Dhan Te Nan (Kaminey)

(For best effect, I suggest you listen to Dhan-te-nan while reading this piece)

There is something about the mad energy of Dhan-te-nan that makes us all pump our fists in the air and go Dhan-te-nan with Shahid Kapoor and Chandan Roy Sanyal.

A little background first - Charlie (Shahid) and Chandan are both small-time crooks with big dreams - it's the city of dreams after all. Times are hard and becoming a bookie is the way to easy money. This is Charlie's one big dream - having enough dough so he can start betting on horses. And guess what? Today was Charlie's lucky day! He has just come unexpected across a huge bag of cocaine; which means he'll soon have enough money to start what he had always wanted to do. With luck and Laxmi both at his (and Chandan's) sides; high on dreams and coke; they go out to celebrate their good stars. And it is this infectious high that has translated so well on the screen (and the song).


Lyrics and Translation:
(Often I have tried to "translate" Gulzar's words and often I have ended up ruining them. So this time let's try this in a different way. I won't try to translate the words, I'll just give my take on them - my interpretation, if you will. This will mean two things - first, we will be saved the pain of seeing the lyrics ruined. And second, I will be able to add context whenever it's needed.)

Aa ja aa ja dil nichodein
Raat ki matki todein
Koi goodluck nikaalein
Aaj gullak to phodein

[[So Charlie has recently come across some money that'll set him up on the road to finally becoming a bookie and start betting on horses. What he needs now is luck - good stars, if you will. And he's ready to break open the sky for that piece of luck.]]

Dil dildara mera teli ka tel
Kaudi-kaudi paisa-paisa paise ka khel
 [[I must admit that this line always left me puzzled. I mean, what? Why would anyone's heart be like oil? And then I realized the answer is there in the very first line of the song "Aaja aaja dil nichodein". You see, like the "telis" used to squeeze the seeds till the last drop of oil came out; our Charlie needs every last bit of his heart's desire and luck to win at this game (of money).]]

Chal-chal sadkon pe hogi dhan-ten
Dhan-te-nan ta-na-na-na

[[Let's go and conquer the street! Dhan-te-nan!! Here we come, Mumbai!!!]]

Aa ja ke one-way hai ye zindagi ki gali ek hi chance hai
Aage hawa hi hawa hai, agar saans hai to ye romance hai

[[The only way to go in life is forward. We are losing time one second at a time and this life time is our only chance. The dream will only last as long as our breath does.]]

Yahi kahte hain, yahi sunte hain
Jo bhi jaata hai, jaata hai, wo phir se aata nahin

[[And this is what we keep hearing and what they keep saying - "That which is gone, is gone. It's not coming back." Aane waala pal, jaane waala hai / Ho sake to ismein, zindagi bita do, kal jo ye jaane waala hai]]

Koi chaal aisi chalo yaar abke samandar bhi pul pe chale
Phir tu chale uspe ya main chaloon shahar ho apne pairon tale

[[Le't's play a trick - let's do something so incredible that even the sea does our bidding. Let's be someone who the entire city looks up to.]]

Kai khabrein hain, kai kabrein hain
Jo bhi soye hain kabron mein, unko jagana nahin

[[Gulzar often uses the term "kabr" (graves) for people who are dead inside. Their bodies are like graves or tombs for their dead souls. Here again - The world is full of dull and dead people. Let's not wake them up - what business do they have in this vibrant and thriving city of ours!]]

Aaj aaja kal nichodein, raat ki matki todein

[[Let's squeeze every bit of tomorrow out of today and go out and go dhan-te-nan on the streets]]

Mera Yaar Mila De (Saathiya)

As Gulzar often says, if a lyricist is devious and smart enough, he would build multiple layers into his songs. As you scratch the surface, another layer will reveal itself. And this way he would sneakily say the thing he wanted to say, along with the thing the director wanted him to say.

The song begins with an anguished cry - a cry of someone lost, someone in despair.

On the screen we see Adi (Vivek Oberoi) frantically looking for Suhani (Rani Mukherjee) - in the background the track begins - "Banjar hai sab banjar hai, hum dhoondhne jab firdaus chale / Teri khoj talaash mein dekh piya, hum kitne kaale kos chale". On the face of it, this song is a lover's search for his beloved.  And the deft picturisation by Shaad Ali makes us believe it is, indeed, about a lover's quest.

But if we strip the song off its picturisation, the words are all about the quest for God. Gulzar's desposition for the Sufi way often manifests itself in his songs and poetry. This one is no different. To him, God resides not in idols or stones ("kankad, patthar, but") - but in a loving and devoted heart. It's not by looking for firdaus (Eden/heaven) or looking at the stars ("maine tote-tote taare chune") that you can find Him. When your love for God becomes an obsession, and transcends even that; when you destroy your identity in that quest; is when you can truly find Him / be one with Him.

Lyrics and translation:

Banjar hai sab banjar hai hum dhoondhne jab firdaus chale

Teri khoj-talaash mein dekh piya, hum kitne kaale kos chale

Banjar hai sab banjar hai

[[Seeking heaven, all I see is this wasteland

How many joyless miles must I travel looking for you?

It's just wilderness all around ...]]

Mainda yaar mila de saaiyaan, ik vaar mila de saaiyaan

[[God, please unite me with my beloved. All I want is to see him but once.]]

Maine pota-pota falak chhaana, maine tote-tote taare chune

[[I have shattered the stars to pieces and searched through every inch of sky with my own fingertips]]
(Thanks Anurag Bhardwaj for correcting the Punjabi bits for me :) )

Taaron ki chamak ye subaho talak, lagti hi nahin pal bhar ko palak

[[The incessant starlight till the morning, doesn't let me sleep even for a second.
(even the gentle starlight is agonizing for someone in love)]]

Maine pota-pota falak chhaana, maine tote-tote taare chune

Sirf ek teri aahat ke liye kankad, patthar, but saare sune

Hun mende te ruswaaiyaan

[[I have shattered the stars to pieces and searched through every inch of sky with my own fingertip

Seeking the sound of your footsteps, I've borne the silence of pebbles, stones and idols alike.

And yet I find only disgrace and ridicule]]

[Mainda yaar mila de saaiyaan, ik vaar mila de saaiyaan]

Aa dekh meri peshaani ko taqdeer ke harfe likkhe hain

[[Come, and see the words of fate written on my forehead ]]

Pairon ke nishaan jab dekhe jahaan sau baar jhukaaya sar ko wahaan

[[Wherever I see even the hint of your footsteps, I bow my head a hundred times]]

Aa dekh meri peshaani ko taqdeer ke harfe likkhe hain

Main kitni baar pukaarun tujhe, tere naam ke safhe likkhe hain

[[Do you not see the words of fate written on my forehead?

How many times must I call out to you? Pages have been written only of your name.]]

Tera saaya kahin to bolega, main sunta raha parchhaiyaan 

[[In the hope of hearing your voice, I've spent my life listening to shadows]]

My two  three cents:

1. To Shaad Ali's credit, he absolutely nails the picturisation. "How many joyless miles must I travel looking for you?" - the way Adi travels through cities/village by whatever means - buses, trucks, tractors. And the way religious symbols keep popping up in the visuals - a saadhu showing him the way, a photo of Mother Mary in the hospital, an abandoned church in the back - it all ties up really well.
2. The line 'Tera saaya kahin to bolega main sunta raha parchhaiyaan' reminds me of 'Main hawa pe dhoondhoon uske nishaan' from Chhaiya-Chhaiya - Listening to something intangible, in the hope of finding some sign of his loved one/God.
3. Of course, both Chhaiya-chhaiya and this song are Sufi in nature - so the underlying theme is very similar - though the songs themselves are as happy and as despairing as can be. But one thing that I found very interesting is the line "Jinke sar ho ishq ki chhaon, paaon ke neeche jannat hogi" (for those in love, heaven is easily achievable) in Chhaiya-chhaiya. In turn, in this song, "Banjar hai sab banjar hai hum dhoondhne jab firdaus chale" (seeking heaven, all he finds are wastelands). So, it's not by looking for heaven that you find it, it's by being one with your loved one. And then the heaven is at your feet.

Naam Ada Likhna (Yahaan)

"Sugar and spice and all things nice, that's what little girls are made of", go the words to a famous nursery rhyme.

Human mind forms connections between two completely unrelated things at times. My mind has adopted this as a hobby. For one fine day, listening to "Naam ada likhna" reminded me of this little nursery rhyme. Specifically this line (and others of this metre):

"Kabhi-kabhi aas-paas chaand rahta hai

Kabhi-kabhi aas-paas shaam rahti hai"

"The moon perches by my side at times; and at others the colors of evening cloak me."

 

The heroine of "Yahaan" is Ada, a child-woman who, though caught right in the middle of the Kashmir conflict (her brother is an insurgent), somehow remains untouched by it. For her, the world still holds hope; and joys however small (such as getting to wear a pair of jeans) still make her jump about in delight ("Urzu durkut"). And it is perhaps this optimism, that allows her to fall in love with Aman, a captain of the Indian army.

This is a song of young love, the kind that fills hearts with hope, against all odds.  

"Barf pade to, barf pe mera naam dua likhna" 

(When it snows, right down my name on it as a wish.)

"Aao na, aao na, Jhelum mein bah lenge

Vaadi ke mausam bhi, ik din to badlenge"

(Let's float about in the Jhelum till love is allowed to blossom in the valley once again)

"Kal jo mile to maathe pe mere sooraj uga dena"

(If we get a future together, mark it with a red dot of sindoor)

Composed by Shantanu Moitra and sung by Shreya Ghoshal and Shaan; it is the kind of song that fills you with calm and puts a smile on your face. (Somehow I always assumed it was composed by Vishal Bhardwaj, Kashmir + Gulzar connection, I guess. Anyway, all credit to Shantanu Moitra for creating a timeless tune.)

Lyrics and Translation:
Poochhe jo koi meri nishaani, rang henna likhna
Gore badan pe ungli se mera, naam ada likhna

[[If asked who I am, tell them I am "Ada",
The name scrolled on my fair body, in the color of henna]]

Kabhi-kabhi aas-paas chaand rahta hai
Kabhi-kabhi aas-paas shaam rahti hai

[[The moon perches by my side at times; 
and at others the colors of evening cloak me]]

Aao na, aao na, Jhelum mein bah lenge
Vaadi ke mausam bhi, ik din to badlenge

[[Let's float about in the Jhelum,
till love is allowed to blossom in the valley once again]]

[Kabhi-kabhi aas-paas chaand rahta hai
Kabhi-kabhi aas-paas shaam rahti hai]

Aaun to subah, jaaun to mera naam saba likhna
Barf pade to, barf pe mera naam dua likhna

[[When I arrive, see me as your morning; and if I leave, say I was a gust of wind
When it snows, right down my name on it as a wish]]

Zara-zara aag-vaag paas rahti hai
Zara-zara kaangde ki aanch rahti hai

[[She warms me like a blazing fire
There is a kaangdi-like glow about her]]

[Kabhi-kabhi aas-paas chaand rahta hai
Kabhi-kabhi aas-paas shaam rahti hai]

Shaamein bujhaane aati hain raatein
Raatein bujhaane tum aa gaye ho

[[The way nights come to put out evenings,
You have come to put an end of my nights]]

Jab tum hanste ho, din ho jaata ho
Tum gale lago to, din so jaata hai

[[Your smile makes the sun shine brighter
The comfort of your embraces make the days drift off]]

Doli uthaaye aayega din to, paas bitha lena
Kal jo mile to, maathe pe mere suraj uga dena

[[When the day comes, make me sit next to you
And if we get another tomorrow, make the sun rise on my forehead]]

Zara-zara aas-paas dhoop rahegi
Zara-zara aas-paas rang rahenge

[[We'll always have our bit of sunshine
And we'll always have our share or colors]]

Aao Na (Haider)

Long before I saw Haider, I fell in love with its music. Rarely do I spend so long stuck on a single album. Vishal Bhardwaj is an excellent composer - maybe even the best right now. (Yeah, yeah; I'm a huge Rahman fan; but I can't remember a single song from his last album, or the name of the album for that matter - the one with Ranbir's cousin). Or maybe since VB is so involved in all his projects, the music just becomes a part of the movie-making process and in turn a part of the movie. On being asked which role of his (director, writer, music director etc.) he enjoyed the most, Vishal Bhardwaj said it was creating music which gave him the most joy - and it shows.  

Ironically, though the music of Haider is so apt for the film, the songs themselves seemed jarring to the flow of the movie, especially "Khul Kabhi". "Bismil" I found to be too in-your-face kind. Though, being a dramatic representation of Khurram's treachery, perhaps it was supposed to be that way, but I didn't really enjoy it that much. "So Jaao" (the gravedigger song), on the other hand, left me completely speechless. The gravediggers are trying to make their job a wee bit less morbid by singing and/or joking, but the song itself is no cheerful one and their sense of humor positively macabre. This song felt like a punch in the gut.

But the one song I kept waiting for was "Aao Na". The dark mood of the song is a perfect fit with that of the movie. In my mind, there's also a perfect place for the song in the movie - right at the end, when all that Haider held dear is gone - his father, home, girlfriend; and his mother. Life as he knew it is over. And his only burning desire - revenge - no longer matters to him. His only hope is that death will bring the peace that life denied him - सब्र ले लो,  कब्र ले लो - घर में आओ .  

Allow me to interpret the lyrics with this situation in mind.

Lyrics and Translation:

Jale hi jale hi jale
Diye se jale rahe, saari zindagi
Nahin bujhe bujhe nahin
Hawa se bujhe nahin, saari zindagi

[[All my life, I was on fire like a candle
Until now, no wind could put this flame out]]

Ek foonk se hua
Sab ud gaya dhuaan
Wo jo saans ki ik faans thi
Wo nikal gayi jo kharaash thi

[[But (it so happened, that) with this one whiff of air
Even the smoke is gone

The feeling of a splinter grating with every breath 
Is gone, and with it the itch (for revenge)]]

Ab seene ki, wo khalish gayi
Bekaraariyaan, beemaariyaan gayin

[[The anxieties of the heart have left me
All the restlessness and ailments I'm rid of now]]

Ab to aao, jaan meri, so bhi jaao

[[Let's just go, and close our eyes now (dear life)]]

Arey aao na,
Ke jaan gayi, jahaan gaya
So jaao

[[Come, now that neither life nor the world matters
Let's go sleep]]

Arey aao na,
Ke thak gayi hai zindagi
So jaao

[[Come, 'cause life itself is feeling drained
Let's go and get some rest]]

Na shaam na savera
Andhera hi andhera
Hai roohon ka basera
So jaao

[[(Let's go the place of) neither evenings nor mornings
Where a calm darkness envelopes you
(Let's go to) the abode of souls
And sleep]]

Hawa the hawa the hawa
Hawa the hawa hue, baaki to khala

[[What were be, but mere puffs of winds
And in these puffs of wind are we gone
Now all that remains is this expanse of space]]

Kabhi the to kabhi nahin
Kabhi the kabhi nahin, baaki to khuda

[[At times we were, and then we were not
'Cause what other than God is forever?]]

Ye tha azal se tha
Uske fazal se tha
Bada kaam tha jo zameen par
Wo to likh diya aa jabeen par

[[He was since time immortal
And it's by his grace
That we were sent to the earth
With our fates written (on our foreheads)]]

Jo guzar gayi wo guzar gayi
Bewajah yahan, na raho miyaan
Jo huaaaaa
Sabr le lo, kabr le lo
Ghar mein aao

[[Whatever is gone, is gone
It's no use staying here beyond a point

Whatever's happened...
Let's take the comfort of the graves
And go home]]

Arey aao na...........

Points to ponder:
1. Gulzar has felt the pain of partition, and feels very strongly about Kashmiri's every day struggle. He has made a movie about it (Machis), and the references keep popping up in his poetry and lyrics (वादी के मौसम भी इक दिन तो बदलेंगे (Yahaan)). So it was a given that a film set in Kashmir will bring out his best poetic imagery.

But he just adds more layers to this song with references to Hamlet/Haider's key question "कभी थे तो कभी नहीं, कभी थे कभी नहीं" (हम हैं कि नहीं/To be or not to be?) and the plea for a moment or a lifetime of rest of a population tired of the incessant battles, both personal and political (कि थक गयी है ज़िंदगी, सो जाओ!)

2. After "Dhan te nan", Vishal Dadlani gives another powerhouse performance for VB/Gulzar in this song. But another thing that reminds me of Dhan te Nan while listening to this song is the line "कई कब्रें हैं, कई खबरें हैं - जो भी सोये हैं कब्रों में उनको जगाना नहीं" - let those resting peacefully rest in peace. Two very different songs, two slightly similar lines. (Also कब्रों के दड़बों में लम्बी नींद सोना है from So Jaao)

3. Also, I'm totally going off on a tangent here, but this song is just too perfectly suited for Theon Greyjoy of A Song Of Ice And Fire / Game Of Thrones fame. The way he has never been sure of his identity (neither Greyjoy nor Stark; discarded by one family not wholly accepted by the other; is he Theon or is he Reek; does it really matter to anyone whether he lives or not) - कभी थे तो कभी नहीं etc. Plus, all that he has gone through, surely makes him want to say "कि जाँ गयी, जहाँ गया, सो जाओ" and just rest in peace.

So, there it is - my attempt at the song from Haider. Hope you enjoyed it as much as I enjoyed writing about it. You can watch the song here:

Aye Udi Udi Udi (Saathiya)

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

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

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

Lyrics, and translation:

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

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

Halki, ae halki, kal raat jo shabnam giri
Akhiyaan-vakhiyaan bhar gayin kal to; haath pe dab-dab giri
Pahli-pahli baarish ki boondein
Pahli baarish bheegein
[Ho-ho-naageena-naageena-naageena-ho-o-o-naagaare-naagaare-naageena]

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

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

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

[Aye udi udi udi ...]

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

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

Zindagi, aakhon ki aayat hai zindagi
Palkon pe rakkhi hai, teri amaanat hai
Zindagi ye zindagi ye zindagi
[naageena-naageena-naageena-ho-o-o-naagaare-naagaare-naageena]

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

 [Uljhi hui thi ...]

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

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

Zindagi, aakhon ki aayat hai zindagi
Palkon pe rakkhi hai, teri amaanat hai
Zindagi ye zindagi ye zindagi
[naageena-naageena-naageena-ho-o-o-naagaare-naagaare-naageena]

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

 [Uljhi hui thi ...]

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

O Saathi Re (Omkara)

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

(Longish post)

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

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

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

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

Lyrics, and translation:

O saathi re, din doobe na

Aa chal din ko rokein, dhoop ke peechhe daudein

Chhaon chhue na

O pihu re

[[O dearest, wish the day never ends!

Come, let's stop the day; let's run after the sun

Lest the darkness catches up with us

Come, O beloved!]]

Thaka-thaka sooraj jab, nadi se ho ke niklega

Hari-hari kaai par, paaon pada to phislega

Tum rok ke rakhna, main jaal giraaun

Tum peeth pe lena, main haath lagaaun

Din doobe na

[[When the sun, tired after its day's hard work, reaches the river

It might slip on the moss-covered stones

You stop it from drowning, while I drop the net to fish it out

You carry it on your back, and I'll give you a hand

(Whatever we do) let's stop the sun from setting]]

[[Typical Gulzar imagery here at work.]]

Teri meri atti-patti

Daant se kaati katti

Re jaiyo na

O pihu re

[[Let's make this pact that we will never leave one another

O, my dearest!]]

O pihu re, na, jaiyo na

[[Never leave me, my love!]]

Kabhi-kabhi yun karna, main daatun aur tum darna

Ubal pade aankhon se, meethe paani ka jharna

[[At times, pretend that you are afraid of me

Then if I scold you, act scared and start crying rivers]]

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

Tere dohre badan mein, sil jaaungi re

Jab karvat lega, chhil jaaungi re

[[Let's be so close as if we are stitched together

So much so, that if you so much as turn side, I'll get bruised]]

Sang le jaaunga

Teri meri angni mangni

Ang sang laagi sangni

Sang le jaaun, o pihu re

[[You will be with me wherever I go

We are inseparableu

You will be by my side

And wherever I go, you will go with me]]

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

Three bonus bullet points :)
1. Gulzar talks about the musical form of this song (Excerpt from the book - In the company of a poet by Nasreen Munni Kabir):

"Sanchaari is a Bengali form of music that he (Vishal Bhardwaj) and I have discussed many  times. He used it in the Omkara song, 'O Saathi Re'. The Sanchaari allows you to go away from the antara [the second stage of a musical composition] and later return to it."

2. In an imagery similar to the first antara - in the poem "Sun Set" by Gulzar (from the collection Pandrah Paanch Pachhattar), the sun slips on moss covered clouds. Excerpts:

बिदक के हट गया था वो (सूरज) / बहुत फिसलन थी और काई जमी थी बादलों की / पकड़ के आसमां, कोशिश भी की थी उसने संभलने की 

 3. In this youtube video, Gulzar speaks about how if we choose "Bidi jalai le" over "O saathi re" from the same film, he cannot be questioned about writing songs of the commercial kind.

My favorite lines from the song:

तेरे दोहरे बदन में सिल जाऊँगी रे / जब करवट लेगा, छिल जाउंगी रे 

O Saathi Re video:

Chupke Se (Saathiya)

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

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

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

Lyrics, and English Translation:

Doston se jhoothi-moothi doosron ka naam le ke,

teri-meri baatein karna

Yaara, raat se din karna

 Lambi judaai teri bada mushkil hai,

aahon se dil bharna

Yaara raat se din karna

(The hero says -)

 [[Every time I talk about us, I have to use the false cover-up of others' names

And with each passing day, it is becoming more and more difficult to fill the empty space in my heart with sighs and wait for another night to turn to day]]

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

Kab ye poori hogi door ye doori hogi

Roz safar karna - Yaara raat se din karna

[[When will this distance go away

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

Chupke se, chupke se, raat ki chaadar tale

Chaand ki bhi aahat na ho, baadal ke peechhe chalein

Jalein katra-katra, galein katra-katra

Raat bhi na hile aadhi-aadhi, 

Raat bhi na hile aadhi-aadhi aye

Chupke se, chupke se, raat ki chaadar tale

(The heroine says -)

[[Hush, my love, let's meet secretly under the veil of the night

Let's hide behind the clouds, lest the moon comes to know and creates a scene

Let us burn together and melt bit by bit

While the night waits with bated breath]]

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

Farvari ki sardiyon ki dhoop mein

Moondi-moondi akhiyon se dekhna

Haath ki aad se

Nimmi-nimmi thand aur aag mein

Haule-haule maarwa ke raag mein

Meer ki baat ho

[[(I wait for the day when) In the soft sunlight of February, you would look at me, shading your half-open eyes with your palm

When the mild winter meets fire, I wish we could sit together and talk about Mir, with the Raag Maarwa playing in the background]]

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

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

Din bhi na doobe, raat na aaye, shaam kabhi na dhale

Shaam dhale to subah na aaye, raat hi raat chale

 [Chupke se ...]

[[(When we are together) I wish the day would never end, the night never come, and the evening stays with us

And even if the evening ends, I wish the next morning doesn't come and the night goes on and on]]

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

Tujh bina pagli ye purwai

Aa ke meri chunri mein bhar gayi

Tu kabhie aise hi gale lag jaise ye purwai

Aa gale lag jaise ye purwai 

[[Without you, even the winds go crazy

I wish that some day, you will embrace me like this breeze

Come, engulf me completely like the crazy winds...]]

Saathiya sun tu

 Kal jo mujhko neend na aaye paas bula lena

God mein apni sar rakh lena, lori suna dena

[Chupke se ...]

[[Listen, my love!

I wish a day comes when, if I am unable to sleep, you would make me lie next to you

Or sing a lullaby to me, with my head in your lap

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

Of course, I need not talk again and again on how I love the movie and its music! The coming together of ARR and Gulzar has always spelled magic, well may be except in JTHJ.

 

For my take on other songs from the movie Saathiya, click here.

Phir Raat Kati (Paheli)

Today being Gulzar's birthday, I think I owe it to this blog to come out of my 2-month long hiatus and bring the blog back to life.

"Phir raat kati" is a quirky little composition by M.M. Kreem and Gulzar, capturing and underlining the fact that "Paheli", in its heart, is a folklore brought alive on screen. The mood of the song is just as beautifully executed by choreographer Farah Khan on screen, bringing out the magic of a folk tale using puppet-like moves.

It's slightly ironic that the stunning cinematography and choreography work so well for the song that the lyrics and the imagery it paints get somehow sidelined. So I thought I'll attempt translating the song, steal some limelight from the dance and put the focus on the lyrics :). 

Lyrics, and Translation

Phir raat kati, aur din nikla

Jab din nikla to raat chadhi

Phir preet ki aisi peeng badhi, rab raakha beliya 
(heyyy-ho, heyyy-ho)

[[Like any other story, this one begins simply enough. The days and nights are succeeding each other like they're meant to, and life is moving at its natural pace.

When one sudden day, this love story is set in motion. And what a love story it is, may God be our saviour!

Kanu's comments: "Peeng badhana" is a term usually used in reference to swings (jhula), and it means pushing the swing to increase its pace and set it in motion.]]

Oontni par jab chaand chale, aur chaand ke peechhe raat chale
Aur taaron ki baaraat chale, rab raakha beliya 
(heyyy-ho, heyyy-ho)

[[(The story is set in the deserts of Rajasthan, about a newly-wed bride on the way to her in-laws place. The baaraat (marriage procession) halts at a baoli where a ghost falls in love with the bride, enchanted by her beauty. This is their love story.) 

I like to believe that "Oontni pe jab chaand chale" is a reference to the beautiful (moon-like) bride travelling by camel through the desert. So the story starts when the bride, along with the baaraat is on her way to the sasuraal.]]

Har raat kahaani chalti hai
Kabhi hawa sunaati hai baatein, kabhi baat zubaani chalti hai
Rab raakha beliya 
(heyyy-ho, heyyy-ho)

[[Ever since then, the story has travelled far and wide; at times taking the wings of the wind, at others by word of mouth.

I love this reference to the beautiful custom of how at nightfall, stories are exchanged - whether on a chaupaal; or as bedtime stories told by mothers and grandmothers to children. And before one knows it, these stories have travelled to far away places, and become lores.]]

Deh ki reti ud jaavegi, preet sada rah jaavegi
Arey samay gujar jaavega babu, lok katha rah jaavegi
Baat puraani ho jaavegi, naam sada rah jaavega
Arey maaroothal mein baalu tab tak unka naam rahega
(Phir raat kati...)

[[Even after the sand of our bodies has flown away (we are long dead), love  remains.

Time passes, dear sirs, but these folk lores stay behind.

The stories may get old, but the names are never forgotten...

As long as there is sand in the desert, their names will live on ... 

(Maaroothal is a tadbhav of the word "marusthal" meaning desert.)]]

Bahut baras jab gujar gaye aur laakh chaand jab utar gaye
Peepal par ek padaav hua, aur phir janme ka chaav hua
Tab se har ek kahaani mein, wo aate hain aur jaate hain
Arey maaroothal mein baalu tab tak unka naam rahega
(Phir raat kati...)

[[(Again the song gives a glimpse of the story...)

The ghost had been dead many years, many moons had passed;

When one day a procession halted under his peepal tree. And it was on this day that he wanted to be born again and have a mortal body (because of the beauty of the bride)...

And ever since then, these characters keep popping up in various tales...

(And I'm telling you,) as long as there is sand in the desert, they will live on]]

I hope you enjoyed the translation and it took you back to the time when you were kids and heard bedtime stories under a star-lit sky.

I also have two very personal reasons to like this song - first, since I've spent 8 years in Rajasthan, the place is very dear to me. The people are so warm and the place so colorful... it's like living in a story. And second, because this dance was  performed by my juniors in college, and those days are very close to my heart...

Raat Ka Nasha Abhi (Asoka)

For an industry obsessed with love, Bollywood music industry has pretty little to show for love's carnal side. Even less so, something that is sensuous without being vulgar. Songs such as this one are few and far between.

The music by Anu Malik is very fresh, and for a change doesn't seem copied from anywhere. Lyrics penned by Gulzar describe beautifully the tale of the night of togetherness and the yearning of the day after, when the lovers are apart. One wishes though, that someone else with a more seductive voice had sung it.

Lyrics, and translation:

Raat ka nasha abhi, aankh se gaya nahin

Tera nasheela badan baahon ne chhoda nahin

Aankhein to kholi magar, sapna wo toda nahin

Haan, wahi, wo, wohi

Saanson pe rakha hua tere hothon ka sapna abhi hai wahin

[[The ecstasy of the night before, has not yet left my eyes

My arms have still not let go of the intoxication of your body

And though my eyes are wide open, that dream is still there

Yes, the same one ....

The dream that your lips told my breath still lingers within me]]

Tere bina bhi kabhi, tujh si machal leti hoon

Karvat badalti hoon to, sapna badal leti hoon

Tera khyaal aaye to, bal kha ke pal jaata hai

Paani ki chaadar tale, tan mera jal jaata hai

[[At times I pretend that it's you I'm sulking with

For every night spent tossing and turning, I invent a new dream to console me

When I think of you, that moment just refuses to leave

And even inside a veil of water, my body burns]]

[Haan, wohi, wo, wohi

Saanson pe rakha hua tere hothon ka sapna abhi hai wahin]

Tere gale milne ke mausam bade hote hain

Janmon ka waada koi, ye gham bade chhote hain

Lambi si ik raat ho, lamba sa ik din mile

Bas itna sa jeena ho, milan ki ghadi jab mile

[[Oh, such beautiful lines! I wouldn't even try to translate them word for word.

When compared to how eternally momentous the time we spend together is; these small things such as being apart in this lifetime don't even matter. Because I know we are destined to find each other in every single life.

As for this life, I only ask for one prolonged day and one lasting night of togetherness - I don't need anything else.]]

[Haan, wohi, wo, wohi

Saanson pe rakha hua tere hothon ka sapna abhi hai wahin]

Tere Bina (Guru)

The stage is set thus

Gurukant Desai (Abhishek Bachchan) and Sujata (Aishwarya Rai Bachchan) are newly married. But the ambitious Gurukant is just a notch more in love with his work than his wife. So much so that Sujata feels Guru's work is like the other woman in his life.

This song, though picturised as a 'happy' song, is actually Sujata's reproach on the frequent absence of her husband.

(As pointed out very helpfully by soloescapes, this song comes up when Sujata goes away when she learns that Guru married him because of the dowry. The song shows glimpses of their happy times and the current "crisis". (Thanks!))

Lyrics, and translation

[Dum-daara dum-daara mast-mast dum 

Dum-daara dum-daara mast-mast dum 

Dum-daara dum-dum]

O humdum bin tere kya jeena

[[My love, what is a life without you...]]

Tere bina besuaadi-besuaadi ratiyaan o sajna (x2)

Rookhi re o rookhi re

Kaatoon re, kaate kate na

[[Without you, my nights are bland and monotonous, sweetheart. These dull and dry nights are impossible to go through.

Kanu's comments: 'Be-suaadi' is a very rarely used word, but very appropriate and effective here. Gulzar's lyrics often have a word that makes you to fall in love with itself; and for me in this song, it's definitely besuaadi.]]

[Dum-daara dum-daara mast-mast dum ...]

Na ja chaakri ke maare

Na ja sautan pukaare

Saawan aayega to poochhega, na ja re

[[Don't go away for your job; which, like a mistress, keeps calling you. What will I say when the rain comes and asks for you?

Kanu's comments: Love how these lines subtly imply that Guru is always on the beck and call of his job (na ja sautan pukaare), even if it means ignoring his wife and spending less time with her. Rains are often considered the romantic season, and to desert your newlywed wife in such a weather for your job will no doubt leave her feeling unloved. 

(Blast from the past: Tere do takya di naukri, ve mera laakhon da saawan jaaye)]]

Pheeki-pheeki besuaadi ye ratiyaan 

Kaatoon re, kate na kate na

Ab sajna tere bina, tere bina, kaate kate na

Kate na kate na tere bina

Tere bina besuaadi-besuaadi ratiyaan o sajna 

[[These bland and insipid nights are impossible to go through.]]

[Dum-daara dum-daara mast-mast dum ...]

Tere bina chaand ka sona khota re

Peeli-peeli dhool uda de jhootha re

[[Without you, even the the moon seems to be fake - instead of showering gold it's blowing yellow dust at me.

Kanu's comments: 1. Love the use of khota (counterfeit) here. Gulzar's love of the moon is legendary, and could make for a long post in itself. The plethora of adjectives he has used to describe the moon can run into hundreds.]]

Tere bina sona peetal

Tere sang keekar peepal

[Aa ja katein na ratiyaan]

[[Without you, gold is like copper; while when you are with me even a Kikar tree is like Peepal. 

Kanu's comments: Love these lines. Very poetic, and have a nice musical ring to them.

Without you, even the most expensive things hold no value to me. - Gold and jewelry can't compensate for your absence.

With you, even a common tree like Kikar becomes sacred like Pipal (which is considered very sacred in Hindu and Buddhist mythology).]]

[Dum-daara dum-daara mast-mast dum ...]

O Humdum Suniyo Re (Saathiya)

A short post :)

This is what Gulzar has to say about the song, and it pretty much leaves no need for a translation: 

"Shaad Ali wanted this song during the credit titles. People criticised me for what they called ridiculous images like Nange paao chand aayega, but I was using the moon to symbolise the hero's character. The hero and heroine are secretly married and he goes stealthily to her house every night. The song was the storyline in a nutshell." (Source)

Lyrics, and English translation

O humdum suniyo re, o janiya suniyo re

O janiya shaam ko khidki se 

Chori-chori nange paaon chaand aayega

[[Listen, my love. When the night comes, the moon will come to be with you;  barefoot, stealthily from the window. (I'll come to secretly meet you at night.)]]

[Ho suniyo re, o janiya re

Ho suniyo re, o janiya re]

[Dheem-dheem tanana, dheem tananana]

Galiyon se aayega, 

[Dheem-dheem tanana, dheem tananana]

Seeti bajaayega

[Dheem-dheem tanana, dheem tananana]

Neem ke ped se

[Dheem-dheem tanana, dheem tananana]

Paas bulayega

[[Listen, honey. (The moon) will come from the street, whistling a tune. From atop the neem tree, it will ask you to come closer.]]

My two cents

1. In a interview, Kunal Ganjawala remembered how Himesh Reshammiya asked him to sing "Dil keh raha hai" (Kyon Ki...) the same he sang this song; because Himesh loved the way Kunal sounded in "O humdum".
2. This is one of my favorite road trip tracks :)

PS: Can someone give me the rap portion's lyrics? The one that's available online doesn't seem right.

Marjaani (Billu)

Time for one of the less celebrated Gulzar tracks - Marjaani from Billu Barber, oops "Billu" (since the term 'barber' is apparently offesnsive). 

The song is about a a boy and girl in love, facing opposition from their elders in particular and the world in general. The couple has tried staying away from one another, but it doesn't seem to be working. So they decide to to ask the world to go to hell, and elope. IMO, the song is quite cute!

Without much ado, let's get to the translation :)

Lyrics, and English translation

At times I'll go into the thought behind the lines and then get to the translation part.

Theek hai theek-theek sab kuchh theek hai

Paas hai sab kuchh rab nazdeek hai

Rab ke hazoor mein kasmein bhi kha li

Duniya ki auni-pauni rasmein nibha li

[[Kanu's comments: In India, it's customary to have arranged marriage. In most cases, it is necessary to at least get elders' 'approval' before marrying. To pass this test you have to be good-looking, god-fearing, well-off and a lot of other things.

So the boy is saying "All right, so everything is satisfactory. I am well-off and I believe in God. We took our vows in the presence of God and complied with all sort of stupid worldly rituals."]]

Phir bhi na maane koi to dafa kar

Maane jo maane na maane to bhala kar

Duniya na maane khasmanukhaye

Khasmanukhaye marjaani

[[If they still wouldn't approve of our love, they should leave us alone. If they agree, that is good; and if they don't, that's OK too. Because if the wretched world doesn't approve of us, it can simply go to hell.]]

[Marjaani-marjaani, Marjaani-marjaani

Marjaani-marjaani, o khasmanukhaaye Marjaani]-2

[[To hell with this wretched world!]]

Haaye, khyaal bhi jaane kya-kya sochta rahta haiga

Uff! Ye nochta rahta haiga

Hey! To mud ke dekha na kar, jo sar mein soch aayegi

To paaon mein moch aayegi

[[Now the girl is a bit apprehensive and she keeps thinking of the past, "I just keep thinking of one thing or the other. These thoughts prick me like needles." 

The boy tells her to stop regretting, "Hey, don't look back. Because the more you think of the past, the harder our journey ahead will be."

I absolutely love the "Jo sar mein soch aayegi, to paaon mein moch aayegi" part. It literally translates to "If you think, you'll get a sprain in your foot". Walking with a sprain is very hard. So the boy's asking her to stop thinking of the past if she wants their journey ahead to be smooth.]]

Uth-uth ke raaton mein maine ye paala hai

Andhi jawaani mein, dard ek chhaala hai

[[G: "Night after night, I've stayed awake and nursed this pain. It's like an ulcer that's ruining my youth."]]

Dil tera na rogi baliye, dil tera na jogi baliye

Dil tera sansaari haiga, lage dil ko beimaani

[[B: "Your heart is neither sick, nor is it a monk. It's very much worldly. It hasn't denounced the world. So it's but natural for it to feel bad about the injustice."]]

[Marjaani-marjaani, Marjaani-marjaani

Marjaani-marjaani, o khasmanukhaaye Marjaani]-2

Haan, chalo ab door yahan se pahaadon se bhi aage

Woh, jahaan pe subah jaage

Ho, bade sab kahte hain ye chuno achchhe humsaaye

Samajh ke jo samjhaaye

[[Now the girl is quite convinced that it's the best to just take off to a place where things are not this bad, "Let's go somewhere far away; farther even than the hills - to the place where the morning awakes."

The boy is remembering how everyone kept pestering him about choosing a wise life-partner, "The elders kept asking me to choose a life partner who'd be intelligent enough to understand things I failed to; and in turn made me understand."]]

Ro-ro ke raaton mein aankhein bhi khaali ki

Likh-likh ke taarekhein deewarein kaali ki

[[She is remembering the woeful days when they were apart, "I cried so much that now my eyes are void of tears. I kept writing and crossing out dates till there was no white space left on the walls."]]

Chup kar, chup-chup kar baliye

Bhaag le chhup-chhup kar baliye

Duniya se bhaagein duniya mein, duniya ko hui hairaani

[[B: "Hush, my love (You don't have to worry about all that any more). Let's run away from the world, yet somewhere in the world. This will surely leave the world baffled." 

(Usually when someone's given up on the world they commit suicide. Staying in this world right in front of everyone's eyes will irritate the world no end.)]]

[Marjaani-marjaani, Marjaani-marjaani

Marjaani-marjaani, o khasmanukhaaye Marjaani]-2

My two cents

1. So far as I've understood, the word 'Khasmanukhaye' originally meant a woman who'd eat (bring misfortune to) her husband (khasam). But now it simply mean someone wretched, or someone who brings misfortune.

2. I came across this really cute piece on the internet where a girl explains why Punjabis use so many swear words. In her words, "In punjabi culture (at least what I saw of it) complimenting or gushing over someone was supposed to jinx (nazar lag jaati hai). So they go out of their way to be abusive. I know my friends mom always calls her grandaughter Chudail (witch) and jhalli and she loves her to bits. My grandma would say "Kinni soni lagdi hai marjaani" to me all the time if I dressed up and was looking pretty. It is harmless namecalling and very cute too." (Source)

Kajraare (Bunty aur Babli)

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