Karvaten Badalte Rahe Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on January 13, 2013 by mrandmrs55

Rajesh Khanna and Mumtaz frolic in pre-marital bliss in the title track from Aap Ki Qasam (1974)

Today, we present the lyrics and English translation to the title track from Aap Ki Qasam (1974): karvate.n badalte rahe.n. Directed by J. Om Prakash, this film stars Rajesh Khanna, Mumtaz, and Sanjeev Kumar in a story that illustrates how suspicion can be the ultimate enemy to marital bliss.

As Mumtaz’s jealous husband, Rajesh Khanna begins to doubt his wife’s fidelity when his best friend Sanjeev Kumar comes into the picture. Although Mumtaz and Sanjeev Kumar share a platonic brother-sister friendship, Rajesh Khanna’s suspicion blinds him from reality until he destroys his own marriage. Refusing to dignify the false accusations of infidelity placed on her with a response, Mumtaz leaves him and returns to her father’s home. When she realizes that she is pregnant with Rajesh Khanna’s daughter, she enters a second marriage (with her father’s blessings!) so that her child can be raised in a loving home. In the mean time, Rajesh Khanna comes to his senses and realizes that his suspicion towards his wife was misguided. Unable to apologize properly to Mumtaz for his unacceptable behavior, guilt drives Rajesh Khanna to become a homeless wanderer. Several years later, Mumtaz invites him to his daughter’s wedding where all parties receive closure of sorts. However, a tragedy strikes to create an ending that seeps with melodrama in true Bollywood fashion.

Aap Ki Qasam is remarkable in its portrayal of marital suspicion for avoiding the chauvinistic bias present in similar films of this era. Typically, female characters accused of infidelity were vilified and forced to appease their husbands regardless of whether the accusations placed upon them were were valid or not. This film breaks the patii-parameshvar (husband is God) mold by supporting a woman’s right to leave an unhappy marriage in which she is treated disrespectfully by her husband. In particular, the support that Mumtaz receives from her father (played by Rehman) in divorcing her husband and entering a second marriage is unusually refreshing for this period of cinematic history. Although it can be argued that Mumtaz’s father makes much of the decisions for her, the fact that she is not compelled to beg for forgiveness at her husband’s feet is sufficiently progressive to merit attention. Indeed, valuing a woman’s dignity and self-worth over her duty to preserve a dysfunctional marriage is the ground-breaking message that makes Aap Ki Qasam stand out among other movies from this time.

In addition to being a cherished Rajesh Khanna-Mumtaz hit, this film is remembered today for its fantastic soundtrack composed by R.D. Burman. Aside from the Pahadi-based duet sung by Lata Mangeshkar and Kishore Kumar presented here, this album contains the popular duets “suno, haa.n kaho,” “jai jai shiv sha.nkar,” “paas nahii.n aanaa,” the beautiful Lata solo “chorii chorii chup ke chup ke,” and the philosophical Kishore solo “zindagii ke safar me.n.” Anand Bakshi’s lyrics in “karvate.n badalte rahe.n” are marked by simplicity in their expression of the romance and trust shared between two lovers as they yearn in separation. Moreover, the beautiful snow-filled Himalayan landscape and the on-screen chemistry exhibited by Rajesh Khanna and Mumtaz add to the appeal of this duet.

Finally, as an aside, the 1973 BBC documentary Bombay Superstar profiling Rajesh Khanna and his influence on Hindi cinema actually features a behind-the-scenes look at the making of Aap Ki Qasam through interviews with the superstar himself, director J. Om Prakash, and co-star Mumtaz. My favorite part of this documentary is the scene that depicts the amount of work that went into picturizing a playback song for a Bollywood film (the filming of “suno, haa.n kaho” is shown in the documentary). Check out the full documentary here on YouTube if you haven’t seen it yet! Until next time…

-Mr. 55

The on-screen chemistry between Rajesh Khanna and Mumtaz allowed this pair to dominate the box office during the early 1970s.

Karvaten Badalte Rahe: Lyrics and Translation

karvate.n badalte rahe.n saarii raat ham
Tossing and turning in bed, I have been restless the entire night.
aap kii qasam, aap kii qasam
I swear by you.
gham na karo, din judaayii ke bahut hai.n kam
Do not be sad; the days of our separation are very limited.
aap kii qasam, aap kii qasam
I swear by you.

yaad tum aate rahe ek huuk sii uThtii rahii
As I remembered you, a sharp pain kept arising in my heart.
nii.nd mujhse, nii.nd se mai.n, bhaagtii chhuptii rahii
Sleep and I kept fleeing and hiding from each other.
raat bhar bairan nigoDii chaa.ndnii chubhtii rahii
The hostile, wretched moonlight continued to pierce through the entire night.
aag sii jaltii rahii, girtii rahii shabnam
A fire kept burning, as the dew continued to fall.
aap kii qasam, aap kii qasam
I swear by you.

jhiil sii aa.nkho.n me.n aashiq Duub ke kho jaayegaa
Your beloved will get lost by drowning in the loch of your eyes.
zulf ke saaye me.n dil armaan bharaa so jayegaa
Under the shadows of your tresses, his hope-filled heart will fall into slumber.
tum chale jaao, nahii.n to kuchh na kuchh ho jaayegaa
Please go away, or else something will happen between us.
Dagmagaa jaaye.nge aise haal me.n qadam
Our steps will falter out of control under these circumstances.
aap kii qasam, aap kii qasam
I swear by you.

ruuTh jaaye.n ham to tum ham ko manaa lenaa sanam
Should I sulk, please console me, oh beloved.
duur ho.n to paas ham ko tum bulaa lenaa sanam
Should you be far away, please call me to your side, oh beloved.
kuchh gilaa ho to gale ham ko lagaa lenaa sanam
Should I make a mistake, please embrace me in forgiveness, oh beloved.
TuuT na jaaye kabhii yah pyaar kii qasam
May this vow of love never be broken by us.
aap kii qasam, aap kii qasam
I swear by you.

Female lines in red are sung by Lata Mangeshkar. Male lines in green are sung by Kishore Kumar. Lines in black are sung together by Lata Mangeshkar and Kishore Kumar.

Glossary

karvate.n badalnaa: to toss and turn in bed (i.e. to be restless at night); qasam: a sworn oath or vow; gham karnaa: to be sad; judaayii: separation; huuk: a sharp pain; nii.nd: sleep; bhaagna: to flee; chhupnaa: to hide; bairan: hositle, cruel; nigoDii: wretched; chubhnaa: to pierce; aag: fire; shabnam: dew; jhiil: loch, lake; aashiq: beloved; zulf: tresses; saaye: shadows; armaan: hope; Dagmagaaanaa: to falter, stagger; haal: circumstances, state; qadam: steps, feet; ruuTh jaanaa: to sulk; manaa lenaa: to console; sanam: beloved; paas bulaa lenaa: to call to one’s side; gilaa: mistake; gale lagaa lenaa: to embrace; TuuT jaanaa: to be broken.

The snowy Himalayan foothills provide the ideal backdrop for this romantic duet from Aap Ki Qasam (1974).

Teri Bindiya Re Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on January 5, 2013 by mrandmrs55

Amitabh Bacchan marries a village girl with a golden voice in Abhimaan (1973)

Today, we present the lyrics and English translation of an evergreen duet from Hrishikesh Mukherjee’s Abhimaan (1975): terii bi.ndiyaa re . Starring Amitabh Bacchan and Jaya Bhaduri, Abhimaan narrates the story of an ill-fated love between two singers that eventually approaches it breaking point when a husband’s masculine ego suffers a wound from his wife’s overwhelming professional success.

Given that this film revolves around a playback singing couple, the composition of its soundtrack naturally demanded a music director par excellence. In this case, director Hrishikesh Mukherjee chose veteran composer S.D. Burman to do the job–and what a job he did! Aside from the duet presented here, the Lata solos “nadiyaa kinaare,” “ab to hai tum se,” and “piyaa binaa,” the Kishore solo “miit na milaa re man kaa,” and the Lata-Kishore duet “tere mere milan kii yah rainaa” are still cherished by fans today. S.D. Burman’s compositions in this film won him his last Filmfare Award for Best Music Director before his death in 1975.

The duet terii bindiyaa re is sung by Lata Mangeshkar and Mohammed Rafi at a point in the film where Amitabh Bacchan introduces his newly wedded wife Jaya Bhaduri at their wedding reception. In response to a request, they sing this duet for the guests at their party. Here, Majrooh Sultanpuri’s lyrics describe the allure of a woman’s ornaments, specifically her bi.ndiyaa (beauty spot), jhumkaa (earring), and ka.nganaa (bangle). Voiced by Lata Mangeshkar on playback, Jaya Bhaduri offers an on-screen performance that illustrates a wife’s admiration and respect for her husband. Since this song takes place before Amitabh Bacchan’s tragic descent into insecurity, he is able to reciprocate with affection and warmth. However, after this performance, a classical musician (played by David) in the audience recognizes that Jaya is the technically superior singer and expresses concern about the couple’s future…watch the film to see how the drama unfolds!

Those of you who are more musically inclined may have noticed that this song is based in rupak taal, a 7-beat rhythmic cycle that was used far less frequently by Bollywood composers than kaharva taal (8 beats) or dadra taal (6 beats). Interestingly, S.D. Burman has also used this unconventional rhythmic pattern skillfully in the film’s other popular duet tere mere milan kii yah rainaa.

What are some of your other favorite Hindi songs that describe female ornaments? Feel free to share with us in the comments! Until next time…

– Mr. 55

Jaya Bacchan gives a Filmfare Award-winning performance as a humble and talented singer whose success in the music industry ultimately hurts her husband’s ego.

Teri Bindiya Re: Lyrics and Translation

terii bi.ndiyaa re, re aay haay!
Your beauty spot, oh!
sajan, bi.ndiyaa le legii terii ni.ndiyaa
Oh beloved, my beauty spot will steal away your sleep.
re aay haay! terii bindiyaa re
Oh, your beauty spot!

tere maathe lage hai.n yuu.n jaise chandaa taaraa
It clings to your forehead like a star to the moon.
jiyaa me.n chamke kabhii kabhii to, jaise koii a.ngaaraa
It shines in my heart from time to time, as if it were a glowing ember.
tere maathe lage hai.n yuu.n
It clings to your forehead.
sajan, nindiyaa le legii, le legii, le legii merii bi.ndiyaa
Beloved, my beauty spot will steal away your sleep.
re aay haay! teraa jhumkaa re
Oh, your earring!
chain lene na degaa sajan tum kaa
It will not let you be at peace, beloved.
re aay haay! meraa jhumkaa re
Oh, my earring!

meraa gahnaa balam tuu, tose saj ke Doluu.n
You are my jewelry, beloved. Adorning myself with you, I will dance.
bhaTakte hai.n tere hii nainaa, mai.n to kuchh na boluu.n
Your eyes wander, yet I say nothing at all.
meraa gahnaa balam tuu
You are my jewelry, beloved.
to phir yah kyaa bole hai, bole hai, bole hai teraa ka.nganaa?
Then, what is it that your bangle says?
re aay haay! meraa kanganaa re
Oh, my bangle!
bole re ab to chhuuTe na teraa a.nganaa
It says that it will not leave your courtyard.
re aay haay! teraa ka.nganaa re
Oh, your bangle!

tuu aayii hai sajaniyaa, jab se merii ban ke
Beloved, since you came to me and became mine,
Thuumak-Thuumak chale hai tu, merii nas-nas khanke
your strutting has made me feel a jitter in my veins.
tuu aayii hai sajaniyaa
Beloved, since you came to me.
sajan, ab to chhuuTe na, chhuuTe na, chhuuTe na, teraa anganaa
Beloved, it will not leave your courtyard.
re aay haay! teraa ka.nganaa re
Oh, your bangle!
sajan, ab to chuuTe na teraa a.nganaa
Beloved, it will not leave your courtyard.
re aay haay! teraa a.nganaa re
Oh, your courtyard!

*Female lines in red are sung by Lata Mangeshkar. Male lines in green are sung by Mohammed Rafi.

Glossary

bindiyaa: beauty spot; nindiyaa: sleep; jiyaa: heart; chamkaanaa: to shine, glow; angaaraa: ember; jhumkaa: earring; sajan: beloved; gahnaa: jewelry; balam: beloved; tose: from you, an archaic form of ‘tujhse‘; sajnaa: to adorn; Dolnaa: to swing, dance; bhaTaknaa: to wander; nainaa: eye; kanganaa: bangle; chhuTnaa: to leave, forsake; a.nganaa: courtyard; sajaniyaa: beloved; Thumak-Thumak chalnaa: to strutter; nas-nas: veins; khanaknaa: to jitter.

In her first major non-vamp role, Bindu plays the ‘other woman’ as a rich socialite who fawns over Amitabh Bacchan in Abhimaan (1973).

Allah Tero Naam Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on December 31, 2012 by mrandmrs55

Nanda prays for her husband in the army in Hum Dono (1961).

Happy New Year’s to all our readers! What an incredible year it’s been for us to write this blog and to have enjoyed discovering so many fellow fans of classic Bollywood cinema! I grew up in a Hindu Punjabi family, and in my house, we always celebrate the New Year’s with a havan the morning of January 1st with friends in the community. There’s something calming and cozy about these annual gatherings–we keep it casual where I’m from while taking a break to reflect on the year behind on us and what lies ahead. In the spirit of auspicious beginnings, we shall present the lyrics and full English translation to one of Bollywood’s greatest bhajans “Allah Tero Naam” from Hum Dono (1961). Rendered impeccably by Lata Mangeshkar, “Allah Tero Naam” soars with bi-partisan Hindu-Muslim appeal in a humble call to God for wisdom and strength. The iconic number is one of Lata’s personal favorite Jaidev compositions!

Nanda sings the gentle bhajan “Allah Tero Naam” in Hum Dono (1961) as a special expression of bipartisan devotion in Hindi films.

For me, Hum Dono (1961) is one of the finest films of Dev Anand’s illustrious career: it glows with a constantly-twisting plot and a golden soundtrack that places the film among the legends of cinematic history. Dev Anand was well-known for pushing the envelope of societal norms as a director, and the troubling predicaments his characters find themselves in always astound–whether falling in love with a woman who thinks he’s her brother (Bombay Ka Babu), conducting whirlwind affairs with three women at once (Teen Devian) or romancing another man’s wife who believes he’s her real husband (Hum Dono). The plots are scintillating and the acting invariably superb. Furthermore, did I mention Hum Dono a quasi-twin movie too? Couple that with a war-time theme and you can readily imagine the opportunities for confusion of epic Bollywood proportions. See our earlier translation of “Main Zindagi Ka Saath” from the same film!

The Lata Mangeshkar solo is one of the film’s many high points, arriving midway through the film as Nanda prays for her husband’s safe return from the war. The time period was arguably when Lata’s voice was at her most angelic, and the graceful, gentle maneuvers of this song will leave you breathless for more!

Perhaps one of the greatest aspects to “Allah Tero Naam” is the Hindu-Muslim crossover lyrics. Reminiscent of “Ishwar Allah Tero Naam” later rendered by Mohammed Rafi in Nayaa Raastaa (1970), this bhajan encompasses an important and unique aspect of Indian spirituality–the transcendence of religious barriers (which holds a particular intrigue in a war-time themed filmed!) You guessed it, the lyrics are penned by that sensitive soul Sahir Ludhiviani, who’s feelings against war and it’s horrors are a theme in many later works (“Khuda-e-bartar,” anyone?). So whether you adore this song for the lyrics, the rendition, or just for Nanda’s emotive eye-batting, we hope you enjoy the lyrics and our English translation to “Allah Tero Naam” and wish you a happy New Year!

Allah Tero Naam Lyrics and Translation:

Allah tero naam, Ishwar tero naam
Your name is Allah, your name is Ishwar
Sab ko sanmatii de, Bhagwan
Bless everyone with equanimity, God

Maango.N kaa sindoor na chhuuTe
Do not let the sindoor disappear from the part of our hair [Let us not be widowed]
Maa.N bahano.N kii aas na TuuTe
Do not shatter the hopes of mothers and sisters
Deha binaa, Daataa…
Without a body, Lord…
Deha binaa bhaTake na praan
Let the soul not wander without a body

O saare jag ke rakhwaale
O keeper of the whole world
Nirbal ko bal denewaale
The giver of strength to the weak
Balwaano.N ko…
To the strong…
Balwaano.N ko de de gyaan
Bestow wisdom to the strong

Glossary:

Allah: God [Muslim]; Ishwar: God [Hindu]; sanmatii: equanimity, advise; maaNg: the parting line in a woman’s hair; sindoor: red powder worn in a woman’s hair part to signify marriage; maa.N: mother; bahan: sister; aas: hope; TuuTnaa: to break, to shatter; deha: body; Daataa: Lord; bhataknaa: to wander; praan: soul, life; rakhwaalaa: the keeper; nirbal: weak; bal: strength; balwaan: one who is strong, a warrior; denewaalaa: the giver; gyaan: wisdom, knowledge

Dashing as always Dev Anand is torn from his family and caught in a moral dilemma in Hum Dono (1961).

Ever wondered why some songs use the term “tero” instead of “teraa” such as in this devotional? It’s a grammatical exception in the Hindustani language that you’ll only find in a direct address to God! It’s always nice to start a new year with linguistic trivia. Here at Mr. and Mrs. 55, our New Year’s resolution is to blog more often–we’re almost nearing our 100th post!

– Mrs. 55

Jaane Kaise Sapnon Mein Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on December 27, 2012 by mrandmrs55

Two Bharat Ratnas come together: Pt. Ravi Shankar and Lata Mangeshkar

Today, we present a guest blog entry by one of our favorite readers Pothik Chatterjee:

“The classical sun of India has set and a darkness has come over. There is no artist who spread Indian music this rapidly across the world.”

–Lata Mangeshkar, on the passing of Ravi Shankar

Legendary Indian classical musician and composer Pandit Ravi Shankar, passed away recently on December 11, 2012 at the age of 92 near his home in Encinitas, California. Shankar, a winner of the prestigious Bharat Ratna award, was a proponent of “world music” before the term became fashionable in the field. He is most famous in the West for his collaborations with violin virtuouso Yehudi Menuhin, minimalist composer Phillip Glass, and Beatles singer George Harrison. Shankar’s legacy is a testament to the fact that truly great music can overcome cultural barriers and achieve appreciation on a universal scale.

In 2006, I received the opportunity to hear Pandit-ji and his daughter Anoushka Shankar perform live in Washington D.C. It was a sublime musical experience that I cherish fondly to this day. Even as a child, I have memories of watching Satyajit Ray’s film, Pather Panchali (1955) and being moved to tears by the touching story of a Bengali family in rural India. The soundtrack that Shankar composed for Ray’s film and the entire Apu Trilogy was so powerful and emotionally stirring that it could be regarded as one of the film’s major characters in itself. Shankar also composed the soundtrack for Richard Attenborough’s Gandhi, earning him a coveted Oscar nomination.

Pt. Ravi Shankar teaches George Harrison on the sitar.

It is less well-known that that Pandit-ji also composed a handful of soundtracks in the arena of Bollywood cinema, including Anuradha (1960), Godaan (1963) and Meera (1979). As a tribute to Ravi Shankar’s contributions to Hindi film music, we provide the lyrics and English translation for jaane kaise sapno.n me.n from Anuradha (1960). Directed by Hrishikesh Mukherjee, this film is based on a short story by Sachin Bhowmick that was originally inspired by Gustave Flaubert’s novel Madame Bovary. The film tells the story of Anuradha (played by Leela Naidu), who goes against her father’s wishes by marrying an idealistic doctor (Balraj Sahni). Anuradha sacrifices her singing career to move to the village with her husband, and the film depicts her ensuing feelings of marginalization and entrapment.

The soundtrack to this film is especially memorable for Ravi Shankar’s collaboration with Lata Mangeshkar. Lata navigates effortlessly through the difficult classical compositions of this soundtrack, matching Shankar’s musical genius every step of the way. In this particular song, Shankar crafts a pleasant melody based on raga Tilak Shyam, a hybrid creation of Pandit-ji himself that fuses the evening ragas Tilak Kamod and Shyam Kalyan. Appropriately enough, the picturization here depicts the beautiful and expressive Leela Naidu walking with Balraj Sahni through a grove of coconut trees in the evening with the sun setting behind them. As a joyous and exuberant raga, Tilak Shyam is often performed at a fast tempo, evoking a sense of romantic delirium that is also reflected in this song’s lyrics penned by Shailendra.

Leela Naidu makes her debut as a Bollywood heroine in Anuradha (1960)

Even diehard fans of vintage Hindi cinema may not recognize the name Leela Naidu. Born to an Indian father and Irish-French mother, Naidu received an elite education in Switzerland and began her training as an actress under the renowned French director Jean Renoir. In 1954, she was named Miss India and made Vogue magazine’s top ten list of most beautiful women in the world. In 1960, Naidu made her Bollywood debut in Anuradha. However, despite her beauty and competence as an actress, she failed to achieve success in the Bollywood industry. There are some interesting parallels between Shankar and Naidu’s experiences in Hindi cinema: the Western exposure and upbringing of both artists alienated them as outsiders in some ways, and this may have prevented them from reaching their full potential in the industry. Perhaps they could only be fully appreciated by the classes, and not the masses of Bollywood fans.

On the other hand, Ravi Shankar did command immense respect from the music directors and singers in the Hindi film world. Such was his aura that when music director Ravi (of Chaudhvin ka Chand fame) entered the film industry, he happily gave up the last part of his name out of reverence. Initially, he was called Ravi Shankar but he did not want to be confused with Pandit-ji.

To conclude, I’ll leave you with an interesting tidbit of controversy about Ravi Shankar and Lata Mangeshkar that originated from their work together during the recordings for Anuradha. Because Lata had failed to show up to one of her recording sessions for the this film without prior notice, tensions flared between these two legendary artists. Years later, Ravi Shankar returned to mainstream Hindi cinema in 1979 to compose the music of Gulzar’s directorial venture Meera. In place of Bollywood’s reigning playback queen, Vani Jairam sang all the compositions on this soundtrack, and she even received a Filmfare Award for her work! Clearly, it doesn’t always pay to be a diva…

-Pothik Chatterjee (@pothik on Twitter)

Jaane Kaise Sapnon Mein: Lyrics and Translation

jaane kaise sapno.n me.n kho gayii.n a.nkhiiyaa.n?
Who knows in which dreams my eyes have become lost?
mai.n to huu.n jaagii, morii so gayii.n a.nkhiyaa.n
I am awake, yet my eyes have fallen asleep.

ajab diivaanii bhayii, mose a.njaanii bhayii
My eyes have become wondrously mad and unfamiliar to me.
pal me.n parayii dekho ho gayii.n a.nkhiiyaa.n
in a moment, my own eyes have turned into strangers.
mai.n to huu.n jaagii, morii so gayii.n a.nkhiyaa.n
I am awake, yet my eyes have gone to sleep.

barsii yah kaisii dhaaraa, kaa.npe tan-man saaraa
Such a torrent has rained upon me that my entire body and soul is quivering.
ra.ng se a.ng bhigo gayii.n a.nkhiyaa.n
Along with my body, my eyes have become soaked in color.
mai.n to huu.n jaagii, morii so gayii.n a.nkhiyaa.n
I am awake, yet my eyes have gone to sleep.

man ujiyaaraa chhaayaa, jag ujiyaaraa chhayaa
When my mind was illuminated, the world lit up.
jag-mag diip sanjo gayii.n a.nkhiyaa.n
The glimmering candles in my eyes have become enshrined.
mai.n to huu.n jaagii, morii so gayii.n a.nkhiyaa.n
I am awake, yet my eyes have gone to sleep.

koii man bhaa gayaa, jaaduu vah chalaa gayaa
Someone has pleased my mind; he has cast his magic upon me.
man ke do motiyaa.n piro gayii.n a.nkhiyaa.n
The two pearls of my mind have been joined together as my eyes.
mai.n to huu.n jaagii, morii so gayii.n a.nkhiyaa.n
I am awake, yet my eyes have gone to sleep.

jaane kaise sapno.n me.n kho gayii.n a.nkhiyaa.n?
Who knows in which dreams my eyes have become lost?

Glossary:

sapnaa: dream; kho jaanaa: to become lost; a.nkhiiyaa.n: eyes; morii: my, an archaic form of merii; jaagii: awake; so jaanaa: to go to sleep; ajab: strange, wondrous; diivaanaa: mad, crazy; mose: from/to me, an archaic form of mujhse; anjaanii: unknown, unfamiliar; paraayaa: stranger, foreign; barasnaa: to rain; dhaaraa: torrent, tide; kaa.npnaa: to quiver; tan-man: body and soul; a.ng: body; bhigo jaanaa: to become soaked; ujiyaaraa chhanaa: to be illuminated, to light up; jag-mag: glimmering; diip: candle; sanjo jaanaa: to become enshrined; man bhaanaa: to please the mind; jaaduu chalaanaa: to cast magic; motii: pearl; piro jaanaa: to be joined together.

Leela Naidu experiences her first love with Balraj Sahni in Anuradha (1960)

Aao Tumhein Chand Pe Le Jaaye Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on December 24, 2012 by mrandmrs55

Asha Parekh sings a song for Baby Pinky on the ride back from Simla in Zakhmee (1975). Take note of the Santa Claus figurine hanging off the rearview mirror.

Merry Christmas! Mrs. 55 and I hope that your holiday season is filled with lots of joy, laughter, and great music with your loved ones. In the spirit of the holidays, we are providing the lyrics and English translation to one of the few Christmas-themed songs that has ever graced the Bollywood silver screen: aao tumhe.n chaa.nd pe le jaaye.n from Zakhmee (1975).

Lata Mangeshkar sings for Asha Parekh and Sushma Shreshta sings for Baby Pinky in this song composed by Bappi Lahiri and penned by Gauhar Kanpuri. As is expected for a children’s anthem, the lyrics and melody in this song are nothing fancy. Here, in his debut film, Bappi Lahiri composes a catchy, pleasant tune that builds off of the classic Christmas carol “Jingle Bells.” In the introduction, we even get the rare opportunity to hear Lata Mangeshkar singing a snippet in English from the chorus of “Jingle Bells.” Her accent isn’t too distracting, so we won’t dwell on that point. Interestingly though, you might have noticed that the traditional lyrics to “Jingle Bells” have been modified to include a reference to Santa Claus.

When Baby Pinky asks where Santa Claus lives, Asha Parekh responds that he lives on the Moon and offers to take her there through this song. While I certainly can appreciate a fantasy lunar world now and again, I have to point out that the entire premise here is flawed! Santa Claus lives at the North Pole, which has nothing to do the with the Moon. It is of slight concern to me that films back then were exposing Indian children to blatant geographical inaccuracies (outer space is not the same thing as the North Pole!) while butchering cherished holiday folklore!

Technicalities aside, we hope that watching this song will spread holiday cheer in true Bollywood style with its outrageous dream sequences, melodramatic facial close-ups, and heart-warming spirit. Enjoy, and have a very merry Christmas! Even if you wanted to go to the Moon, we hope that you received all the presents that you asked for this year. Until next time…

-Mr. 55

Asha Parekh and Baby Pinky dance together in a dream sequence depicting a fantasy lunar landscape.

Aao Tumhein Chand Pe Le Jaaye: Lyrics and Translation

Jingle bells, jingle bells,
jingle all the way!
Santa Claus is coming to town,
Riding on a sleigh!

Baby Pinky: Miss, Santa Claus kaa ghar kahaa.n hai?
Asha Parekh: chaan.d pe
Baby Pinky: hame.n bhii vahaa.n pe le chaliye na!
Asha Parekh: acchaa?

aao tumhe.n chaa.nd pe le jaaye.n
Come, let’s take you to the Moon,
pyaar bhare sapne sajaaye.n
and create dreams filled with love.
chhoTaa-saa ba.nglaa banaaye.n
Let’s build a small home,
ek nayii duniyaa basaaye.n
and settle a new world.

pyaar kii hai duniyaa duur aasmaa.n pe
A world of love exists in the far skies.
mil ke na bichhDe koii vahaa.n pe
No is separated after being united there.
aisii bhii ek Dagar hai, aisaa bhii ek nagar hai
There is a path to such a place.

gham jahaa.n soye aur khushi jaage
Sorrow sleeps there, while joy awakens.
aas kii hai manzil taaro.n se aage
It is a destination of hope beyond the stars.
vahaa.n dil rote nahii.n hai.n, aan.nsuu to hote nahii.n hai.n
Hearts do not cry there, for tears do not even exist.

aao tumhe.n chaa.nd pe le jaaye.n
Come, let’s take you to the Moon.

Glossary

chaa.nd: the Moon; sapne sajaanaa: to create dreams; ba.nglaa: a house in the Bengali style, a bungalow; duniyaa basaanaa to settle a world; bichhaDnaa: to be separated; Dagar: path; nagar: place, town; aas: hope; manzil: destination; aa.nsuu: tears.