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]]

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:

Raah Pe Rahte Hain (Namkeen)

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

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

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

Lyrics and translation:

Raah pe rahte hain, yaadon pe basar karte hain

Khush raho ahal-e-watan, hum to safar karte hain

[[We are the nomadic ones, spending our lives on roads and making do with memories

Hoping you find your happiness, as we have found our solace in this journey]]

Jal gaye jo dhoop mein to saaya ho gaye

Aasmaan ka koi kona odha, so gaye

Jo guzar jaati hai bas uspe guzar karte hain

(Raah pe rahte hain ...)

Whatever the journey throws his way, a traveler finds a way to grow and learn with it...

[[When burned by the sun, we became the shade that gives others shelter

(We don't need fancy hotels to sleep) Tucked under a corner of the sky, we sleep peacefully

Memories are what keep us alive ... ]]

Udte pairon ke tale jab bahti hai zameen

Mud ke humne koi manzil, dekhi hi nahin

Raat-din raahon pe hum, shaam-o-sahar karte hain

(Raah pe rahte hain ...)

[[When the road seems to flow under the speeding wheels

How does one find the time to ponder over what's left behind?

We find comfort in the roads; and this is where the sun rises and sets for us]]

Aise ujde aashiyaane, tinke ud gaye

Bastiyon tak aate-aate, raste mud gaye

Hum thahar jaayein jahaan, usko shahar karte hain

(Raah pe rahte hain ...)

[[We have seen the worst of times... Seen homes torn apart in shreds

Soon as we find ourselves nearing a town, a turn in the road would take us elsewhere

That's how we have learnt to make home wherever we stay

('Cause we are the nomadic ones, spending our lives on the roads and making do with memories...)]]

A little history of the lines "Khush raho ahle-watan, hum to safar karte hain":

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

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

So it made me think, may be Bismil and Bhagat Singh were both quoting someone else. So I searched some more, and found this page. Here I finally found out, that the line was originally written by Wajid Ali Shah. He wrote this couplet while being exiled from a place he loved, Lucknow:

"Dar-o-deewar pe hasrat se nazar karte hain

Khush raho ahle-watan hum to safar karte hain

Humne apna dil-e-naazuk to zafa ko saunpa

Qaisari bagh jo hai usko saba ko saunpa ...."

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

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

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

(The movie Namkeen is also available on Youtube)

Tujhse naaraaz nahin zindagi (Masoom)

It feels stupid trying to translate one of Gulzar's most iconic and widely loved songs (It got him one of his 10 Filmfare awards for best lyricist (in 1984)). But stupidity is nothing new to me, so here it goes!

The stage is set thus:
Indu (Shabana Azmi) and DK (Naseeruddin Shah) are happily married, with two daughters. The unexpected and unwelcome arrival of Rahul (the love child of DK) in the family shakes the very foundation of their lives. At different points of time in the movie, this song expresses the unspoken feelings of both the protagonists.

But more than that, it speaks for all of us ... of how life keeps throwing surprises our way, much to our bafflement and annoyance. Yet how important these roadblocks are, to maintain the delicate balances in  our lives - of smiles and tears, and of sun and shade.

Lyrics, and Translation:

Tujhse naaraaz nahin, Zindagi! hairan hoon main 

Hairaan hoon main

Tere masoom Sawaalon se, pareshaan hoon main

Pareshaan hoon main

[[Dear Life! I'm not mad at you, just a little weary ...
Stumped by the seemingly innocent questions you keep throwing at me*]]

Jeene ke liye socha hi nahin, dard sambhaalne honge

Muskuraayein to, muskuraane ke karz utaarne honge

Muskuraaun kabhi to lagta hai, 

Jaise hothon pe karz rakha hai

(Tujhse naaraaz nahin...)

[[Somehow I never thought, that I'll have to handle pains in order to live happily

Never realized that I'll have to pay a debt for each smile 

Now every time I smile, 

I am reminded of the debt that's weighing on my lips]]

Zindagi tere gham ne humein, rishte naye samjhaaye

Mile to humein, dhoop mein mile, chaaon ke thande saaye

(Tujhse naaraaz nahin...)

[[Dear Life! But it's not as if these pains are without purpose... because each pain makes me aware of things I never noticed before...

It is only in the scorching heat that we come to know of the relief a cool shade brings**]]

Aaj agar bhar aayin hain, boonde baras jaayengi

Kal kya pata, inke liye aankhein taras jaayengi

Jaane kahan ghum hua, kahan khoya

Ek aansoo chhupa ke rakha tha

(Tujhse naaraaz nahin...)

[[So today, if my eyes well up, I'll cry as long as I want to
Because who knows, tomorrow I may long for these very tears
And then, where will I look for this lone tear drop,
That I had hidden away for so long?]]

My two three cents:

* Earlier I thought the song was addressed not to "life", but to Rahul (Jugal Hansraj). Because just before the song, he asks a question that leaves Naseeruddin Shah totally stumped. I interpreted it as "Main hairaan hoon (ki meri) zindagi tujhse naaraaz nahin" = It amazes me that I am not mad at you  (just baffled by your innocent questions). 

** Something very similar to the lines "Mile jo humein dhoop mein mile, chhanv ke thande saaye" can be found in Gulzar's nazm "Chhaanv-Chhaanv" (from Pukhraj):

Ajeeb hai dard aur taskeen ka saanjha rishta

Milegi chhaanv to bas kahin dhoop mein milegi

(Strange is the relationship between pain and content,

The only place you'll ever find shade, is under the harsh sun)

*** In his album "Pancham: Gulzar Remembers RD Burman", Gulzar introduces this song with the following poignant lines:

"Yaad hai Pancham, jab bhi koi dhun bana kar bhejte the, to saath kah diya karte the, “The ball is in your court”... ye kaun sa ball mere court mein chhod gaye ho tum, Pancham! Zindagi ka khel akele nahin khela jaata... Humari to team hai, aa jao ya bula lo."

Is Mod Se Jaate Hain (Aandhi)

Here is one song that always stumped me when I was younger. I wasn't able to make a head or tale of it. It was after I read the script of the movie (I haven't watched it yet) that the song really started to make sense. A bit delayed, but here it is on my blog :)

About the movie:
Though the movie (Aandhi, 1975) gained much notoriety (and a ban) for bearing a similarity to the life of a certain Ms Gandhi; in my opinion the whole political background was incidental to the movie which is essentially a story about love, ego and personality clashes. But mostly about love. 

The movie traces the love story (and marriage) of an ambitious daughter of a politician (Aarti) and a hotel-manager-by-profession but poet-at-heart guy JK. Aarti's political ambitions prove to be a bit too much for JK and his ego; and they decide to go their separate ways. The movie (constantly switching between flashes from past and present) revolves around what happens when a chance encounter brings them back.

The stage is set thus:
The song occurs at two very important junctures in the movie. First is a mod (turn) in their lives - JK and Aarti have just gotten married and are all starry-eyed about their future. [Spoiler alert!] The second time the song occurs at the climax of the movie; when they finally decide to go their own ways and marks the second mod of their journey.

With this background, let's move ahead to the translation part :)

Lyrics, and English translation:

Is mod se jaate hain

Kuchh sust kadam raste

Kuchh tez kadam raahein

[[From this turn walk by, 

Some lazy paths, 

And a few fast paced lanes.

This is the beginning of a new phase in the relationship of JK and Aarti. Life could take the turn towards the unhurried life that JK dreams of; or could end up in the expressway of Aarti's ambitions. 

Even when de-referenced from the movie, this line sets the tone for the highly abstract yet deeply meaningful lyrics coming ahead.]]

Patthar ki haveli ko

Sheeshe ke gharaundon mein

Tinkon ke nasheman tak

Is mod se jaate hain

[[Towards a mansion made of stones,

In a house of glass

Or a nest of mere twigs

Can we go from this turn

The song further talks about how this turn could lead them towards an everlasting relationship (patthar ki haveli), a brittle one (sheeshe ke gharonde), or one which even the slightest of wind (of trouble) could wreck (tinkon ke nasheman).]]

Aandhi ki tarah ud kar ek raah guzarti hai

Sharmaati hui koi qadamon se utarti hai

In reshmi raahon mein, ik raah to wo hogi

Tum tak jo pahuchti hai, is mod se jaati hai

[[A road, like a raging storm, passes by

And one takes the steps demurely 

Of these silken roads, I look out for the one

That'll take me to you, when I take this turn

The song further speaks of the various tones this relationship could take - volatile like a gale, or a timid one. "But whatever form it takes, of the many enticing options I want to choose the one that'll lead me to you."]]

Ik door se aati hai, paas aa ke palatti hai

Ik raah akeli si, rukti hai na chalti hai

Ye soch ke baithi hoon, ik raah to wo hogi

Tum tak jo pahunchti hai, is mod se jaati hai

[[One road comes from far away and then suddenly takes a U-turn

And there's this lonely road, which neither stops not goes anywhere.

I sit here thinking, there must be a road out there

That'll take me to you, when I take this turn

You're quite sure of the direction of your life, and then it suddenly takes a U-turn. And at times you spend too much time down a road that won't lead you anywhere. 

"But I will sit here and wait for these roads to pass, till the one comes along that'll take me to my lover, my destination.]]

My Two Three cents:

1. This song was written as a nazm, and adapted in the movie. The nazm is not specific to marriage and  its consequences though. Neither is it a love ballad. It simply talks about how one turn could make you end up at a completely different place. Some lines from the nazm:

सहरा की तरफ़ जाकर, इक राह बगूलों में खो जाती है चकराकर

रुक-रुकके झिझकती-सी, इक मौत की ठंडी-सी वादी में उतरती है

इक राह उधडती-सी छिलती हुई काँटों से, जंगल से गुज़रती है -

इक दौड़ के जाती है और कूदके गिरती है, अनजानी ख़लाओं में 

Thanks to @stwta for giving the youtube video of the nazm by Bhupinder Singh.

2. In the movie Aarti tells JK "तुम्हारे पास ये कविता न होती तो तुम बहुत ऑर्डिनरी आदमी होते". I read somewhere that this was something that actually Rakhi told Gulzar. In fact, to me JK's character feels quite similar to Gulzar. His sense of humor and poetic sensibilities are trademark Gulzar. But then, he created the character!

3. Here, Gulzar talks about Sanjeev Kumar and the making of Aandhi.

Aadat (Ijaazat / Pukhraj)

This nazm written by Gulzar was also used by him (partially) in the very poetic movie Ijaazat. As it happens, one of the protagonist (Maya) is a poetess. And the hero (Mohinder), besotted by her, also keeps reciting her poems frequently (in this scene, for example). How one wishes our day-to-day conversations were as lyrical.

This poem talks about how one keeps on living even when there is nothing worth living for. It is as if we were living out of habit, just for the sake of it. "Aadatein bhi ajeeb hoti hain!"

_______________________
आदत 

साँस लेना भी कैसी आदत है
जिये जाना भी क्या रवायत है
कोई आहट नहीं बदन में कहीं
कोई साया नहीं है आँखों में
पाँव बेहिस हैं, चले जाते हैं 
इक सफ़र है जो बहता रहता है
कितने बरसों से कितनी सदियों से
जिये जाते हैं, जिये जाते हैं

आदतें भी अजीब होती हैं
_______________________
Habits

What a strange habit breathing is!
Such a peculiar custom - this thing called life!
Not even the slightest stirring in the body
Or so much as a shadow in the eyes...
Yet the feet keep walking senselessly
A purposeless journey that's been in motion
For many years, many centuries.
(And) we have kept on living (out of habit)

Habits are such strange things!
_______________________
[रवायत = Ravaayat = Custom
बेहिस = Behis = Unconscious]

Ek Akela Is Shahar Mein (Gharonda)

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

1. 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.
2. 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.
3. 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!)

Why 'Jai Ho' deserved an Oscar

(+ 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.

Title track (Kaminey)

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.