Aaj Phir Jeene Ki Tamana Lyrics and Translation: Let’s Learn Urdu-Hindi

Waheeda Rehman Aaj Phir Jeene Guide

We are not worthy of Waheeda Rehman glistening in head-to-toe teal in “Aaj Phir Jeene Ki” from Guide (1965).

Today we present the English translation and lyrics to “Aaj Phir Jeene Ki” from the cult classic film Guide (1965). A stirring exploration of the Vedic transformation from materialism to freedom from worldly attachments, Guide is routinely listed among the greatest Bollywood films ever made. Based on the classic novel by R.K. Narayan “The Guide,” the film unearths profound depths beneath a glittery surface of a scandalous romance: Raju (played by Dev Anand) is a smooth-talking tour guide who is mesmerized by a vivacious young dancer, Rosy (played by Waheeda Rehman), the wife of an elderly archaeologist. Trapped in a loveless marriage of convenience, Rosy dreams of becoming a famous performer while masking her shame of being the daughter of a courtesan.  While her lofty ambitions and enchanting on-screen presence initially propel Rosy to the foreground of the narrative, Raju’s nuanced, reflective character is the real star of the film whose philosophical awakening bestows the film its larger-than-life greatness.

Dev Anand Waheeda Rehman hay cart Guide

Waheeda Rehman finds a renewed zeal to live with the support of Dev Anand in Guide (1965).

Raju observes with quiet fascination Rosy’s marital discord as he leads her and her husband on a tour of historical caves. His curiosity quickly blossoms into something more as her despair leads to attempted suicide as Rosy’s husband carries on an affair with a local villager. Raju finds himself assuming the role of her protector, whisking Rosy to the city where she purchases a set of ghungroos (dancing bells) from a street stall. The bells transform her instantly into capricious, joyful young woman who realizes how much she has to life for. As she prances back to the countryside, swirling through the Rani Padmini Palace and Chittorgh Fort in Rajasthan along the way, Waheeda Rehman’s “Aaj Phir Jeene Ki” (sung by Lata Mangeshkar) is a song of rebirth.

Guide is a landmark for its ceiling-smashing plot and careful, stunning cinematography that keep pace with its stellar soundtrack composed by S. D. Burman. Follow along with the video here to see how director Vijay Anand cuts between high-angle and low-angle shots that brilliantly mirror the unpredictable oscillations of Rosy’s mood.

Aaj Phir Jeene Ki Tamana Lyrics and Translation:

Kaa.Nto.N se khee.Nch ke yeh aa.Nchal
I pulled my saari away from thorns
ToD ke bandhan baandhe paayal
I broke my shackles when I tied these anklets
Koii na roko dil ki udaa.N ko
Let know no one stop the soaring of my heart
Dil woh chalaa aa aa aa aa aa…
There goes my heart…
Aaj phir jeene ki tamannaa hai
Today I have the desire to live again
Aaj phir marne ka iraadaa hai
Today I intend to die again

Apne hii bas mei.N nahii.N mai.N
I have no control over myself
Dil hai kahii.N to huu.N kahii.N mai.N
My heart is somewhere and I am somewhere else
Ho jaane kya paa ke merii zindagii ne ha.Ns kar kahaa
Who knows what my life gained as it said laughing
Ha ha ha ha ha ha ha…

Aaj phir jeene ki tamannaa hai
Today I have the desire to live again
Aaj phir marne ka iraadaa hai
Today I intend to die again

Mai.N huu.N huubaar yaa tuufaa.N huu.N?
Am I intoxicated or a rainstorm?
Koii bataaye mai.N kahaa.n huu.N
Someone tell me where I am
Ho Dar hai safar mei.N kahii.N kho na jaauu.N mai.N rastaa nayaa
I fear that I may get lost somewhere in this journey upon a new path
Aa aa aa aa aa…

Aaj phir jeene ki tamannaa hai
Today I have the desire to live again
Aaj phir marne ka iraadaa hai
Today I intend to die again

Kal ke andhero.N se nikal ke
I emerged from the darkness of yesterday
Dekha hai aankhe.N malte malte
I rub my eyes and finally see
Ho phuul hi phuul zindagii bahaar hai, tay kar liyaa
Flowers are everywhere and life is like Spring, I have decided
Aa aa aa aa…

Aaj phir jeene ki tamannaa hai
Today I have the desire to live again
Aaj phir marne ka iraadaa hai
Today I intend to die again

Glossary

kaa.Ntaa: thorn; khee.Nchnaa: to pull; aa.Nchal: end of a saari; toDnaa: to break; bandhan: shackle; paayal: anklet; koii: someone; roknaa: to stop; dil: heart; udaa.N: soaring, flight; aaj: today; phir: again; jeenaa: to live; tamannaa: desire; marnaa: to die; iraadaa: intention; bas mei.N: self-control; kahii.N: somewhere; jaane kyaa: who knows what, wonder what; paanaa: to gain; zindagii: life; ha.Nsnaa: to laugh; huubaar: intoxicated; tuufaa.N: storm; bataanaa: to tell; Dar: fear; safar: journey: kho jaanaa: to become lost; rastaa: path; nayaa: new; andheraa: darkness; nikalnaa: to emerge; malnaa: to rub; phuul: flower; bahaar: Spring; tay karnaa: to decide

Waheeda Rehman Rani Padmini palace Rajasthan

The depth of field in the shot allows the viewer to appreciate Dev Anand lagging behind in the background of the Rani Padmini palace in Rajasthan, India where “Aaj Phir Jeene Ki” was filmed on location.

This lovely Lata Mangeshkar solo was requested by fan Yahya. Did you know there was an English-language version of Guide that was even more daring and true to the novel, but never made it to large audiences? More on its fascinating back-story and how American Nobel laureate Pearl S. Buck and Dev Anand became unlikely co-producers in a future post!

Waheeda Rehman and Dev Anand reunited five years later for the film Prem Pujari (1970) that also boasted a gorgeous soundtrack, including the hit love duet “Shokhiyon Mein Ghola.” However, the film failed to capture the magic of their earlier hits and flopped at the box office. Dev Anand would go on to say in many interviews that working on Guide remained the highlight of his career.

-Mrs. 55

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Mere Naina Sawan Bhado: Let’s Learn Urdu-Hindi

Rajesh Khanna rainy guitar mere naina sawan bhado

Rajesh Khanna soaks his blue bell bottoms as he croons to Hema Malini in the rain in Mehbooba (1976).

Today we highlight the lyrics and English translation of “Mere Naina Sawan Bhado” from Mehbooba (1976). Starring Hema Malini and Rajesh Khanna, Mehbooba is a dramatic reincarnation (punar-janam) love story that can only exist in Bollywood. When contemporary pop singer (played by Rajesh Khanna) is gifted an antique sitar for his birthday, he begins to unravel the mysteries of his past life and search for the woman whose musical talent once mesmerized him (played by the lovely Hema Malini). Mehbooba journeys from hip city life of 1970s Bombay to a countryside royal court of the 1800s where a court musician and dancer fall in love despite the misgivings of society.

First sung by Hema Malini in their past life when she believes Rajesh Khanna has deceived her, the female version of “Mere Naina Sawan Bhado” is a tragic rendition, bursting with lovely alaaps that befit the classical nature of that period’s music. “Mere Naina Sawan Bhado” is reprised later in the film in the modern day as Rajesh Khanna seeks to remind Hema Malini (now reincarnated as a local village belle) of their former bond. The male version is…well, steamier, in one sense of the word.

One of Mehbooba‘s most iconic scenes occurs when Rajesh Khanna begins to sing “Mere Naina Sawan Bhado” in the middle of a raging stormy night, luring Hema Malini from her sleep to discover the mysterious voice filling the air. Lightening flashes menacingly, everyone’s hair is blowing wildly, and still the guitar plays on (check out more on Bollywood rain songs here!). While the male version sung by Kishore Kumar is arguably more popular (Kumar himself ranked this song in his top ten personal favorites!), the female version sung by Lata Mangeshkar is as hauntingly beautiful and enhances our understanding of the former.

Hema Malini Mere Naina Sawan Bhado Mehbooba

Hema Malini’s memories of a past life are stirred when she hears “Mere Naina Sawan Bhado” from Mehbooba (1976).

Mehbooba was written by Gulshan Nanda who also wrote the screenplay of Neel Kamal (1968)–a film about a woman who visits an old palace where she discovers she was a court dancer in her previous life and that her former lover is still searching for her. Sound kind of familiar? We all see what you did there, Gulshan. Mehbooba will also literally carry a sense of deja-vu for to anyone who has seen Kudrat (1981), conveniently also starring Rajesh Khanna and Hema Malini caught in a punar-janam love tangle. However, Kudrat is a darker film with flashes of expressionist inspiration that elevate the entire genre and likely contributed to its greater commercial success.

With music by R.D. Burman and lyrics by Anand Bakshi, “Mere Naina Sawan Bhado” is a passionate tribute to old memories. We hope you appreciate the lyrics and learn from our English translation of both versions of “Mere Naina Sawan Bhado” below!

Mere Naina Sawan Bhado Lyrics and English Translation:

Male version:

Mere nainaa saawan-bhaado.N
My eyes are like the monsoons
Phir bhii meraa man pyaasaa
Yet still my mind remains thirsty

Aye dil diiwaane, khel yeh kyaa jaane?
Oh crazy heart, what does it know of this game?
Dard bharaa yeh giit kahaa.N se
From where does this pain-filled song
In ho.NTho.N pe aaye? duur kahii.N le jaaye
come to these lips? Take me far away
Bhuul gayaa kyaa? bhuulke bhii hai
What have I forgotten? Even though I forget
Mujhko yaad zaraa saa, phir bhii meraa man pyaasaa
I remember a little, yet still my mind is thirsty

Baat puraanii hai, ek kahaanii hai
This is an old conversation, this is a story
Ab sochuu.N tumhe.N, yaad nahii.N hai
Now I think you do not remember
Ab sochuu.N nahii.N bhuule woh saawan ke jhuule
Now I think you could not forget those swing sets of the rainy season
Rut aaye, rut jaaye deke
I saw the seasons come and go
JhuuThaa ek dilaasaa, phir bhii meraa man pyaasaa
This lie is a consolation, yet still my mind is thirsty

Baraso.N biit gaye, hamko mile bichhaDe
Ages have passed since we met and were separated
Bijurii bankar, gagan pe chhamke
We were like lightening that sparkled in the sky
Biite samay kii rekhaa, mai.N ne tumko dekhaa
But that line of time has passed since I saw you
Man sang aa.Nkh-michaulii khele
Playing hide and seek with my mind
Aashaa aur niraashaa, phir bhii meraa man pyaasaa
(were) hope and despair, yet still my mind is thirsty

Female version:

Mere nainaa saawan-bhaado.N
My eyes are like the monsoons
Phir bhii meraa man pyaasaa
Yet still my mind remains thirsty

Ghungharuu kii chham-chham, ban gayii dil kaa gham
The sound of the dancing bells become the sadness of my heart
Duub gayaa dil, yaado.N mei.N
My heart drowned in memories of you
Ubharii berang lakiire.N, dekho yeh tasviire.N
Only to emerge as colorless sketches, look at these portraits
Suune mahal mei.N naach rahii hai
In a lonely palace, still dancing
Ab tak ek rakkaasaa, phir bhii meraa man pyaasaa
Even now is a performer, yet still my mind is thirsty

Glossary:

nainaa: eyes; saawan-bhaado.N: the 5th and 6th months of the Panjabi (Nanakshahi) calendar that comprise the monsoon season; man: mind; pyaasaa: thirsty; dil: heart; diiwaanaa: crazy; khel: game; dard: pain; bharaa: filled; giit: song; kahaa.N: where; ho.NTh: lips; duur: far; bhuulnaa: to forget; yaad: memory; puraanii: old; kahaanii: story, legend; sochnaa: to think; bhuulnaa: to forget; jhuulaa: swing set; rut: season; jhuuThaa: lie; dilaasaa: consolation; baras: age, years; biitnaa: to pass; milnaa: to meet; bichhaDnaa: to be separated; bijuri: lightening; gagan: sky; chhamaknaa: to sparkle; samay: time; rekhaa: line; aa.nkh-michaulii: hide-and-seek; aashaa: hope; niraashaa: despair; gham: sadness; Duubnaa: to drown; ubharii: raised; berang: without color; lakiraaa: line; tasviir: picture; suunaa: lonely, mahal: palace; naachnaa: to dance; tak: until; rakkaasaa: dancer

Rajesh Khanna Mehbooba guitar mere naina sawan

Smooth-operator Rajesh Khanna executes his devastating wink mid-guitar pluck, completely obliterating anyone’s initial repulsion at his haircut.

Did you know Rajesh Khanna actually sings the first antra of the song in a separate scene that takes place in broad daylight? He opens with his famous wink that still manages to induce swoons despite his distractingly dated ‘do! Think I’m the only one obsessed with the hair and outfits in these films? This week our local independent movie theatre happened to be doing a Bollywood series (obviously, I soaked up every moment), including a special screening of Om Shanti Om (2007). During the song “Main Agar Kahoon,” something felt eerily familiar…check out Shah Rukh Khan’s outfit below to see what I mean! It’s one of the many subtle meta classic film references that make Om Shanti Om such a brilliant work!

Shah Rukh Khan imitates Rajesh Khanna's unforgettable blue ensemble with a rainbow top in Om Shanti Om (2008).

Shah Rukh Khan imitates Rajesh Khanna’s scarring unforgettable blue bell bottom ensemble with a rainbow top in Om Shanti Om (2007).

– Mrs. 55

Madhuban Mein Radhika Nache Lyrics and Translation: Let’s Learn Urdu-Hindi

dilip-kumar-singing-madhuban-mein-kohinoor

Dilip Kumar plays a swashbuckling raja who knows how to carry a tune in Kohinoor (1960).

Today we present the lyrics and English translation to the semi-classical “Madhuban Mein Radhika” from Kohinoor (1960). Dilip Kumar and Meena Kumari star in this masala film set during a romanticized period of Indian history when Hindu royalty were constantly engaged in sword-fights with their rivals, playing the sitar to the acclamation of their courtiers, and saving damsels in distress on horseback. Kohinoor is remembered today for the brilliant soundtrack and delightful script (read: you will not cringe and die during most of the comic scenes) as well a for the breezy performances by its hero and heroine. Meena Kumari giggles more in this film than in any of her other films combined!

Dilip Kumar as the young raja travels to the countryside and happens upon a musical assembly where a talented dancer, played by Kumkum, challenges anyone to perform a song to which she cannot dance. Naturally, our hero is ready with “Madhuban Mein Radhika”  to the delight of the court while Kumkum gracefully dances kathak to his tune. Shakeel Badayuni’s straightforward Radha-Krishna poetry is the basis of a rollicking number that keeps everyone, especially Kumkum, on their toes. “Madhuban Mein Radhika” is a true gem among film songs, drawing heavily upon Hindustani classical traditions that are rare to find executed with such unabashed purism in Bollywood films. It comes as no surprise that the song has maestro Naushad written all over it. To fully appreciate all the ornaments of the piece, I think it’s high time we break for a little vocabulary lesson…

A Brief Hindustani Classical Music Vocabulary Lesson:

Tarana in Hindustani classical music were thought to be invented by the great poet Amir Khusro (1253-1325 CE). Legend has it that a music competition was held by the famous conqueror Alauddin Khilji in which Amir Khusro and Gopal Nayak, court musician to the King of Devagiri were the last men standing. Nayak performed raaga Kadambak in Sanskrit for six evenings straight while Khusro sat enthralled among the courtiers. On the seventh night, Khusro sang the same song, copying each note to perfection, but substituted Persian words and jargon for the lyrics as he did not understand Sanskrit. His amazing performance won him the competition and thus, the tarana was born. Persian couplets and notation for tabla are often intermingled into the tarana, however, the basic phonetics are Farsi-based (eg. yalali, odani, tadeem). The structure consists of a main melody that the performer repeats and elaborates on as well as a second, contrasting melody, that may include higher notes and is introduced once before returning to the main melody. The taranas featured in Lata Mangeshkar’s “Tare Rahiyo” from Pakeezah (1972) and the Pakeezah (1972) Title Music are some of the film’s highlights.

Sargam is the vocalization of the notes that define the raga in which the song is sung. Improvisation ascending and descending the scale allows the audience to understand the raagas range and boundaries, often occurring at the beginning or the end of the piece. The sargam typically incorporates improvisation upon themes to set the tone of the piece. A great example of a beautiful mid-song sargam is in Asha Bhonsle’s “Nigahen Milane Ko” from Dil Hi To Hai (1960).

Alaap is similar to sargam, but does not name the notes, using instead simply the aakaar (“aah” sound) to create music. It frequently opens a piece, but can be interjected in the middle, or at the end for dramatic effect–as well as intermingled among the sargam with artistic license. One of my favorite alaaps from films is Suman Kalyanpur’s heavenly interjection above Hemant Kumar midway through “Na Tum Humen Jano” from Baat Ek Raat Ki (1963). In “Madhuban Mein Radhika,” listen for Mohammed Rafi’s silky alaap to start off the song and entrance his audience.

Taan, is similar to an alaap, but is much more fast-paced and showcases the singer’s vocal abilities. The two taans in this song (picturized on comedic actor Mukri) were sung by Ustad Niyaz Ahmed Khan. Bollywood film songs Kal Nahii.N Paaye Jiya from Chhoti Si Mulaqat (1967)  and Tu Hai Mera Prem Devta from Kalpana (1960) feature multiple beautiful taans punctuating each stanza.

Jugalbandi is a playful competition between two performers in which one mimics the other, and then surpasses. A challenging test of both the ability to perfectly imitate and then improvise, a jugalbandi between two master musicians is absolutely thrilling to witness. This is commonly between two instrumental performers, but as in “Madhuban Mein Radikha,” is briefly showcased as between the singer and the tabla player (note: the lyrics actually reference the Carnatic mridangam, which is a different percussion instrument than the Hindustani tabla, however, a tabla is indeed is picturized in the film). Another fun example of jugalbandi in Bollywood is at the ending of the song Muqabala Humse Na Karo from Prince (1969).

kumkum-dancing-madhuban-mein-kohinoor

Kumkum entrances her audience with a kathak performance based on classic Radha-Krishna imagery in Kohinoor (1960).

Are we all on the same page now? Because I’m fully expecting you to count the taal as you check out the music video here. Follow along with our English translation of the lyrics to “Madhuban Mein Radhika” from Kohinoor (1960) below! How many lovely ornaments of Hindustani classical music can you hear in the song?

Madhuban Mein Radhika Nache Lyrics and Translation:

ALAAP: Aaaah aaaah aaaah

madhuban mei.N radhikaa nache re
In the honey gardens, Radha danced
Girdhar kii muraliiya baje re
As the flute of Krishna played

pag mei.N ghuunghar baandhke
With dancing bells tied to her leg
ghuunghaT mukh par daal ke
With a veil placed upon her face
nainan mei.N kajraa lagaake re
With kajal applied to her eyes
madhuban mei.N radhikaa nache re
In the honey gardens, Radha danced

Dolat chham-chham kaminii
The beautiful lady swayed and sparkled
Chhamakat jaise daamini
Her sparkle was like lightening
Chhanchal, pyarii chhab laage re
Her face appeared mischievous and lovable
madhuban mei.N radhikaa nache re
In the honey gardens, Radha danced

mridang baje…
The drum was played…

Tirikitadhum Tirikitadhum Ta Ta
mridang baje
Tirikitadhum Tirikitadhum

Naachath Chum Chum
ThaThay ThaThay Thatha
Chum Chum ChanaNaNa
Chum Chum ChanaNaNa

Dhan Dhakdan Dhakdan Dha
Dha Dha Dha

madhuban mei.N radhikaa nache re…

TAAN: Aaaaaaaah

madhuban mei.N radhikaa…

TAAN: Aaaaaaaah

madhuban mei.N radhikaa nache re
madhuban mei.N radhikaa…

SARGAM :

Ni Sa Re Sa Ga Re Ma Ga Pa Ma
Dha Pa Ni Dha SA Ni RE SA
RE SA Ni Dha Pa Ma Pa
Dha Ni SA RE SA Ni Dha Pa Ma Pa
Ga Ma Pa Ma Ga Ma Re Sa
madhuban mei.N radhikaa nache re…

SA SA SA Ni Dha Pa
Ma Pa Dha Pa Ga Ma Re Sa Ni Re Sa
Sa Sa Ga Ma Dha Dha Ni Dha SA
madhuban mei.N radhikaa nache re
madhuban mei.N radhikaa…

TARAANAA:

Ode NaDir DiTa NiTa DhaRe Dhim, Dhim Ta Na Na
Nadir DiTa NiTa DhaRe Dhim, Dhim Ta Na Na
Nadir DiTa NiTa DhaRe Dhim, Dhim Ta Na Na

JUGALBANDI:

NaDir DiTa NiTa DhaRe

(tabla response)

ODe Tana Dhir Dhir Tana
Dhir Dhir Dhir Dhir
Thum Dhir Dhir Dhir

(tabla response)

Dha Tirikita Tak , Thum Tirikita Tak
Tirikita Titikita Ta DhaNi

NaDir DiTa NiTa
ODe NaDir DiTa niTa
ODe Nadir Dita NiTa
DhaRe Dhim Dhim Ta Na Na ….

Glossary:

madhuban: sweet garden, honey garden; Radhikaa: Radha, gopi lover of Krishna; nachnaa: to dance; girdhar: Lord Krishna; muralii: flute; baajnaa: to play; pag: leg; ghuungar: dancing bells; baandhnaa: to bind, to tie; ghuungaT: veil; mukh: face: Daalnaa: to place, to put; nainan: eyes; kajraa: eyeliner; Dolat: sway; chham-chham: sparkling; kaamini: beautiful lady; daamini: lightening; chhanchal: mischievous; pyaarii: loveable; chhab: face; mridangam: traditional Carnatic percussion instrument

dilip-kumar-sitar-kohinoor-madhuban-mein

Dilip Kumar jams his sitar with rockstar attitude in Kohinoor (1960).

Dilip Kumar’s performance in Kohinoor (1960) garnered the Filmfare award for Best Actor that year. According to Naushad, Dilip Kumar the perfectionist, supposedly learned how to play the sitar just for this song. While that may seem extreme, anyone who has seen Raj Kapoor fail miserably to pretend play the piano (as much as we love the man) will appreciate how big a difference this makes in any self-respecting musical number.

Wondering what’s up with the snake and the mongoose at the end of the song? Naturally, every self-respecting raja-rani film needs at least one assassination-by-cobra attempt…amiright?

– Mrs. 55

Chal Chal Chal Mere Haathi Lyrics & Translaton: Let’s Learn Urdu-Hindi

Tanuja's car is pushed and pulled by elephants in haathi mere saathi.jpg

Rajesh Khanna gives Tanuja an unusual jumpstart with a herd of elephants in Haathi Mere Saathi (1971).

Today we present the delightful lyrics and English translation of everyone’s childhood favorite song “Chal Chal Chal Mere Haathi” from Haathi Mere Saathi (1971). Rajesh Khanna star as orphaned Raju who makes fast friends with a herd of elephants that protect him and become like family. Among them, Ramu, is the star elephant who helps Raju build a fortune as a street performer, eventually allowing Raju to build a zoo where the community can share in his love of animals. The song “Chal Chal Chal Mere Haathi” during which Rajesh Khanna and Tanuja fall in love is a quintessential “only-in-Bollywood” moment. Where on earth (besides your wildest fantasies) will you ever see a convertible pushed by a group of elephants as a mechanism of securing the romance?

Tanuja plays the cleverly named Tanu whose gorgeous red Chevrolet Impala convertible breaks down in the middle of the road. Raju happens to arrive at the critical moment to help this damsel in distress! Fortunately, the elephant crew knows how to drive that puppy straight to the heart.

Rajesh Khanna elephant haathi mere saathi.jpg

Rajesh Khanna rubs noses with his favorite elephant and they both look happy AF.

Kishore Kumar lends his rich voice to Laxmikant-Pyarelal’s playful composition. Anand Bakshi’s lyrics burst with flirtatious overtures as well as underhanded zingers while the singer teasingly appears to solely address the elephants the entire time. A hearty trumpet is gloriously sprinkled throughout the song’s score as a substitute for the elephants roaring their approval. Be sure to watch extra carefully during the swift stunt in which Rajesh Khanna appears to float to the top of the elephant. Anyone who has taken a good old-fashioned haathi ride during a trip to the motherland knows ascending the elephant is NEVER this graceful. Thank you, awkwardly crouched production assistants who gave our hero the leg-up!

Rajesh Khanna whistles in Tanuja's ear in haathi mere saathi.jpg

Tanuja pretends to drive as Rajesh Khanna whistles flirtatiously in her ear in Haathi Mere Saathi (1971). I mean it, take off those driving gloves, we all know steering is futile.

So pull up a high-chair and reel your kids in for this one. They’re going to love our English translation of the lyrics of “Chal Chal Chal Mere Haathi” and you’ll be glad a world still exists this innocent and colorful, even if only for a few minutes on-screen. Follow along with the video here and enjoy our translation below!

Chal Chal Chal Mere Haathi Lyrics and English Translation:

Chal chal chal mere saathii, O mere haathii
Let’s go, my companion, O my elephant
Chal le chal kaTaaraa khii.Nch ke
Come pull this piece of junk
Chal yaar, dhakka maar
Go on, friend, push!
Band hai moTar kaar
The motor car is broken down
Chal yaar dhakka maar
Go on, friend, push!
Chal chal chal mere saathii…

Phuulo.N se naazuk hai woh, moTar mei.N baiThii hai jo
She who sits in the car is more delicate than a flower
Aahistaa aahistaa chal, usko na taqliif ho
Go carefully, let her not experience any trouble
Haaye, haaye, kha na jaaye
Haaye, haaye, let it not consume me
Uskii naazuk kamariiyaa bal, chal!
The swaying of her delicate hips, let’s go!
Chal chal chal mere saathii…

Khidmat terii kaam de, shaayad woh inaam de
If your service is successful, perhaps she will reward you
Kar us hasii.N ko salaam, aa.Nkhon se paighaam de
If you salute the beautiful lady, she may send you a message through her eyes
Paas aaja, O sun raajaa
Come close, listen O King
Aisa mauqaa na jaaye nikal, chal!
Let this chance not escape, let’s go!
Chal chal chal mere saathii…

Tuu yaaro.N ka yaar hai, kitnaa vafaadaar hai!
You are a friend of friends, how faithful you are!
JhuuTha hai saaDaa jahaa.N, sachcha teraa pyaar hai
The rest of the world may be a lie, but your love is honest
Tuu paglaa, na badalaa!
You crazy creature, do not change!
SaDii duniyaa gayii hai badal, chal!
Even if the whole world has changed, let’s go!
Chal chal chal mere saathii…

Glossary:

saathi: companion; haathi: elephant; kaTaaraa: junk, jalopy; khee.Nchnaa: to pull; dhakka maarna: to push; band hona: to be broken, to be closed; yaar: friend; phuul: flower; naazuk: delicate; baiThnaa: to sit; aahistaa: carefully; taqliif: trouble, problem; khaanaa: to eat, to consume; kamariiyaa: small waist; bal: sway; khidmat: service; kaam dena: to be successful; shaayad: perhaps; inaam: reward; hasii.N: beautiful lady; aa.Nkh: eye, paighaam: message; paas: near, close; aa jaanaa: to come here; sunnaa: to listen; raajaa: king; mauqaa: chance, opportunity; nikalnaa: to escape, to go out; vafaadaar: faithful; jhuuTaa: lie; sachchaa: truth; pyaar: love; paglaa: crazy person; badalnaa: to change; duniyaa: world

elephants in Namibia

Shots of a herd of African elephants I encountered while on a safari in Namibia with my husband recently. Can you guess which song was stuck in my head the whole time?

Ramu and Raju’s friendship are everyone’s bestie goals. They have each other’s backs like nobody’s business. Haathi Mere Saathi (1971) is truly the Bambi (1942) of Bollywood–and every child will remember exactly how they felt the first time they experienced the trauma of the film’s ending. Wow, there is just so much dust flying around my house lately, my eyes really need to stop watering. Stop, get a grip on yourself, Mrs. 55. SERIOUSLY, TOO MUCH DUST, WHY ARE MY EYES SO SENSITIVE.

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Even though your outfit is the color of pepto bismol, you da man, Rajesh Khanna.

This one-of-a-kind song was requested by fan Janaki. Awesome choice! We know we’ve been slower to post lately with the busy year, but requests like these are always inspiring. We love hearing from fans!

-Mrs. 55

A Definitive Ranking of Men’s Facial Hair in Classic Bollywood Films

Raj Kapoor in a promotional photograph for Dil Hi To Hai sporting an 'm' mustache.

Raj Kapoor in a promotional photograph for Dil Hi To Hai (1963) sporting a suave ‘m’ mustache.

Happy Movember! This lovely time of year is a month when men around the world grow out their mustaches to change the face of men’s healthcare–such as through raising awareness for prostate and testicular cancer. Read more about the Movember Foundation here!

Inspired by this movement, today we present a definitive ranking of men’s facial hair in classic Bollywood films, a photographic indulgence of every important mustache and beard that hit the silver screens of Bombay and then bounced straight into our souls. And God knows we needed something this in our lives after that f*$&ing insane apocalypse difficult election week. But be forewarned, some of these manes can bite–and others might make you suddenly feel itchy. Most of all, that fluttering sensation in your chest like a fluffy mustache tickling your heart–that’s called love.

A Definitive Ranking of Men’s Facial Hair in Classic Bollywood Films

15. Kishore Kumar’s waxed perfection in Padosan (1968)

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His mustache is basically a pair of angel wings.

14. Shashi Kapoor’s deadly combo in Chor Sipahee (1979)

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Shashi shines in a shaggy beard and a full-bodied mustache with just a hint of delicate curl. Looking bad never looked so good.

13. Amitabh Bachhan’s full coverage in Do Anjaane (1976)

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Amitabh goes incognito behind a blanket of his generous wool.

12. Pradeep Kumar’s Mughal-style beard in Taj Mahal (1963)

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The Mughals were champions of many things including the artistry of a man’s face. Note the paintbrush side-burns that complete this regal look.

11. Rishi Kapoor’s bad boy scruff in Laila Manju (1979)

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Rishi may be dying of thirst, but his scruff is on fleek right now.

10. Pran’s proud Pathan mane in Zanjeer (1973)

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Pran is a class act as a Pathan sporting a well-tamed auburn fur coating.

9. Vinod Khanna’s caterpillar mustache in Amar, Akbar, Anthony (1977)

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Something alive might actually be crawling on his face. Something beautiful and shimmering.

8. Shammi Kapoor’s fluffy goatee in Professor (1962)

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While this look should never be tried at home, Shammi’s iconic goatee made men of boys.

7. Jeetendra’s provocative chevron mustache in Parichay (1972)

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The only thing fuzzier than the tuft of fur nestled in the dimple of Jeetendra’s upper lip is his vision through those thick hipster lenses.

6. Dev Anand’s curly mustache in Hum Dono (1961)

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Thoughtful, courteous, and deadly–the curly mustache of Dev Anand is nothing short of a war hero.

5. Manoj Kumar’s patriotic handlebar in Shaheed (1965)

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Because nothing quite says “Inquilab Zindabad” like a well-trimmed mustache.

4. Raj Kapoor’s pyramidal mustache in Awaara (1951)

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Once a classic, always a classic. The Egyptians building Giza had no idea what they were inspiring.

3. Rajesh Khanna’s hipster beard in Do Raaste (1969)

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Be still my beating heart. I bet there’s a dozen plaid shirts in his closet, and that he listens to actual CDs on his walkman because he just wants to be authentic.

2. Guru Dutt’s emotional mustache in Pyaasa (1957)

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The only thing quivering more than Guru Dutt’s voice is the 4 mm diameter patch of heaven resting on his upper lip

1. WINNER: Rajkumar’s devastating pencil mustache in Pakeezah (1972)

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I DIE THE SWEET DEATH BY LOVE OF A MUSTACHE. There are few things in life greater than this show-stealing masterpiece of men’s grooming.

Men, time to take a hard look in the mirror and evaluate if you’re really bringing your full potential to the world. And remember, just because we all love to see a little facial hair in November, it is NEVER OK to flash your chest hair in public in broad daylight à la Amitabh Bachhan, even if it’s just an unsightly tuft from your too-many-buttons-unbuttoned polo shirt. The 70s are over. These things are not equivocal. I just felt like that had to be said.

You’re welcome.

– Mrs. 55

Khiza Ke Phool Pe Lyrics and Translation: Let’s Learn Urdu-Hindi

khiza-ke-phool-rajesh-khanna-do-raaste

Rajesh Khanna plays a hard-working college student from a poor family in Do Raaste (1969).

Today we highlight the poignant lyrics and our English translation of “Khiza Ke Phool Pe” from Do Raaste (1969). Do Raaste is a classic family drama that hits hard on the tension between Eastern and Western values through an exploration of the dissolution of a joint family household. When one of the sons marries a rich “modernized” Indian girl who refuses to allow him to help pay off his family debt, the remaining relatives fall into poverty. The youngest son, played to perfection by Rajesh Khanna, must compromise his education by dropping out of college in order to support the family. He arrives at the birthday party of his wealthy girlfriend, played by Mumtaz (whose cutesy performance will at times make you want to hang yourself on the chandelier), and realizes that he no longer belongs in her world. The ensuing flood of feelings results in the beautiful ballad “Khiza Ke Phool Pe” written by Anand Bakshki with music by Laxmikant-Pyarelaal. Kishore Kumar’s voice takes on an initially softer, velvety shade that transitions fluidly to a powerful angst at the end of each antra. I dare you not to sigh when he croons, “mai.N roz lab pe naii ek aah taktaa huu.N.”

Though she says nothing that would disrupt the song, Mumtaz appears quite understandably mortified at his public display and rejection. For more uncomfortable dinner parties in Bollywood films, refer to our how-to guide on how to play the awkward miffed lover.

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Mumtaz is heartbroken as Rajesh Khanna announces at her birthday party that they cannot be married in Do Raaste (1969).

Reminiscent of the hallowed “Waqt Ne Kiya” cinematography, in “Khiza Ke Phool Pe,” the camera simply soars with the gloriously endless dolly-ins and dolly-outs to accentuate each poetic moment, as if everyone weren’t already emotionally fragile after seeing Rajesh Khanna fight back tears. I applaud the film director Raj Khosla, despite the kitsch film set. The decor screams of the 1970s–emphasizing all those quasi-luxurious domestic ornaments that would in no way possibly make your life any better. The tinted glass cutout room divider is a textbook case in point. Still, the film crew made lemonade out of life’s interior design lemons.

chintzy-60s-decor-colored-glass-rajesh-khanna-mumtaz

Rajesh Khanna and Mumtaz are separated by a bizarre art deco glass structure in her living room in the shot-reverse-shot sequence above. Note how in order to achieve this sequence with the actors seemingly continuing to face each other, Rajesh Khanna must move from the yellow panel to the blue panel on Mumtaz’s right for the reverse shot (below), breaking true visual continuity.

Check out the music video here and keep a box of tissues handy. We invite you join us below in our English translation and lyrics of “Khiza Ke Phool Pe” below:

Khiza Ke Phool Pe Lyrics and Translation:

Khizaa ke phuul pe aati kabhii bahaar nahii.N
The flower of Autumn never sees the Spring
Mere naseeb mei.N, aye dost, teraa pyaar nahii.N
Your love is not in my destiny, oh friend

Na jaane pyaar mei.N kab mai.N zubaa.N se phir jaauu.N
I do not know when in love I may go back on my words
Mai.N ban ke aa.Nsuu khud apnii nazar se gir jaauu.N
By becoming tears, I may fall in my own eyes
Terii qasam hai meraa koii aitbaar nahii.N
I swear by you, I have no confidence
Mere naseeb mei.N, aye dost, teraa pyaar nahii.N
Your love is not in my destiny, oh friend

Main roz lab pe nayii ek aah taktaa huu.N
Every day, a new sigh reaches my lips
Main roz ek naye gham kii raah taktaa huu.N
Every day, I await the arrival of a new sorrow
Kisii khushii kaa mere dil ko intezaar nahii.N
My heart is not waiting for any joy
Mere naseeb mei.N, aye dost, teraa pyaar nahii.N
Your love is not in my destiny, oh friend

Ghariib kaise mohabbat kare amiiro.N se?
How can someone poor love someone rich?
BichhaD gaye hai.N kaii Raanjhe apnii Heero.N se
Many legendary heroes have been separated from their heroines
Kisi ko apne muqaddar pe ikhtiyaar nahii.N
No one has a choice over their fate
Mere naseeb mei.N, aye dost, teraa pyaar nahii.N
Your love is not in my destiny, oh friend

Khizaa ke phuul pe aati kabhi bahaar nahii.N
The flower of Autumn never sees the Spring
Mere naseeb mei.N, aye dost, teraa pyaar nahii.N
Your love is not in my destiny, oh friend

Glossary:

khizaa: Autumn; phuul: flower; bahaar: Spring; kabhii nahii.N: never; naseeb: destiny, fortune; dost: friend; pyaar: love; na jaane: [I] do not know, [who] knows; kab: when; zubaan.N: word, language; phir jaanaa: go back; aa.Nsuu: tears; khud: self; nazar: eyes, gaze; girnaa: to fall; qasam: swear; aitbaar: confidence, trust; roz: every day; lab: lip; nayii: new; aah: sigh; gham: sorrow; raah taknaa: to await; khushii: happiness; [kisi ka] intezaar hona: to wait [for something]; ghariib: poor; mohabbat: love; amiir: rich; bichhaD jaanaa: to become separated; Raanjhaa: hero of a classic Hindustani tale of star-crossed lovers (Heer-Ranjha); Heer: heroine of a classic Hindustani tale of star-crossed lovers (Heer Ranjha); muqaddar: fate; ikhtiyaar: choice

Now go cheer yourself up with a pumpkin spice latte and wipe those tears off your face by indulging in a symphony of Rajesh Khanna winks.

– Mrs. 55

 

Ek Ladki Bheegi Bhaagi Si Lyrics and Translation: Let’s Learn Urdu-Hindi

Madhubala car window Ek ladki bheegi bhagi si

Madhubala peers at Kishore Kumar through a car window in “Ek Ladki Bheegi Bhagi Si” from Chalti Ka Naam Gaadi (1958).

Today we bring you the lyrics and English translation of the delightful “Ek Ladki Bheegi Bhaagi Si” from Chalti Ka Naam Gaadi (1958). A meandering slapstick comedy, Chalti Ka Naam Gaadi stars the three fun-loving Kumar brothers: Ashok Kumar, Kishore Kumar, and Anoop Kumar. While Ashok often played more serious roles on the silver-screen (think serious man of affairs), this film was a chance for him to showcase another side of his personality brought out by the most eccentric of the siblings, Kishore.

In Chalti Ka Naam Gaadi, Kishore Kumar plays a hapless car mechanic who fixes the broken vehicle of a young lady, Madhubala, who both mesmerizes him and vexes him by not paying for the repairs. “Ek Ladki Bheegi Bhaagi Si” is arguably the most iconic song from the film and bears a Guru Dutt-esque quality of flowing seamlessly from the dialogue to the opening bars. Composed by S.D. Burman and written by Majrooh Sultanpuri, the song exudes the charm of a Broadway showtune that transforms every twist of a wrench and glance through an open car window into a romantic overture, easily one of the most inspiring songs of the monsoon season.

Kishore Kumar Ek Ladki Bheegi Bhaagi Si

Kishore Kumar plays an entertaining car mechanic desperately in love with Madhubala in the hit comedy “Chalti Ka Naam Gaadi” (1958).

Kishore Kumar proves downright hilarious, even now almost 60 years later. One of my favorite moments is when Kishore Kumar ascends the stairs after the second antra. You know that noise that comes out of your mouth that sounds sort of like a dying cat when you’re jamming out to your favorite song alone in the safety of your own home and you don’t really know the words? That’s precisely what Kishore Kumar does too. Except in his case, he jams out as if extemporaneously to his own song smack dab in the middle of the opening performance. You gotta love a guy who enjoys his own tunes this much. Throughout the song, he engages the audience by appearing to break the fourth wall, inviting us to share in his intrigue about the mysterious woman who has entered his shop.

The adorable chemistry between Kishore Kumar and Madhubala is palpable. You can see what each loved about each other that was shared in their real-life romance. Sadly, Madhubala died prematurely at the age of 38, leaving him heartbroken only 3 years after their marriage. Join us below as we navigate the lyrics and English translation of “Ek Ladki Bheegi Bhaagi Si.” Follow along with the video here, and I dare you to try to get through the whole song without smiling!

Ek Ladki Bheegi Bhaagi Si Lyrics and Translation:

Ek laDki bhiigi bhaagi sii
A girl who appears rather wet
Sotii raaton mei.N jaagi sii
And seems awake in a sleepy night
Milii ek ajnabii se
She met a stranger
Koii aage na piichhe
No one preceded or followed her
Tum hii kaho yeh koii baat hai!

You tell me if this is appropriate!

Hmm…

Dil hii dil mei.N jalii jaatii hai.N
In her heart of hearts, she is burning
BigaDii bigaDii chalii aatii hai.N…
In a bad mood, she approaches
Jhunjhalaatii hui, balkhaatii huii
Sulking, swaying
Saawan ki sunii raat mei.N
In this quiet monsoon night

Milii ek ajnabii se
She met a stranger
Koii aage na piichhe
No one preceded or followed her
Tum hii kaho yeh koii baat hai!

You tell me if this is appropriate!

Dagmag Dagmag, lehakii lehakii
Wobbling, wavering
Bhuulii bhaT kii behakii behakii
With lost steps, she wanders
Machalii machalii, ghar se nikalii
Restless, she left her home
Paglii sii kalii raat mei.N
Acting a bit crazy in this black night

Tan bhiigaa hai, sar giilaa hai
Her body is drenched, her head is wet
Uskaa koii pech bhii Dhiila hai!
One of her screws must also be loose!
Tanatii, jhuktii, chaltii, rukhtii
Strutting, cowering, moving, then pausing
Nikalii andherii raat mei.N
She emerged into this dark night

Milii ek ajnabii se
She met a stranger
Koii aage na piichhe
No one preceded or followed her
Tum hii kaho yeh koii baat hai!

You tell me if this is appropriate!

Hmm…

Glossary:

ladkii: girl; bheegii-bhaagii: wet, drenched; sonaa: to sleep; raat: night; jaagii: awake; milnaa: to meet; ajnabii: stranger; koi: someone; aage: ahead; peechhe: behind; baat: issue, matter; dil: heart; jalnaa: to burn; bigaDnaa: to deteriorate, to become in a bad mood; jhunjhalaanaa: to scoff, to sulk; balkaanaa: to sway, to move in a circle; sawaan: the rainy season; sunii: lonely, quiet; Dagmag: wobbly; lehakii: wavering; bhuulii: lost, forgotten; bhaT: steps; behakii: wandering; machalnaa: to become restless; ghar: home; nikalnaa: to emerge, to come out; tan: body; sar: head; giilaa: wet; pech Dheela: loose screw; tanatnaa: to strut; to appear confident; jhuknaa: to bow; chalnaa: to go; rukhnaa: to stop; andheraa: dark

Kishore Kumar bashful ek ladki bheegi bhagi si

Kishore Kumar’s genius comedic timing remains timeless in “Ek Ladki Bheegi Bhaagi Si” from Chalti Ka Naam Gaadi (1958).

A quick note about the term “baat” of “koi baat hai/kya baat hai” fame. I translated the phrase above roughly as “something appropriate” but the meaning of the word is far more nuanced. “baat” alone can mean words or conversation, as in the verb “baat karnaa,” meaning “to speak.” You can say “kya baat hai?” to ask “what is the matter?” or you can exclaim “kya baat hai!” as a way of demonstrating awe. A translation that gets more to the heart of how the phrase “tum hii kaho yeh koii baat hai” is being used here is perhaps “you tell me if this is something worth talking about,” but to me that felt too cumbersome to write poetically above.

And while I have a captive audience, let’s also examine the grammar of “bheegii/bhaagii sii.” Tacking on the “sii” (feminine) or “saa” (masculine) to any adjective in Hindi softens the descriptor (somewhat like the way in English we sometimes add “ish” to the end of adjectives) or indicates “a little”–as in, she is “a little” wet. A common example you’ll hear is “chhoTaa saa/chhoTii sii” as in the classic Bollywood heroine’s wish to have nothing more than “ek chhoTaa sa ghar” with her faithful husband. But we digress.

– Mrs. 55