant to create “a vision of the whole world celebrating this victory”. (Wikipedia)

The best of both worlds
I know, I know, this post is more Rahman, less Gulzar. But partly, so is the song. The free-flowing, spirited lyrics would have lost their way without the exhilarating music. At the same time, the song might have stood just a notch lower without the triumphant lyrics. Brilliant ensemble vocals (led by Sukhwinder Singh, along with Mahalakshmi Iyer, Tanvi Shah and Vijay Prakash) add the final touches.

Lyrics, and translation:

Jai ho!

[[May victory be yours!]]

Aa ja, aa ja, jind shaamiyaane ke tale

Aa ja zaree waale neele aasmaan ke tale

Jai ho!

[[Come, my life, under this canopy of the blue sky, embroidered with gold and silver

Come, under the canopy of life

Come, under the blue sky, embroidered with gold and silver]]

Ratti-ratti sachchi maine jaan gawayi hai

Nach-nach koylo pe raat bitayi hai

Akhiyon ki neend maine fookon se uda di

Gin-gin taare maine ungli jalaayi hai

[[I've lost my life bit by bit

And spent my nights by dancing on coals

I've blown away the sleep from my eyes

And burnt my finger while counting stars

(Life has been difficult without you. I've spend the time counting days and night.)]]

Eh aa ja, aa ja, jind shaamiyaane ke tale

Aa ja zaree waale neele aasmaan ke tale

Jai ho!

Baila! Baila!

(Dance! Dance!)

Ahora conmigo, tu baila para hoy

(Now with me, you dance for today)

por nuestro dia, te olivdas

(For our day, you forget)

los problemas los que sean

(whatever problems may be)

Salud!

(Cheers!)

Baila! Baila!

(Dance! Dance!)

(Source for Spanish lyrics and translation)

Chakh le, haan chakh le, yeh raat shahad hai, chakh le!

Rakh le, haan dil hai, dil aakhiri hadd hai hai, rakh le!

[[Have a taste of this night, it is sweet as honey (the night of victory, also the night when Jamal and Latika are finally together)

Keep my heart with you, only heart is the limit (of what I can offer you)]]

Kaala-kaala kaajal tera, koi kaala jaadu hai kya

[[The kohl in your eyes, is like some black magic

(Black magic is said to be used to hypnotize and control others)]]

Eh aa ja, aa ja ...

Kab se, haan kab se, jo lab pe ruki hai, kah de!

Kah de, haan kah de, ab aankh jhuki hai, kah de!

[[The thought that you have held on to for so long,

Which has been on your lips, but you never put it to words

It's time to say it now, with your eyes downcast]]

Aisi, aisi roshan aakhein, roshan do-do heere hain kya

[[Your bright eyes are like two bright diamonds]]

Aa ja, aa ja ...

Jai ho!

Title track (Kaminey)

2011-10-01T08:32:00.000-07:00

Kaminey

(noun) scoundrel, rascal

(adjective) crooked, contemptible, questionable, unscrupulous

The word 'kaminey' could mean any of these things. And I've used these various meanings in different contexts.

The title track of Kaminey is a lyrical masterpiece for a number of reasons. But instead of jumping right to the translation of the song, let's first look at the intentions of the character (rather, the lyricist) for choosing the words he did.

The character Charlie is the narrator of Kaminey (2009), as well as the voice behind the song (not literally, just in the movie. The singer is Vishal Bhardwaj). Charlie is a small time crook, and his mantra in life is to get everything through shortcuts (fortcut ya chhota fortcut) - a morally ambiguous, but quicker way of getting what he wants.

This song shows the thoughts and feelings of a criminal - things we often entirely disassociate them from. Another famous instance when Gulzar got in the mind of a criminal comes to mind - Goli maar bheje mein from Satya. Though the texture of both these songs is entirely different (one a slow, contemplative song; the other more of a dance number) - both are deep, profound, beautiful songs.

Lyrics, and translation

Kya karein zindagi, isko hum jo mile

Iski jaan kha gaye, raat-din ke gile

[[What could the life do, now that I'm its constant companion?

I've bored it to death with my constant whining and complaints.]]

Meri aarzoo kamini, mere khwaab bhi kaminey

Ek dil se dosti thi, yeh huzoor bhi kaminey

[[My desires are questionable, my dreams crooked,

I trusted but my own heart, considering it decent, but even it turned out to be a rascal]]

Kabhie zindagi se bola, pinjare mein chaand la do

Kabhie laalten de kar, kaha aasmaan pe taango

[[At times I asked life that the moon be brought to me in a cage,

At others, I asked it to hang a lantern on the sky.

Here he's talking about how he always had unrealistic expectations from life - his ambition bordering on impractical. No wonder when his quixotic wishes remain unfulfilled, he ends up whining and cribbing about everything (Raat-din ke gile)]]

Jeene ke sab tareeke, the hamesha se kameene

[[My attitude towards life has always been crooked]]

Meri daastaan kameeni, mere raste kamine

Ek dil se dosti thi, yeh huzoor bhi kamine

[[My life-story is contemptible, my ways are the ways of a scoundrel.

I trusted but my own heart, considering it decent, but even it turned out to be a rascal]]

Jiska bhi chehra chheela, andar se aur nikla

Masoom sa kabootar, nacha to mor nikla

[[Every mask that I peeled off, showed the person underneath to be someone entirely different.

Even an innocent pigeon, once it started dancing, turned out to be a peacock.

(It's not only the criminals that turned out to be cheats. Even seemingly innocent people showed a different color, given a chance.)]]

Kabhie hum kaminey nikle, kabhie doosre kamine

[[Sometimes I was the crooked one, sometimes the other person...]]

Meri dosti kameeni, mere yaar bhi kamine

Ek dil se dosti thi, yeh huzoor bhi kamine

[[My friendship is questionable, my friends are unscrupulous,

I trusted but my own heart, considering it decent, but even it turned out to be a rascal]]

Similar sentiments, different songs:

The line "Ek dil se dosti ki, yeh huzoor bhi kaminey" reminds me of "Kisko pata tha, pehloo mein rakha dil aisa paaji bhi hoga" from the song Dil to bachcha hai ji (Ishqiya). Even when you think you understand your heart, you can never be sure sure how it's going to behave. You've no control over it.
"Masoom sa kabootar, nacha to mor nikla" (I think) might be an inspiration for Bhag Bhag DK Bose's "Piddi jaisa chooha, dum pakda to nikla kaala naag". You can never fathom a person's character by perception or looks alone. They might be completely different underneath.

[Link] Gulzar says that Kaminey is an endearment, not an abuse.

Zeehal-e-muskin (Ghulami)

2011-09-29T11:22:00.000-07:00

This was inevitable. I know I have done (read translated) this song to death, but I have two reasons to do it again, on this blog.

Previosly I had only translated the mukhda, since that was the only part in Persian, and that was what people wanted to know (not that I know Persian, but I had read the translation on net before many around me did :P). Here, I can attempt the full song.
This is a blog about Gulzar's songs, and this one is as awesome as they get.

Since I haven't watched the movie, I'll not go into the the background of, and intentions behind the song; and instead jump right to the translation part :)

Movie: Ghulami (1985)

Music Director: Lakshmikant-Pyarelal

Lyricist: Gulzar

Singers: Lata Mangeshkar, Shabbir Kumar

Lyrics, and translation

Zihal-e-muskeen maqun ba-ranjish,

Bahaal-e-hijra bechara dil hai

[[Word meanings (Persian to English): Zihal = To notice or see, Muskeen = Poor, Maqun = Do not,

Ba-ranjish = With enmity/anger, Bahaal = Recently, Hijr = Seperation

In Hindi: Is gareeb/laachaar (miskeen) dil ko jab dekho (zeehal), to gusse se (ba-ranjish) nahin (maqun),

is bechare dil ko haal hi mein (ba-haal) apne mehboob se judai (hijr) ka gham mila hai

In English: Don't look at this poor heart with enmity,

It (the heart) is fresh with wounds of separation.]]

Sunaai deti hai jisaki dhaDakan

Tumhara dil ya hamara dil hai

[[I can only hear but two heartbeats - yours and mine

(Everything and everyone else fades into nothingness)]]

Wo aake pehloo mein aise baiThe

Ke shaam raNgeen ho gayi hai

Zaraa zaraa si khilii tabeeyat

Zaraa si gamgeen ho gayi hai

[[When he/she comes and sits by my side, the evening takes on a whole new color

There's a feeling of part happiness, and part melancholy.]]

Ajeeb hain dil ke dard yaaron

Na ho to mushkil hai jeena iska

Jo ho to har dard ek heera

Har ek gham hai nageen iska

[[There's a strange relationship between the heart and pain,

A heart without pain is as good as dead.

For the heart, every pain is like a diamond and grief is like its jewel]]

Kabhi kabhi shaam aise Dhaltee hai

Jaise ghooNghaT utar raha hai

Tumhaare seene se uThta dhuaaN

Humaare dil se guzar raha hai

[[Sometimes, the sunset seems like a veil is coming off

And I can feel the smoke rising from your bosom, wafting through my heart

(I feel the same emotions that you are feeling)]]

Ye sharm hai ya hayaa hai kya hai

Nazar uThaate hi jhuk gayi hai

tumhaari palakoN se girke shabanam

hamaari aaNkhoN meiN ruk gayi hai

[[Is this embarrassment or demureness that's making you cast your eyes down?

I've caught with my eyes, the droplet that fell from your eyelids]]

Points to ponder

1. In para "Ajeeb hain dil ke dard...", he's perhaps talking about the pain caused by love. The moments of love, even when they cause pain, are invaluable like diamonds and other such jewels.

2. The line "Kabhi kabhi shaam aise dhalti hai jaise ghoonghat utar raha hai" holds a special imagery, since a Hindu bride's dress is usually some shade of red, just like the the various shades of red at evening. In continuation, the next line could mean that "On such evenings, I know you're also thinking about our future together".

3. In the last para, the line "Tumhari palkon se gir ke shabnam...", could mean "I have kept your dreams in my eyes, and they're now my dreams as well."

4. The mukhda of the song is inspired by the a poem by Amir Khusro. The first few lines of which are,

"zihaal-e-miskeen mukon taghaful,

doraaye nainaan banaye batyaan

ke taab-e-hijraah nadarum-e-jaan,

na laihyo kaahe lagaye chatyaan"

Meaning, "Do not overlook my misery, by fluttering your eyes, and weaving tales; My patience has over-brimmed. O sweetheart, why do you not take me to your bosom?" (Source - Also find the full poem and translation here)

If you liked this post, please read my novice attempt at poetry - "Dilli", on my other blog Rozaana.

Tere bina zindagi se koi (Aandhi)

2011-09-26T03:07:00.000-07:00

'Tere Bina Zingadi Se Koi' from Aandhi (1975) is one of the all time classics, in the voice of Kishore Kumar (amazing how he could yoodley and sing such soulful songs with equal ease) and Lata Mangeshkar (IMO, the greatest singer of all time). This song is composed by R.D. Burman and written by Gulzar.

The stage is set thus:

Aarti Devi (Suchitra Sen) and JK (Sanjeev Kumar) are married, but estranged (mainly due to her political ambitions). During one of Aarti Devi's election rallies, they meet again after many years. It's then that they begin to ask themselves, that though they have been living apart for so long, have they really lived all these years, (or merely existed)? This song conveys regret at losing one's love, and raises the question if anything you gained after sacrificing your love was worth it.

Lyrics, and translation:

Tere bina zindagi se koi, shikwa nahin (shikwa nahin, shikwa nahin)

Tere bina zindagi bhi lekin zindagi to nahin (zindagi nahin, zindagi nahin)

[[There is not much to complain about, in a life without you.

But then, a life without you is hardly a life]]

Kaash aisa ho, tere kadmon se, chun ke manzil chalein

Aur kahin, door kahin

Tum gar saath ho, manzilon ki kami to nahin

Tere bina zindagi se koi ...

[[I wish, walking in your steps, we could find new destinations/destinies for ourselves.

How I wish we could walk somewhere far away.

If you are with me, there is no dearth of destinations.

But in a life without you ...]]

Jee mein aata hai, tere daaman mein, sar chhupa ke hum

Rote rahein, rote rahein

Teri bhi aakhon mein, aasuon ki, nami to nahin

Tere bina zindagi se koi ...

[[I just want to cry, with my head in your lap.

Aren't your eyes moistening with tears as well?

There's not much to complain about, in a life without you ...]]

Tum jo kah do to, aaj ki raat, chaand doobega nahin

Raat ko rok lo

Raat ki baat hai, aur zindagi baaki to nahin

Tere bina zindagi se koi ...

[[If you ask it to, even the moon will not set tonight.

Do make this night stop!

It's just a matter of one night - there's not much left to life after that.

There's not much to complain about, in a life without you ...]]

My ~~two~~ three cents:

Since Aarti Devi is a famous political figure by the time their paths cross again, she could not meet JK in broad daylight. Considering the fact that they could meet only at nights, last para becomes a notch extra special.
This movie is not based on Indira Gandhi's life. In Gulzar's words, "Contrary to popular opinion, my story wasn’t based on Indira Gandhi’s life. It had nothing to do with Indiraji. She was just the role model for the lady politician. Frankly, who better could there be? She was such a dynamic lady." (Source)
The songs is interspersed with dialogues, which as usual, was not taken well by Pancham, who told Gulzar "Do you have any idea of sur and taal? You cut in with your dialogue anywhere you want. It’s not done!" (Source same as above)

Abhi na parda giraao (Pukhraaj)

2011-09-22T11:43:00.000-07:00

A totally amateurish sketch of Gulzar by me

I've presented two interpretations of this gair-filmi nazm in paragraphs marked (1) and (2). Which one, if any, do you think makes more sense?

Like many other poets, Gulzar's fascination with death is quite apparent in many of his couplets and poems. Also apparent is his fascination with stage and characters (most famously heard in the brilliant Rajesh Khanna monologue from the movie Anand (1971)) - the latter probably resulting from his being a director and screenplay writer.

(1) In this nazm, he seems to be talking about the death of a person. The pain of someone who has lost a near one, and is not ready to let go just now. (Like the song 'Na leke jaao mere dost ka janaaza hai' from Fiza (2000)). Para-1 of the nazm supports this version.

(2) He could also possibly be talking about putting an end to a thought. Sometimes, when a writer/poet has been playing with a thought for long enough, and it doesn't seem to be going anywhere, it's a predicament - whether to carry forward an idea probably long dead, or letting it die when something good could come out of it. This idea is particularly reinforced by the second para of the nazm.

अभी न पर्दा गिराओ

अभी न पर्दा गिराओ, ठहरो, कि दास्ताँ आगे और भी है
अभी न पर्दा गिराओ, ठहरो!
अभी तो टूटी है कच्ची मिटटी, अभी तो बस जिस्म ही गिरे हैं
अभी तो किरदार ही बुझे हैं
अभी सुलगते हैं रूह के ग़म, अभी धडकते हैं दर्द दिल के
अभी तो एहसास जी रहा है

ये लौ बचा लो जो थकके किरदार की हथेली से गिर पड़ी है
ये लौ बचा लो यहीं से उठेगी जुस्तजू फिर बगूला बन कर
यहीं से उठेगा कोई किरदार फिर इसी रौशनी को लेकर
कहीं तो अंजाम-ओ-जुस्तजू के सिरे मिलेंगे
अभी न पर्दा गिराओ, ठहरो!

Word-bank:

अंजाम = Anjaam = Result
जुस्तजू = Justjoo = Search, Desire
बगूला = Bagoola = Whirlwind. Bagoola is different from Bagula (बगुला) = Crane (the bird)

Translation:

Wait, don't bring the curtains down, there's more to the story
Stop, don't bring the curtains down yet!
It's just the clay breaking down, only the bodies falling
Just the characters being extinguished
Smoldering still are sorrows of the soul; pain in the heart still throbbing
Feelings are not dead yet

Save this flame that has fallen off the tired character's grip
Save this flame! From it a whirlwind of desire will grow once more
From here a new character will take shape again,
This search has to end somewhere*
Wait, don't bring the curtains down just now!

My two cents:

1. I could not quite make out what the line marked with * meant. Any comments?

2. No comments on the clumsy sketching please :D! It's just a fan-girl thing. Also, after all, the blog is not about my amateurish sketching; it's about the amateurish writing - and you are free to comment upon that! :P

Abhi na parda giraao
Abhi na parda giraao, thahro, ki daastaan aage aur bhi hai
Abhi na parda giraao, thahro!
Abhi to tooti hai kachchi mitti, abhi to bas jism hi gire hain
Abhi to kirdaar hi bujhe hain
Abhi sulagte hain rooh ke gham, abhi dhadakte hain dard dil ke
Abhi to ehsaas jii raha hai

Ye lau bacha lo jo thak-ke kirdaar ki hatheli se gir padi hai
Ye lau bacha lo yahin se uthegi justjoo phir bagoola bankar
Yahin se uthega koi kirdaar phir isi roshni ko lekar
Kahin to anjaam-o-justjoo ke sire milenge
Abhi na parda giraao, thahro!
.

Namak (Omkara)

2011-09-19T12:55:00.000-07:00

[When I told Rahul that I have written a blog post about 'Namak isk ka', his first words were "But isn't that a controversial song?" I said that's why I was writing about it, to clear away at least some of the controversy.

Sure, the song may throw a few double entendres your way, but I think it was meant to be racy, what with its being filmed on a village dancer. I've heard a few songs old women in villages sing, and they are so risqué they can make our urban ears burn.

Another reason behind posting this song was the fact that the already available translations are so bad, they ruin the whole song.]

In recent years, we have had item numbers galore. Sure, they pull in the crowd, but is that all they are supposed to do? Unfortunately, most producers think so. A bimbo, in barely-there clothes, gyrating to a zingy soundtrack does the trick for most. Hello, what about the lyrics, some of you may ask? Just make a mishmash of random English, Punjabi and Hindi words - and you're all set to go. Better still, throw in some Zandu Balm for good measure while you're at it.

No such frivolities for Gulzar, though. The lady dancing to the beat may do as the choreographer asks her to (or what sells these days), but Gulzar does what he always does - write something that has a meaning, a theme, a soul - even when the meaning might not get translated on screen.

In the jargon of an MBA (which I'm not), I'd say - With 'Namak isk ka' he had the opportunity to write an item song for an item girl (well, Bipasha was one in Omkara, essentially). But his challenge was to keep it sensuous; not vulgar or raunchy. Does he succeed? I think so! But you can decide for yourselves.

A note before we begin:

What is a meal without salt? Tasteless, unpalatable etc.? A life without love is similar. It's still a life, but not a very interesting one. Hence 'Namak isk ka'. (You'll also come across many other things related to food/taste in the song.)

Lyrics, and translation:

मैं चाँद निगल गयी (Main chaand nigal gayi)

हाँ जी मैं चाँद निगल गयी दैया रे (Haan ji main chaand nigal gayi daiya re)

[['Main chaand nigal gayi' literally means 'I swallowed the moon'. Now, the whole para can be interpreted in two ways. The common one says, that because she swallowed the moon, that's why she's feeling the spice/heat. But I think that since the moon is considered to be cool, so these lines could mean "I swallowed the moon to draw away some of heat I am feeling".]]

भीतर-भीतर आग जले, बात करूँ तो सेंक लगे (Bheetar-bheetar aag jale, baat karoon to senk lage)

हो मैं चाँद निगल गयी दैया रे (Ho main chaand nigal gayi daiya re)

अंग पे ऐसे छाले पड़े (ang pe aise chhaale pade)

[[There is a fire burning within me, and every time I talk, I can feel the heat coming through.

I swallowed the moon, ('cause) I had such bad blisters all over my body.]]

तेज़ था छौंका क्या करूँ, सी-सी करती मैं मरूं (Tez tha chhaunka kya karoon, si-si karti main maroon)

[[What could I do, the tempering was really spicy. Now I can but lament.]]

ज़बां पे लागा जी लागा जी रे (Zubaan pe laaga ji laaga ji re)

ज़बां पे लागा, लागा रे - (Zubaan pe laaga, laaga re -)

नमक इस्क का, तेरे इस्क का (Namak isk ka, tere isk ka)

[[I can't help it, now that I've got a taste of your love]]

बलम से माँगा माँगा रे, बलम से माँगा रे (Balam se maanga maanga re, balam se maanga re)

बलम से माँगा माँगा रे - (Balam se maanga, maanga re -)

नमक इस्क का, तेरे इस्क का (Namak isk ka, tere isk ka)

[[And now that I've got a taste of it, I keep asking for more.]]

सभी छेड़े हैं मुझको सिपहिये बांके छमिये (Sabhi chhede hain mujhko, sipahiye baanke chhamiye)

उधारी देने लगे हैं, गली के बनिये-बनिये (Udhaari dene lage hain gali ke baniye-baniye)

[[Everyone has been teasing me - the policemen and the thugs alike

Even the biggest miser on the street has started offering me loan]]

कोई तो कौड़ी तू भी लुटा दे, कोई तो कौड़ी (Koi to kaudi tu bhi luta de, koi to kaudi*)

थोड़ी-थोड़ी शहद चटा दे, थोड़ी-थोड़ी (Thodi-thodi shahad chata de, thodi-thodi)

[[* = I'm not sure about these lyrics. But I'd translate nevertheless!

Can't you spare a few dimes on me as well, and get me some honey? (To reduce the heat)]]

तेज़ था छौंका क्या करूँ, सी-सी करती मैं मरूं

रात भर छाना रे, रात भर छाना छाना रे (Raat bhar chhaana re, raat bhar chhaana chhaana re)

नमक इस्क का, तेरे इस्क का (Namak isk ka, tere isk ka)

[[I looked for a taste of your love the whole night.]]

ऐसी फूँक लगी जालिम की, कि बांसुरी जैसी बाजी मैं

(Aisi phoonk lagi jaalim ki, ki baansuri jaisi baaji main)

[[While literally 'phoonk lagna' means blowing air, so that the first line would mean 'He played me like a flute'. But 'phoonk lagna' also means 'to perform some kind of magic', so that the line could also mean 'He had such an effect on me, that I did whatever he asked me to do.']]

जो भी कहा उस चन्द्रभान ने, फट से हो गयी राजी मैं

(Jo bhi kaha us Chandrabhaan ne, phat se ho gayi raaji main)

[[Chandrabhaan = One who has a moon on his forehead = Lord Shiva. Omkara is also a name for Lord Shiva. So this line could mean that whatever he (Omkara) asked me to do, I did it without batting an eyelid. Or not! Your views?]]

कभी अखियों से पीना, कभी होठों से पीना

(Kabhie akhiyon se peena, kabhie hothon se peena)

कभी अच्छा लगे मरना, कभी मुश्किल लगे जीना

(Kabhie achchha lage marna, kabhie mushkil lage jeena)

[[At times drinking in with eyes, at others with lips

Sometimes it makes even dying seem pleasant, at other it makes life tough to go through]]

करवट-करवट प्यास लगी थी, करवट-करवट (Karvat-karvat pyaas lagi thi, karvat-karvat)

बलम की आहट पास लगी थी, बलम कि आहट (Balam ki aahat paas lagi thi, balam ki aahat)

[[As the sound of his footsteps came near, my desires started tossing and turning.]]

तेज़ था छौंका क्या करूँ, सी-सी करती मैं मरूं

डली भर डाला जी डाला जी रे (Dali bhar daala ji daala ji re)

डली भर डाला, डाला रे, नमक इस्क का, तेरे इस्क का (Dali bhar daala, daala re, namak isk ka, tere isk ka)

[[I had put in but a pinch of your salt.]]

ज़बां पे लागा, लागा रे - नमक इस्क का, तेरे इस्क का

Let me sign-off by saying, that Gulzar wrote item songs in such a way that the one had something to listen to and think about, over and above the ogling for which the songs were obviously made. As for me, I'd any day go for the salty love of Gulzar's words than the sweet one of 'Tere isak se meetha kuchh bhi nahin'. On a separate note, do you think the latter one was on some level inspired from the first one? :P

Mera Kuchh Saamaan (Ijaazat)

2011-09-16T12:14:00.000-07:00

Surely nothing new could be written about a song as legendary as this. So let's begin with an anecdote about the song, by Gulzar himself:

"When I gave him (Pancham) ‘Mera kuCH saamaaan tumhare paas paDa hai’, he waved the lyric aside and said, “Huh, tomorrow you’ll bring me the front page of *The Times of India* and expect me to compose a tune around it. What is this blank verse you’re giving me!” Ashaji was sitting there, she started humming the phrase, “Mujhe lauta do.” He grasped it immediately; from that one phrase he developed the song, which was quite a feat! This time Ashaji and I got National Awards. Poor fellow, he did all the work and we enjoyed the ‘kheer’." (Source)

'Mera kuchh saaman' earned Gulzar his first National Award for best lyrics. There were songs before and after, but this probably best defines the Gulzar way of writing them - understated, yet breathtakingly poetic.

In a movie where every dialogue is lyrical, and every character is nothing short of being a poet; the songs had to be extraordinary. They are. And how!

The stage is set thus:

Sudha and Mohinder have been happily married for some time now. But, also living in their home are vivid memories of Mohinder's enigmatic, whimsical, poetess ex-girlfriend Maya. To rid the house of this constant presence, Sudha sends Maya's letters back to her. Maya writes back, asking for her memories to be returned as well:

Lyrics, and translation:

मेरा कुछ सामान, तुम्हारे पास पड़ा है

सावन के कुछ भीगे-भीगे दिन रखे हैं

और मेरे एक ख़त में लिपटी रात पड़ी है

वो रात बुझा दो, मेरा वो सामान लौटा दो

[[Some of my things are still lying with you -

Some drenched monsoon days,

And a night wrapped in my one of my letters

Extinguish that night, and send these things back to me]]

पतझड़ है कुछ, है ना?

पतझड़ में कुछ पत्तों के गिरने की आहट

कानों में एक बार पहन के लौटाई थी

पतझड़ की वोह शाख अभी तक काँप रही है

वो शाख गिरा दो, मेरा वो सामान लौटा दो

[[Remember, it was autumn....

In autumn, I gave you the sound of falling leaves,

After trying it on as earrings.

That branch from autumn is still trembling in winds

Make that branch fall, and send these things back to me]]

एक अकेली छतरी में जब आधे-आधे भीग रहे थे

आधे सूखे, आधे गीले, सूखा तो मैं ले आई थी

गीला मन शायद बिस्तर के पास पड़ा हो

वो भिजवा दो, मेरा वो सामान लौटा दो

[[Remember, once when we were both getting drenched, since we were sharing one umbrella...

Half the things were drenched. The things that were still dry, I brought with me

But I think I left behind my rain-soaked heart beside the bed

Send that, along with the other things I've left behind]]

एक सौ सोलह चाँद की रातें, एक तुम्हारे काँधे का तिल

गीली मेहँदी की खुशबू, झूठ-मूठ के शिकवे कुछ

झूठ-मूठ के वादे भी सब याद करा दूं

सब भिजवा दो, मेरा वो सामान लौटा दो

[[One hundred and sixteen nights of the moon, and that one mole on your shoulder

The scent of undried henna, and those moments of mock tantrums

Let me also remind you about all those false promises

Return everything that's mine, but still lying with you]]

एक इजाज़त दे दो बस, जब इनको दफ़नाऊगी

मैं भी वहीँ सो जाऊंगी,

मैं भी वहीँ सो जाऊंगी

[[Just grant me this one wish, that when I bury these things,

I will also breathe my last]]

My two cents:

In stanza one and two "वो रात बुझा दो" and "पतझड़ की वोह शाख अभी तक काँप रही है" might mean that (a) the night was still burning and (b) that branch from autumn, though devoid of leaves, was still alive; denoting that Maya has not yet got closure / has not gotten over Mohinder.
एक सौ सोलह चाँद की रातें could refer to the fact that they were together for four months (120 nights - 4 nights when there was no moon). I don't know! Maybe it's a random number. (As pointed out by Divesh, it is as a matter of fact, a random number.) (As Gulzar puts it, "It's not the number which is important, it's important that somebody kept the count of the moonlit nights of which they spent together.")

Musings aside, go ahead and treat yourselves to this beautiful, haunting melody that could have only been created when Pancham, Asha and Gulzar came together.

Panaah (Pukhraj) - Gair-filmi

2011-09-13T04:04:00.000-07:00

We all are aware of most of Gulzar's body of work as a lyricist in Bollywood. So I thought it might be a good idea to introduce a few of his gair-filmi poems as well. Presenting the first in this series, a nazm titled 'Panaah' from Gulzar's collection 'Pukhraj', along with its English translation.

पनाह

उखाड़ दो अरज़-ओ-तूल खूंटों से बस्तियों के
समेटो सडकें, लपेटो राहें
उखाड़ दो शहर का कशीदा
कि ईंट - गारे से घर नहीं बन सका किसी का

पनाह मिल जाए रूह को जिसका हाथ छूकर
उसी हथेली पे घर बना लो
कि घर वही है
और पनाह भी

तुम्हारे हाथों में मैंने देखी थी अपनी एक लकीर, सोनां
.

Word-bank:
अरज़-ओ-तूल = Araz-o-tool = Length and breadth

कशीदा = Kasheeda = Embroidery

.

Refuge

Rip open the spread of the civilization
Pick up the roads, roll up every street
Tear apart the neatly-embroidered rows of this city
'Cause bricks and mortar can't make a home

If the touch of a hand comforts your soul,
Choose this hand to build your home
'Cause that alone, is your home
And that alone, is your haven

In the lines on your hand, my beloved, I found a line of my own.
.

Hope you enjoyed the nazm; and liked its translation and the sketch.

Chori pe chori (Saathiya)

2011-09-12T04:32:00.000-07:00

[Do read the actual translation, because it's not word for word; and I've tried to express my interpretations of the lines. Especially a few paras in between.]

Saathiya (2002) is amongst one of my all-time favorite Hindi movies. Though hundreds of romantic dramadies are churned out by Bollywood every year, this one stands out - mostly because it begins where most other movies end, with the two protagonists getting married against the wishes of their parents. But also because it gets its basics right - a very believable story, backed by first-rate cinematography, amazing music (AR Rehman and Gulzar) and witty, witty dialogs (again by Gulzar). Readers, if you haven't watched Saathiya lately, I suggest you do so once more, if only for its dialogs. Of course, the story is beautifully executed by the cast, with both Vivek Oberoi and Rani Mukherjee pitching in one of their best performances. A word must also be put in for Sandhya Mridul.

Though I can (and most probably, will) write a separate post for each one of Saathiya's songs (I love them all), let's do the shubharambh with one of its least celebrated songs - 'Chori pe chori'.

The stage is set thus:

Suhani (Rani) and Adi (Vivek) are definitely over their honeymoon period, and are coming face to face with harsh realities of their married life. Fights are frequent, and words of fondness - few and far between.

Lyrics, and translation:

This is not a literal translation, because this song has some typical Hindi and Urdu expressions and idioms, which will lose meaning if translated word for word.

Chori pe chori, chori pe chori

Ek dakaiti aur seena-zori

[['Chori aur seena zori' is an idiom in Hindi/Urdu for someone who has committed some crime, yet instead of being ashamed of it, audaciously behaves as if he/she has done the right thing]]

Chori pe chori, chori pe chori

Haath pakad ke ungli marodi

[[You first held my hand, and then hurt me (literally: twisted my finger)]]

Tauba tauba tauba, yaar meri tauba

Tauba tauba tauba, yeh to nahin hoga

[[This is wicked and vile.
This is something I refuse to undergo.]]

Chori pe chori, chori pe chori

Katthe ki chutki, choone ki bori

[[Literally, 'a pinch of kattha and bagful of choona'.
Basically 'kattha' and 'choona' are two ingredients of 'Paan', which should be put in a certain quantity to make it perfect. Too much of 'choona' can burn your tongue and mouth. A bagful of choona is enough to burn it beyond cure.]]

Jhoothi jahaan ki, aafat hai jaan ki

Ek dakaiti aur seena-zori
[[Add to this, she's a liar and a constant botheration. First she commits a crime, then acts as if she's done the right thing.]]

Doston, taare-vaare todne ki baat bhi puraani ho gayi, you know
[[In many Hindi songs, the lover talks about 'pulling off stars from the sky' for their love. Here, the heroine says that gone are the days when the hero promised such things.]]

Raat-raat bhar ka intezaar bhi kahaani ho gayi, you know
Gone are the days when lovers used to stay awake the whole night, waiting for their beloved - such things have become a mere tale!]]

Dil ka jalte rahna dost ab to zindgani ho gayi
[[A constant heart-burn is what has become of life.]]

Ik raat milne ki, baaki sulagne ki, saavan nahin hai kahin
Do-chaar lahrein hain, baaki samundar hai, saahil nahin hai kahin
[[Literally: We were together for only one night. All nights since, I have only burned in a slow fire, with the rain nowhere in sight.
Just a few waves, otherwise I'm at sea, with no shore in sight.]]

Bandhu, do gaj ki kashti, meelon samundar hai
Doob-doob kar jaana hoga, meelon samandar hai baba
[[My boat is but two-meter long, and the sea stretches for miles
There's no alternative but to drown, since the sea stretches for miles]]

Repeat: Chori pe chori ....

Doston, ek khyaal ke bagal mein kaise saari zindagi guzaar dein
[[Friends, how can I spend my life in the illusion of a dream I once saw?]]

Bane to hum tere khyaal ko libaas ki tarah utaar de
[[If possible, I would have stripped off your dream like a piece of clothing.]]

Jaane bhi do yaar, kaise banegi, kaise guzar hoga
Yeh ainwe ke phere, yeh ainwe ke chakkar, yaar bhanwar hoga
[[Just leave it, because it's impossible to sort out things (reconcile) and carry on with such a life.
This is a spinning, churning whirlpool - there's no way out of it.]]

Bandhu, do gaj ki kashti, meelon samundar hai
Doob-doob kar jaana hoga, meelon samandar hai baba
[[My boat is but two-meter long, and the sea stretches for miles
There's no alternative but to drown, since the sea stretches for miles]]

Repeat: Chori pe chori ....

The song is sung by the inimitable Asha Bhosle (I was aiming on posting her song on her birthday (8 September), but the plan got derailed, like many of my plans). And by Karthik.
All you Gamophobic (fearful of marriage) young people, not all marriages lead to songs like this. I, for one, feel I've had some awesome luck in getting married to the most perfect person for me. :)

Dil dhoondhta hai phir wahi (Mausam)

2011-09-08T10:38:00.000-07:00

At times, music works like an incredibly potent time-travelling machine. This particularly song, for example, takes me back to the time when we were kids, living in the (at that time) picturesque little Doctor's Colony of Rewa. Not because the Rewa is an idyllic town situated in the Himalayas (it's not); but because Mom had a cassette with this song, which she often played - and in my mind the song has become deeply correlated with my childhood home with its quaint backyard and garden.

It's not as if, at the age of 8 or 10, we were able to comprehend the depth of the lyrics or enjoy the pace of Bhupinder's unhurried vocals. If anything, I probably hated this 'sad' song... But I digress!

The song is an ode to the days when life was leisurely, when minds were uncluttered, when skies were bluer, and when you could lay idle without thinking that's you're getting left behind in a supersonic world.

Image source

Lyrics, and translation:

Dil dhoondhta hai, phir wahi, fursat ke raat din

Baithe rahein, tasavvur-e-jaana kiye hue

[[Once more, my heart yearns for those leisurely days

When time was spent sitting around, doing nothing but looking at the face of my beloved.]]

- This verse (once again) was originally written by the peerless Ghalib. Gulzar took it forward from there.

JaaDon ki narm dhoop aur, aangan mein let kar

Aankhon pe kheench kar tere, aanchal ke saaye ko

Aundhe paDe rahein kabhi, karwat liye hue

[[In the soft sunlight of the winters, lying about idly in the courtyard

(Trying hard to keep sleeping in the glaring sunlight)

Covering my eyes by pulling your aanchal (scarf?) over them

At times lying face down, at others curled up on one's side]]

Yaa garmiyon ki raat jo, purwaaiyaan chalein

ThanDee safed chaadaron par, jaagein der tak

Taaron ko dekhte rahein, chhat par pade hue

[[Also, in breezy summer nights

Staying awake till late in night on the cool white sheets,

Just lying on the roof, gazing at the stars]]

Barfeeli sardiyon mein, kisi bhi pahaaD par

Waadee mein goonjti hui, khaamoshiyaan sune

Aankhon mein bheege bheege se, lamhe liye hue

[[On some distant mountain in the snowy winters

Listening to echoing silences of the valleys

Eyes brimming over with moist moments]]

- 'Moist' is a really bad word to use here. But you get the context :)

Read forward at your own risk, 'cause the next lines are written by me. (Of course, while trying to stay true to the spirit of the original ones):

Galiyon mein baarishon mein, bach kar chalo jo tum

Hans dein hum, dhaani chunri pe chheente uchhaal kar

Dekha karein, aankhein teri shikwe liye hue

[[You, walking carefully in the bylanes during rains

And me, splashing your green chunri with water

Looking at your eyes filled with mock indignation]]

-- 'Dhaani' is a particular shade of green, quite similar the green of paddy fields.

Phir gungune patjhadon mein, shaakhein chuna karein

Yaaron ke beech baith ke; yaadein buna karein

Chuskiyon mein chaai ki, ghul kar hanste hue

[[Then lazily collecting dried twigs in the warm fall season

Sitting among friends, weaving memories

Sipping tea, laughing without a worry]]

Dil dhoondhta hai, phir wahi, fursat ke raat din.........

Hope you liked the translation, and bore with the lines I put up. Now go ahead, and take some time out to enjoy the world around you. :)

Satrangi Re (Dil Se)

2011-09-07T10:47:00.000-07:00

[Warning: The post might be long, but it's full of interesting facts. Don't skip, or you might miss on something ;) and I mean till the last line]

In my opinion, Satrangi Re's distractingly beautiful cinematography and a stunning Manisha Koirala take away from it. Because the song in itself is so incredibly exquisite, it ought to be heard in isolation as well. At the hostel in Banasthali, we used to shut all doors and windows of our room and make it completely dark. Then we played this song on full volume. Today before writing the post, I recreated that atmosphere. And I must tell you, we were not crazy back then in Banasthali. You all must try it.

A 'Satrangi Re' montage.

All the songs of Dil Se are a league apart. But Satrangi Re's more illustrious album-mates (Chhaiya-Chhaiya, Dil se re, Ae Ajnabi) have somehow overshadowed it, if only a little. With Satrangi Re, three of current music scene's stalwarts - AR Rehman, Gulzar and Sonu Nigam - have come together to create a song that's utterly mesmerising.

Coming to the lyrics of Satrangi Re - they are much more than just words. There is a philosophy in work here. It is said that there are seven stages of love. This song is a journey through these:

Hub (Attraction)
Uns (Infatuation)
Ishq (Love)
Adiqat (Reverence)
Ibaadat (Worship)
Junoon (Obsession)
Maut (Death)

These 7 stages have been so deftly woven in the lyrics, they're almost unnoticeable. But once you get to know they're there, you can't help but feel thrilled about the secret message, much like the secret codes in Da Vinci's paintings.

Lyrics, with English translation:

Tu hi tu, tu hi tu, satrangi re

Tu hi tu, tu hi tu, manrangi re

[[You, of many colors, only you are the color of my soul]]

Dil ka saaya humsaaya, satrangi re, manrangi re

[[You, of my soul's color, (you are) the shadow of my heart and my soul mate]]

Koi noor hai tu, kyun door hai tu

Jab paas hai tu, ehsaas hai tu

Koi khwaab hai ya parchhayi hai, satrangi re

[[You are like a light (for my darkness), why then are you so distant?

Even when you're near me, you're like a a fleeting feeling

Are you a shadow or a dream, (oh you, of many colors!)]]

Is baar bata, muhzor hawa, thehregi kahan?

[[Tell me where this forceful wind will finally stop...]]

Ishq par zor nahin, hai yeh woh aatish Ghalib

Ja lagaye na lage, aur bujhaye na bane

[[Love can't be tamed, it's like a fire that overpowers everything else

At times, it doesn't start even after repeated tries; but once started, it's impossible to extinguish]]

Aankhon ne kuchh aise chhua, halka halka uns hua

Halka halka uns hua, dil ko mehsoos hua

[[The touch of your eyes sparked an infatuation that my heart felt]]

Tu hi tu, tu hi tu, jeene ki saari khushbu

Tu hi tu, tu hi tu, aarzoo aarzoo

Tere jism ki aach ko chhoote hi, mere saans sulagne lagte hain

Mujhe ishq dilaase deta hai, mere dard bilakhne lagte hain

[[You are like the fragrance of life itself, you are what I desire.

The flame of your touch ignites my breath

My pain cries out for you, while love consoles me]]

Tu hi tu, tu hi tu, jeene ki saari khushbu

Tu hi tu, tu hi tu, aarzoo aarzoo

Chhooti hai mujhe sargoshi se, aankhon mein ghuli khamoshi se

Main farsh pe sajde karta hoon, kuchh hosh mein kuchh behoshi se

[[You are like the fragrance of life itself,

You're the desire that touches me with a whisper and with the silence in your eyes

I bow to you, only partly conscious of myself]]

Teri raahon mein uljha-uljha hoon, teri baahon mein uljha-uljha

Suljhane de hosh mujhe, teri chaahon mein uljha hoon

[[I'm enchanted by your ways, I am entangled in your embrace

Let me disentangle my senses, because I'm entangled in your desire]]

Mera jeena junoon, mera marna junoon

Ab iske siva nahin koi sukoon

[[My life is now an obsession, and so I will be till I die -

there is no respite for me]]

(Repeat: Tu hi tu, tu hi tu satrangi re...)

Mujhe maut ki god mein sone de

Teri rooh mein jism dubone de

Mujhe maut ki god mein sone de, satrangi re, manrangi re

[[Let me sleep in the lap of death,

Let me drown my body in your soul

Let me sleep in the lap of death... You, of many colors! You, of my soul's color!]]

Point to ponder:

'Ghalib' means 'victorious' or that which/who overcomes everything. So in the sher - 'Ishq par zor nahin, hai yeh woh aatish Ghalib' - the word 'Ghalib' not only refers to the poet's name, but also the fact that love is like an unconquerable fire.

Chhoti si kahaani se (Ijaazat)

2011-09-06T11:37:00.000-07:00

Since most of the comments on my previous post wanted the next post to be more Gulzar-esque, here we are, with a song that defines the 80's Gulzar that we all fell in love with.

This song is so much more than the sum of the beautiful, beautiful lyrics, music and voice. It is a perfect introduction to the movie Ijaazat, which is poetry in itself. Ijaazat is arguably Gulzar's best screenplay till date - and the dialogues should find a place in every cinema-lover's bookshelf.

The movie sets off against the magically surreal beauty of rain-soaked Konkan (or is it North-east?). And playing in the background is 'Chhoti si kahaani se' in Asha's heart-achingly beautiful voice. The song transports you to a different world altogether - pure and passionate, yet melancholic. It also makes you long for something, someone.

The song is pure liquid magic in the ears. And that's why it is impossible to 'translate' it. It can only be felt.

The situation: Mahinder (Naseeruddin Shah) and Sudha (Rekha) (an estranged couple) come across one another once again on a small railway station. It's pouring heavily outside, and they have no one but each other for company. This song gives us a glimpse of how they feel at this unexpected encounter.

Warning: The translation below is literal. It's so bad, it's almost ranging on blasphemous.

Lyrics and translation:

Chhoti si kahaani se, baarishon ke paani se

Saari vaadi bhar gayi

Na jaane kyun, dil bhar gaya

Na jaane kyun, aankh bhar gayi

[[This small tale, in this rain, is making the valley overflow.

I don't know why, but my heart is also overflowing (with emotions).

My eyes are also welling up.]]

Shaakhon pe patte the, patton pe boondein thi,

Boondon mein paani tha, paani mein aansoo the

[[There are rain-drops on the leaves on the branches

The water in these rain-drops is actually someone's tears]]

Dil mein gile bhi the, pahle mile bhi the,

Mil ke paraaye the, do humsaaye the

[[When we met before, we had bitterness in our hearts

And though we were like each others' shadows, still we were strangers to one another]]

Rukti hai, thamti hai, phir bhi barasti hai
Baadal pe paaon rakh ke, baarish machalti hai
[[It stops and starts again, yet it keeps pouring down
With its feet on clouds, the rain too has become whimsical]]

As a bonus, here is an artist's (mine :P) impression of Ijaazat poster. I know, I know - the faces look nothing like the actors in the movie. The focus was on getting the thought right. And also dishing something out quickly ;) Click on the image to view a larger version.

Dhadak-Dhadak (Bunty Aur Babli)

2011-09-05T12:56:00.000-07:00

I chose this as the first song for translation (instead of the more 'deep' ones), because I feel that the songs written by Gulzar for the more recent commercials movies has been mostly ignored by the cinema-goers as being trivial and not quite up to the Gulzar-mark. If at all they're less profound, it's because they reflect the mood of the public. (Maybe it's time for some self-reflection on why we have become less profound :P)

Background:

Rakesh a.k.a. Bunty (Abhishek Bachchan) and Vimmi a.k.a. Babli (Rani Mukherji) are two ambitious wannabes from small towns, where their dreams are written off as outrageous daydreaming. This is a song about their hopes and dreams.

Special mentions: 1. Babli is a Punjabi girl from a small town, and her language in the song is character-appropriate. She would use both swear words (e.g.: khasma nu khaye) and English words (e.g.: easy nahin) in the same breath. She's ambitious and is already looking forward to her life as a celebrity.
2. As this song is uplifting and about looking up and ahead, you'll find many references to words like sky, stars, moons and clouds.

Lyrics, and translation:

Narrator: Yeh world hai na, world, isme do tarah ke log hote hain, ek jo saari zindagi ek hi kaam karte hain, aur doosre, jo ek hi zindagi mein saare kaam kar dete hain. Yeh main nahin, yeh woh dono kehte the, aur kehte kya the, karte the; aur aisa karte the jaisa na kisi ne kiya ho, aur na shaayed koi kar paye.

[[This world has two kind of people - one who spend their whole life doing the same thing, and the other who want to do everything in the one life they've got. It's not me saying this, it's them. And they not only said it, but did it. And did it in a way no one ever could; and probably no one ever will.]]

Bunty: Chhote-chhote shehron se, khaali bore dopehron se

Hum to jhola utha ke chale

Baarish kam-kam lagti hai, nadiya maddham lagti hai

Hum samandar ke andar chale

O-ho-ho, hum chale, hum chale, oye Ramchand re

[[We've picked our bags; and left the small towns and its lazy mornings and boring afternoons behind us.

The rain and the river were just not enough for us; we've now set our eyes on the sea.

And so we set off! (The term 'O Ramchand Re' is an exclamation, which could mean 'by the grace of God' or 'Adieu, dear Ramchand!')]]

Dhadak-dhadak, dhadak-dhadak, dhuaan udaaye re

Dhadak-dhadak, dhadak-dhadak, siti bajaye re

Dhadak-dhadak, dhadak-dhadak, dhuaan udaaye re

Dhadak-dhadak, dhadak-dhadak, mujhe bulaye re

[[The train is calling out to me; with its clattering, whistling and the rising smoke]]

Oho zara, rasta to do, thoda sa baadal chakhna hai

Bada-bada koyle se, naam falak par likhna hai

Chaand se hokar sadak jaati hai, usi pe aage ja ke apna makaan hoga.

(Repeat: Hum chale, hum chale...)

[[Make way for me, I've got to reach out for and taste the clouds.

I have to write my name at the sky; with big bold letters in coal.

I'll soon have a house on the road that goes via the moon.]]

(Repeat: Chhote-chhote shehron se...)

Babli: Hum to chale, sar pe liye, ambar ki thandi phulkariyaan

Hum hain zameen, hum aasmaan, khasma nu khaaye baaki jahaan

Chaand ka teeka matthe laga ke, raat din taaron mein jeena-veena easy nahin

[[I have on my head, the cool shade of Phulkari scarf made of the sky.

Others can go to hell, because I am my own land and my own sky.

It's not easy to live in the stars (limelight), with the moon for your Tika. (i.e., the life of a celebrity is not easy)]]

(Repeat: Hum chale, hum chale....)

A.K.A:

English translation of the song Dhadak-Dhadak from the movie Bunty aur Babli
Meaning of the song Dhadak-Dhadak from the movie Bunty aur Babli.