All posts by GGaurav

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About GGaurav

I am passionate about old movies, songs and trivia.

Shankar Jaikishan – Party Songs

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Shankar Jaikishan (SJ) were the one of the most successful composers of Hindi Cinema. Their pairing ensured a long list of evergreen compositions. These continue to be cherished by music fans. Their repertoire covered many themes as per the requirement of the song including romantic, sad, longing, naughty, dance numbers, classical and even qawwali. And incredibly they were able to deliver one hit after the other. They created magic teaming up with lyricists Shailendra and Hasrat Jaipuri and utilizing the top singers of that era. A formidable team indeed!

26 April is the remembrance day of Shankar (Shankar Singh Raghuvanshi). This post covers some of the party numbers composed by this talented duo. The songs depict varied emotions like happy, sad, disappointment and fun. All are highly enjoyable and prove the versatility of the composers.

1) Song: Ek Bewafa Se Pyaar Kiya
Film: Awara (1951)
Credits: Hasrat Jaipuri | Shankar Jaikishan | Lata Mangeshkar

SJ had a long collaboration with Raj Kapoor starting from Barsaat. This song is from Awara. Its Nargis’s 21st birtday celebration. She is happy but a dramatic scene involving Prithviraj Kapoor, herself and Raj Kapoor unknowingly reveals the truth about Raj’s character. She is still coming to terms with the revelation, when the performer (Honey O’Brien?) starts singing and dancing. Why someone would such a song at a birthday party is another matter, but it brings out Nargis’s state of mind effectively. SJ deliver a catchy tune which is enhanced by the lyrics, singing and the heroine’s expressions.

Ek bewafa se pyaar kiya, usse nazar ko chaar kiya,
Hai re humne yeh kya kiya hai kya kiya…

Bholi surat waala nikla lootera,
Raat chhupaaye dil mein munh pe savera,
Oye humne dil nisaar kiya, usko beqaraar kiya,
Hai re humne yeh kya, hai kya kiya

2) Song: Sunte The Naam
Film: Aah (1953)
Credits: Hasrat Jaipuri | Shankar Jaikishan | Lata Mangeshkar

Aah came after Awara and was not that successful but its music was at par. SJ gave Lata Mangeshkar some of the best songs of her career. These were across multiple genres showcasing the adaptability of her incomparable voice.

In the movie scene, Nargis’s elder sister (played by Vijayalaxmi) is requested to sing at a party. She makes excuses but her mood changes when she sees a dashing young man (Raj Kapoor). On knowing his identity, she bursts into song.

Sunte the naam hum jin ka bahaar se,
Dekha to dola jiyaa jhoom-jhoom ke..

Chhupate rahe jo meri nazar se, dil bole mera tum hee to ho,
Ho, dil bole mera tum hee to ho,
Aankhon se rang mere dil ki umang pe, daalaa to dola jiyaa jhoom-jhoom ke…

3) Song: Sab Kuch Seekha Humne
Film: Anari (1959)
Credits: Shailendra | Shankar Jaikishan | Mukesh

Moving to a sombre number. Anari was the story of a rich girl (Nutan) and a poor and simple man (Raj Kapoor, who else?). He thinks she is a poor girl and falls in love with her. The truth gets revealed at her birthday party. Her uncle requests him to sing a song. He sings about himself. How he got fooled, he is really an “anari.” Mukesh was Raj Kapoor’s voice and SJ contributed some great songs throughout for this partnership. It also shows their ability to blend a song suited to the character’s personality and the singer’s expertise. Simple but impactful.

Sab kuch seekha hum ne, na seekhi hoshiyaari,
Sach hai duniya walon, ke hum hain anadi..

Duniya ne kitna samjhaya, kaun hai apna kaun paraya,
Phir bhi dil ki chot chhupa kar, hum ne aap ka dil behlaya,
Khud hi mar mitne ki yeh zid hai hamari,
Sach hai duniya walon, ke hum hain anadi..

4) Song: Tumhe Aur Kya Doon Main
Film: Ayee Milan Ki Bela (1964)
Credits: Hasrat Jaipuri | Shankar Jaikishan | Lata Mangeshkar

A double birthday celebration! Its Rajendra Kumar and Dharmendra’s birthday on the same day. The party is arranged and the guests arrive. The heroine Saira Banu presents the song wishing them a long life. Set by SJ in their favorite raag Bhairavi, the singing is so effective and Saira Banu looks enchanting on screen.

Tumhe aur kya doon main dil ke siway, tumko hamari umar lag jaaye..

5) Song: Har Dil Jo Pyaar Karega
Film: Sangam (1964)
Credits: Shailendra |Shankar Jaikishan | Mukesh, Lata Mangeshkar and Mahendra Kapoor

Sangam was a love triangle directed by Raj Kapoor. Rajendra Kumar has returned to India after becoming a lawyer and the grand party is for celebrating his success. Vyjanthimala is looking forward to meet him and confess her love. But Raj Kapoor is also in the picture (he loves Vyjanthimala). Handy with his accordion, he becomes the party entertainer and sings this song. He is joined by the other leads who voice their intentions. A brilliant composition, well sung and enacted. And the ace director’s touch is evident in the song’s presentation.

Har dil jo pyaar karega woh gaana gaayega,
Deewaana saikadon men pehchaana jaayega, deewana..

Aap hamaare dil ko chura ke aankh churaaye jaate hain,
Ye ik-tarafaa rasam-e-wafaa ham, phir bhi nibhaaye jaate hain,
Chaahat ka dastoor hai lekin, aap ko hi maaloom nahin,
O o o, jis mehfil men shama ho, parwaana jaayega,
Deewaana sainkadon men pahachaana jaayega, deewana..

6) Song: Aji Rooth Kar Ab
Film: Arzoo (1965)
Credits:  Hasrat Jaipuri | Shankar Jaikishan | Lata Mangeshkar

This is another typical party scene. Sadhana is requested to sing but she is horrified at the suggestion. Her uncle gets upset with her and so does the hero (Rajendra Kumar). She responds to him through the song and pacifies him. Of course, there is an undercurrent of romance in the lyrics. The song is known for its impossibly high notes and was challenging to sing.

Aji rooth kar ab kahan jaiyega,
Jahan jaiyega hamein paiyega…

Khayalon mein bhi tum na aao to jaane,
Aji lakh pardon mein chhup jaiyega,
Nazar aaiyega, nazar aaiyega…

7) Song: Mujhe Tum Mil Gaye Humdum
Film: Love in Tokyo (1966)
Credits: Hasrat Jaipuri | Shankar Jaikishan | Lata Mangeshkar

This is like a pre-climax song of the movie. Everything has been sorted, the only thing that remains is the union of the hero (Joy Mukherjee) and heroine (Asha Parekh). She sings to him acknowledging his presence in her life. He accompanies her on the piano. Everything is happy and romantic but the mood changes with Pran’s arrival. This change is reflected in the musical composition effectively as it brings out the varied expressions of joy, shock and anger of the character(s).

Mujhe tum mil gaye humdum,
Sahara ho toh aisa ho,
Jidhar dekhu udhar tum ho,
Nazaara ho toh aisa ho….

8) Song: Chhoti Si Mulaqat
Film: Chhoti Si Mulaqat (1967)
Credits: Hasrat Jaipuri | Shankar Jaikishan | Mohammed Rafi and Asha Bhosle

Birthdays seem to be a common theme for many songs in this list. This time it is Vyjanthimala’s celebration. She is eagerly waiting for the hero’s (Uttam Kumar’s) arrival. He arrives, then there is a so called funny scene and both start singing the catchy composition with some weird lyrics. A true party song which brings out the energy and romantic involvement of the lead pair.

Chhoti si mulaqat pyar ban gayi,
Pyaar banke gale ka haar ban gayi,
Ya ya yippi yippi ya ya ya,
Ya ya yippi yippi ya ya ya,

9) Song: Aaj Kal Tere Mere Pyaar Ke Charche
Film: Brahmachari (1968)
Credits: Hasrat Jaipuri | Shankar Jaikishan | Mohammed Rafi and Suman Kalyanpur

This is one of those situational songs. Conveniently, Shammi Kapoor arrives at Pran’s party. He is a singer and is requested to sing and dance with Mumtaz. And him being Shammi Kapoor, he sings a flirty number. Another evergreen song from SJ.

Aajkal tere mere pyar ke charche har zubaan par,
Achha – sab ko maloom hai aur sabko khabar ho gayi,
Toh kya…

10) Song: Meri Zindagi Mein Aate To Kuch Aur Baat Hoti
Film: Kanyadaan (1968)
Credits: Hasrat Jaipuri| Shankar Jaikishan| Mohammed Rafi

And to the end a list, a sad song. Shashi Kapoor (a poet) arrives at the marriage anniversary party of his friend. He is requested or rather forced to sing his composition. He does so reluctantly, addressed to the heroine (Asha Parekh). A typical SJ composition, rendered by Mohammed Rafi in his effortless manner. SJ had started to become a bit repetitive at this stage of their career and faced stiff competition from new composers like Laxmikant Pyarelal.

Unki zulfein unke chehre se hata sakta nahin,
Dil ki betaabi kisi soorat chhupa sakta nahin,
Kitni dilkash hain mohabbat ki jawan majbooriyan,
Saamne manzil hai aur paanv badha sakta nahin,

Meri zindagi mein aate to kuch aur baat hoti,
Toh kuch aur baat hoti, Toh kuch aur baat hoti,
Yeh naseeb jagmagaate to kuch aur baat hoti…

Re-release

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The past few years has seen a spate of movies rereleasing in theatres. But this is not a new phenomenon for Hindi Cinema. There used to be a time, at least till the 1990s when old movies would play in cinema halls in what was termed “matinee” shows. This was a welcome approach as it enabled the new generation to get introduced to and enjoy the older classics and other movies. Presumably, the producers would be earning money through the reruns of their movies.

I recall hearing about the release of the Dev Anand starrer Hum Dono, 50 years after its initial release in 2011. The plus point? It was the colorized version and aptly named as Hum Dono Rangeen! Having not seen the movie, I stepped into the cinema hall in anticipation. The attraction was the aura associated with the movie, the big stars, and of course its evergreen songs. And what a pleasure it was. It was almost magical to revisit that era on the big screen. How lucky was the generation when such movies were being released week on week and one could enjoy them firsthand!

I had the same experience with CID (1956) a few years later (unfortunately, I knew the plot, so that was a bit of a dampener). But yes, it was still a memorable experience to revisit the oldie offering.

The rereleases of Mughal-e-Azam (2004) and Naya Daur (golden jubilee year in 2007) were big events and made special news. They were also released in fully colorized avatars and met with mixed success. The trend continued and in recent times, we see movies mainly from the 90s and beyond scorching the big screen once again. Some classics are also screened as a tribute to the creators such as Raj Kapoor, Bimal Roy, Guru Dutt and so on.

That brings me to my recent experience in 2025 of revisiting Yeh Jawaani Hai Deewaani (YJHD). The 2013 Ayan Mukerji directed movie has achieved cult classic status and its endearing characters, the dialogues and the songs continue to charm us. The movie rereleased with much fanfare and box-office success.

Having watched the movie with ad breaks on T.V. I was looking forward to view it in the cinema hall with lesser distractions. And the show time arrived. Surprise! the screening began with the UTV logo and trailers of the movies that were probably shown along with YJHD’s original screening in 2013. It was kind of funny to watch the trailers of Fukrey and Once Upon a Time in Mumbai Dobaara. How time flies, literally!

The cinema hall was a full house filled with a young crowd in their teens and 20s. They were probably school going children when the movie had released. That showed the staying power and recall value of a cult movie that can be related to even today. As expected, the movie was a joy to watch. Ranbir, Deepika, Aditya and Kalki were at their peak and the wonderful supporting cast didn’t disappoint. The audience was enjoying the witty dialogues and the one-liners to the fullest. But nothing had me prepared when the blockbuster songs lit up the screen. Balam Pichkari and Budtameez Dil made the crowd erupt. They got up from their seats, went up to the screen, sang and danced along, clicked selfies and shared socially the live experience of being there and watching YJHD. The multiplex management had to intervene but that was a mild matter. This was the genuine magic of cinema in front of my eyes.

So, the trend will not end. There will be more anniversaries coming up – 20, 25, 30 years and revisits on the way. The charm of cinema continues.

Arey Sansaar Sansaar (1981)

My Reviews

Arey Sansaar Sansaar (Oh, this life!) is a Marathi movie directed by the veteran director Rajdutt. The movie shows the struggles of a farmer and his family. How they deal with a series of hardships and try to overcome them with great courage and unrelenting effort. It is based on a story by Pt. Mahadevshastri Joshi, who is credited as the source of many female centric movies in Marathi cinema.

The Plot

Arey Sansaar Sansaar is the story of a well to do farmer Bapu Desai (Kuldeep Pawar). Well to do in the sense that he is a watandaar (landholder). However his farm has been mortgaged with the local moneylender Sawkar (Ashok Saraf). Bapu is getting married and he has arranged the money by mortgaging his ancestral house. His wife is Ratna (Ranjana), who is also from a moderately rich family. In the very first scene, Bapu is bringing his newly wedded wife home. They have a sweet banter as they enter the village. Ratna is visibly impressed by her husband and his house.

As seems to be the custom, Bapu takes Ratna to meet Sawkar. Sawkar is a lecherous fellow with no scruples. He sees Ratna and is lusted by her beauty. This is a pointer of things to come!

The tobacco crop is ready. Bapu wants to sell it in the Nippani market where he is expected to get a much better rate than offered by the local Sawkar. The Sawkar is furious when he hears this. He goes to meet Bapu and offers him the same rate. There are some uncivil comments made by the Sawkar’s servant (Majnalkar) concerning Bapu’s wife Ratna. Bapu, gets angry and refuses to sell the crop to Sawkar come what may. Unfortunately, the crop gets damaged due to unexpected heavy rains and foils Bapu’s plans.

Sawkar goes to meet Ratna when Bapu is away. He tries to woo her but she gives him a fiery response and warns him to stay away from her. Bapu comes home and Sawkar reminds him of the loan. He will seize his land and house if the money is not paid back soon. A shaken Ratna offers her jewellery to cover some of the amount. The Sawkar leaves but his next scheme is ready. He ensures none of the farm labourers turn up to work for Bapu. Bapu is forced to work alone and keep the activities going.

So, now Ratna knows the reality of her in-laws’ financial condition. She is a feisty and practical woman. She cannot accept sitting at home while her husband toils in the fields. She joins him but he is not impressed. The women of his family are supposed to mind the house and not slog in the farm. What will the villagers, her parents etc say? She patiently explains that she has pledged to be with him in his joys and sorrows. He is finally convinced and thus begins their new farm life! They sing a song Raja lalkari ashi ghe.

Sawkar can’t let go of Ratna from his mind. He attempts to rape her but Bapu steps in and gives him a good bashing. In retaliation, Sawkar gets a seizure order and Bapu and Ratna are forced to leave their house and give up the farm too. They start living in a small hut. All that they have left is a small tract of jungle land which had been received as a reward (inaam) by Bapu’s family.

Bapu is disturbed by the developments. Gone is the prestige of the Desai’s. He cannot even guarantee a comfortable life for his better half. He attempts suicide but Ratna is alert and stops him in time. He asks her to leave him and go back to her parents. She says she has committed to be his shadow. This is a dark night but they should look forward for the sunshine. He agrees and they start working to clear the land and attempt cultivation. They sing another duet Kalya maatit maatit.

8 years pass on. They are blessed with 3 sons and also a bumper crop of sugarcane. They are looking forward to harvest the sugarcane when tragedy strikes. Sawkar sets the farm on fire and kills Bapu.

Ratna is broken and her struggles continue. There is severe famine and no food. She may have to sell off the last piece of land to support her family. She sings a sorrowful lullaby Jo jo gaate, zoka dete. Sawkar attempts to give her food and money but she refuses both with great will and effort. She cannot let her family’s principles wither away and die. Again, she looks forward for the positive tomorrow to arrive.

Sawkar attempts to abduct her children to force Ratna to come to him but she is saved by a good samaritan Sambha (Dinkar Inamdar). Sambha had faced a similar fate when the Sawkar lusted after his wife and eventually raped her. He had lost sanity for many years and roamed in the village like a mad man. Seeing Ratna’s plight, he is reminded of his past events and is suddenly brought back to reality. He attacks Sawkar and compels him to leave the children alone. Ratna accepts him as his brother. The rains arrive soon, bringing hope.

Finally, there is some joy in Ratna’s life. Ratna has aged, her children have grown up. The elder sons are married with children. The youngest Mahadev (Mohan Gokhale) has his sights on Hansa (Reema) and they look forward to get married with Ratna’s blessings.

And Sawkar? He won’t let Ratna or her family forget their hard times. He plans to sow the seeds of jealousy and discontent among her sons and daughter-in-laws. Will he succeed? Will Ratna continue to defy his intentions and manage to keep her family united?

The Music

The movie receives able support from its songs and are complementary to the story. Anil Arun are the music composers and Jagdish Khebudkar and Prof. Vitthal Wagh the lyricists. Suresh Wadkar and Anuradha Paudwal sings the hit duets Raja lalkari ashi ghe and Kalya maatit maatit (which comes in 2 versions). Vithu mauli tu is a devotional song in the voices of Sudhir Phadke, Suresh Wadkar and Jaywant Kulkarni. It is picturized on the 3 sons as an ode to their mother who has suffered all her life to bring them up successfully. The lullaby Jo jo gaate is also effective with its lyrics and picturization.

My Thoughts

The story is a long string of challenges faced by the main leads. It shows the debt trap that farmers enter into and is difficult to escape as the debt keeps piling up. They are at the mercy of the moneylender who exploits them openly. The viewer is easily reminded of Mother India with its fairly similar plot of the moneylender and the farmer’s family.

Kuldeep Pawar plays a character who is initially strong willed but later on forced to accept the reality of the debt trap and faces an unfortunate death. He shares a great chemistry with Ranjana. Ashok Saraf plays a comical villain. He is effective in some scenes but the comedic touch does not work every time. Maybe it would have benefited to show him as a typical evil villain who keeps plotting to fulfill his schemes against the Desai family. The show stealer is Ranjana. She is especially effective in her aged role right to her body language and movements showing a character who has seen it all that life has offered to her. She has no complaints and wants to spend her remaining days in the company of her children and grand children. The only jarring note is her soft dialogue delivery which is difficult to comprehend at times.

The movie also starred a young Reema Lagoo who is effective in her small role of the daughter-in-law. Interestingly, her real mother (Mandakini Bhadbhade) played her mother’s role on screen.