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

Naina Thag Lenge (Omkara)

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)

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..)

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)

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)

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)

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

1. 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!
2. 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.
3. The song is picturised (and performed) well. Even Manish Malhotra's costumes for Rani are in tandem with the colors (see 2 above).