Tere Mere Sapne Lyrics and Translation: Let’s Learn Urdu-Hindi

Dev Anand Waheeda Rehman Tere Mere Sapne Guide

Dev Anand reassures Waheeda Rehman that he’s the real deal singing “Tere Mere Sapne” from masterpiece film Guide (1965).

Today we present the lyrics and English translation to the love ballad “Tere Mere Sapne” from the film Guide (1965). I know, I know, we’ve been riding on a Guide high recently. But if you haven’t already relished in the provocative philosophy of this all-time masterpiece of Hindi cinema , cancel your Friday night plans right now.

“Tere Mere Sapne” is considered one of singer Mohammed Rafi’s finest moments–a romantic ballad that mingles gentle tenderness with unabashed passion. The song marks a transition point in the film as Guide’s hero (played by Dev Anand) re-invents himself from a tourist guide into a personal one, guiding a dancer with a broken first marriage (played by Waheeda Rehman) away from the fringes of society toward fulfillment (or, at least, so he wishes). Dev Anand will eventually undergo a final character re-invention that makes the multiple interpretations of the film’s namesake so famous.

Waheeda Rehman ashamed crying Guide Tere Mere Sapne

Waheeda Rehman covers her head modestly, afraid of tainting Dev Anand with her dishonorable past in Guide (1965).

Shut your eyes. Listen to this song in its entirety, devoid of any of the film’s imagery, and you’ll feel yourself swaying. It’s because the song is written as a waltz–one of a handful of waltzes from classic Bollywood films that utilize the buoyant 3-beat meter that bursts with romance at every turn. That lilting instrument that fades in after the first chorus like a continuation of Rafi’s own heartbeat? It’s a saxophone, modernizing the classic waltz croon with jazz-like flair. Bollywood composers of this decade loved mixing styles and instruments from across the globe this way. Shout out to Guide‘s genius music composer S.D. Burman who helped usher in this golden era of Hindi film music!

Now open your eyes. Watch the choreographed way that Dev Anand and Waheeda Rehman engage and disengage with each other during the song: their yearning approaches followed by tense rejections. Interestingly, like the 3-beat waltz itself, the entire sequence is filmed in 3 fluid shots. The song, therefore, has only 2 cuts–each marking a new stage in Waheeda’s acceptance of Dev Anand’s offer. The camera itself swirls between them with the grace of a seasoned dancer, eschewing the traditional shot-reverse-shot approach to fully embrace capturing in real-time the space between them–and, in doing so, highlighting its slow diminishment. For me, this kind of camerawork that gives flight to the emotional fabric of the sequence, so unique to classic Bollywood film songs, is one of the reasons I fell in love with Hindi cinema. Moments like these earned Director of Photography Fali Mistry the Best Cinematography Filmfare Award for Guide. Songs like “Dekhi Zamane Ki Yaari” from Kaagaz Ke Phool (1959) or “Lag Ja Gale” from Woh Kaun Thi? (1964) come to mind as other exemplifications of this style.

We hope you enjoy our English translation of the lyrics to “Tere Mere Sapne” below. Follow along with the video here and let us know your thoughts in the comments!

Tere Mere Sapne Lyrics & English Translation:

Tere mere sapne ab ek rang hai
Your and my dreams are now the same colour
Jahaa.N bhii le jaaye raahe.N, ham sang hai.N
Wherever these paths take us, we are together

Mere tere dil kaa tai thaa ek din milnaa
It was decided that our hearts would one day meet
Jaise bahaar aane par tai hai.N phuul kaa khilnaa
Just as it is decided that flowers bloom with the coming of Spring
O mere jeevan-saathii
O my life companion…

Tere dukh ab mere, mere sukh ab tere
Your sadness is now mine, my joy is now yours
Tere yeh do nainaa chaa.Nd aur suraj mere
Your two eyes are my moon and sun
O mere jeevan-saathii…
O my life companion…

Laakh manaa le duniyaa, saath na yeh chhuuTegaa
Society may appease us a hundred thousand times, but we will never be separated
Aake mere haatho.N mei.N, haath na yeh chhuuTegaa
Once you come to my hands, our hands will never be parted
O mere jeevan-saathii…
O my life companion…

Tere mere sapne ab ek rang hai
Your and my dreams are now the same colour
Jahaa.N bhii le jaaye raahe.N, ham sang hai.N
Wherever these paths take us, we are together


sapnaa: dream, rang: color; raah: path; sang: together; dil: heart; tai hai: to be decided; ek din: one day; milnaa: to meet; bahaar: Spring; phuul: flower; khilnaa: to bloom; jeevansaathii: life companion; dukh: sadness; sukh: happiness; nainaa: eyes; chaa.Nd: moon; suraj: sun; laakh: 100,000; manaa lena: to appease; duniyaa: society; saath chhuuTnaa: to become separated; haath: hand

Dev Anand comforts Waheeda Rehman Guide Tere Mere Sapne

Dev Anand’s bouffant-to-forehead ratio exceeds all expectations in Guide’s beautiful “Tere Mere Sapne.”

This lovely Mohammed Rafi love song was requested by multiple fans: Naina Agnestia, Kiran, and Sunita! Thank you all for the touching request, you sentimental fools! For more on the music of Guide, check out our translation of “Aaj Phir Jeene Ki Tamana Hai!”

– Mrs. 55


150 Urdu-Hindi Terms of Endearment To Call Your Lover This Valentine’s Day

Pakeezah Thade Rahiyo 1972 Meena Kumari

Happy Valentine’s Day to our dear readers! We hope you a very romantic day with your loved one.

The Indian subcontinent has an amazing variety of terms of endearment for the word ‘lover’.  The origins of these terms arise from a wide diversity of languages within the South Asian diaspora, including Urdu, Hindi, Sanskrit, Punjabi, Farsi, Arabic and Nepali. It is important to note that even though the literal meanings of all the terms may not be the most flattering (e.g. bedardii, chhaliya, daghaabaaz, etc), the manner in which they are used in Bollywood is often romantic and flirtatious.

To our knowledge, the list below is one of the most comprehensive list of Urdu-Hindi terms of endearment compiled on the internet, and we hope you put this list to good use on  Valentine’s Day – and for the rest of the year!

Which of these endearment terms do you like the most? Leave us a note in the comments!

-Mr. ’55


aanevaalaa (m.) / aanevaalii (f.): one who arrives || aayegaa aanevaalaaMahal (1949)
aashiq​: lover || ham to tere aashiq hai.n sadiyo.n puraane – Farz (1967)
albelaa (m.) / albelii (f.): charming one || albelaa re ruk jaanaa Raampur Ka Lakshman (1972)
anaaDii: inexperienced one || balmaa anaDii man bhayeBahurani (1962)

Farz 1967 hum to tere aashiq hain Babita Jeetendra

Babita and Jeetendra in  “Hum To Tere Aashiq Hain” from Farz (1967)


baa.nke chhoDaa: handsome one || gore gore o baa.nke chhoDe – Samadhi (1950)
baa.nke yaarhandsome one || thaaDe rahiiyo o baa.nke yaarPakeezah (1972)
baa.nvaraa (m.)/ba.nvarii (f.): crazy one || piyaa baa.nvarii – Khoobsurat (1980)
baabuu: gentleman || koii saharii baabuu dil laharii baabuu – Loafer (1973)
baadshaahemperor || yaar baadshaah yaar dilrubaa – C.I.D. 909 (1967)
baalam: beloved ||  chhoD gaye baalamBarsaat (1949)
baalamavaa:  beloved ||  jaa jaa re jaa baalamavaaBasant Bahar (1956)
gambler || baaziigar o baaziigarBaazigar (1993)
babuaagentleman ||  o babuaa yah mahuaa – Sadma (1983)
bahaar-e-husn: spring of beauty || sun ai bahaar-e-husnNight in London (1967)
bairaagii: detached, recluse one || o mere bairaagii bhanvaraa –  Ishq Par Zor Nahin (1970)
bairii: vengeful one || bairii piyaa Devdas (2002)
balmaa: beloved ||  baiyaa.n na dharo, o balmaa – Dastak (1970)
baliye beloved || nii baliye rut hai bahaar kii – Kanhaiya (1959)
bannaa (m.)/banno (f.): groom/bride || mere banne kii baat na puuchho Gharana (1961)
bedardii: callous one || bedardii baalmaa tujh ko meraa man – Arzoo (1965)
beimaan: unfaithful one || mose chhal kiye jaaye saiyaa.n beimaanGuide (1965)
bekhabarignorant one || beqadar bekhabar bevafaa baalmaa – Ram Lakhan (1989)
beliyaabeloved || kitnaa pyaaraa vadaa…o beliyaa Caravan (1971)
beqadar: cruel one || o beqadar bedardii Desh Premee (1982)
bevafaa: unfaithful one || ek bevafaa se pyaar kiyaa – Awaara (1951)
bhanvaraa: bumblebee || bhanvaraa baDaa naadaan hai Sahib Bibi Aur Ghulam (1962)
bholaa (m.) / bholii (f.): innocent, gullible one || o mere bhole baalam – Padosan (1963)
bulbulnightingale || merii bulbul yuu.n na ho gul Biwi O Biwi (1980)

Pakeezah Thade Rahiyo 1972 Meena Kumari

Meena Kumari in  “Thade Rahiyo” from Pakeezah (1972)


chaa.nd/chaa.ndnii: the Moon/moonlight || chaudvii.n kaa chaa.nd hoChaudvin Ka Chand (1960)
chaa.nd kaa tukDaa: piece of the Moon || mere saamnevaali khiDkii me.n ek chaa.nd kaa tukDaa rehtaa hai – Padosan (1963)
chandramukhii: Moon-faced || o mrignayanii chandramukhiiRang Birangi (1982)
chhail chhabiilaa (m.): handsome beau || o meraa baabuu chhail chhabiilaaMan Ki Jeet (1972)
chhaliyaa: cheater || zaraa saamne to aao chhaliye – Janam Janam Ke Phere (1957)
chhammak chhallo (f.): stunning beauty || o merii chhammak chhallo – Pyaasa Sawan (1981)
chitchor: heart-stealer || baa.ndh priitii phuul Dor man leke chitchor – Malti Madhav (1951)


Guru Dutt and Waheeda Rahman in the title track from Chaudvin Ka Chand (1960)


daghaabaaz: deceitful one || bedardii daghaabaaz jaa – Bluff Master (1953)
deceitful one || saiyaa.n jhuuTho.n ka baDaa sartaj…baDaa dhokebaaz niklaaDo Aankhen Barah Haath (1957)
Dholnaa: beloved ||  ere bin nahii.n jiinaa mar jaanaa DholnaaKachche Dhaage (1999)
diivaanaa (m.)/diivaanii (f.):  crazy/passionate one || ai kaash kisii diivaane ko ham se bhii muhabbat – Aaye Din Bahar Ke (1966)
dilbar: heart-ravisher ||  dilbar mere kab tak mujhe – Satte Pe Satta (1982)
dildaarheart-ravisher || chalo dildaar chalo chaa.nd ke paar chalo – Pakeezah (1972)
dilnashii.n: one who resides in the heart || aap-saa koii hasii.n dilrubaa o dilnashii.n – Chandi Sona (1977)
dilrubaa: heart-stealer || ai dilrubaa – Rustom Sohrab (1963)
dil toDnevaalaa (m.)/dil toDnevaalii (f.): heart-breaker || dil toDnevaale tujhe dil – Son of India (1962)
dil kaa sahaaraamy heart’s solace || dil toDnevaale tujhe dil — Son of India (1962)
dulhaa (m.)/dulhan (f.): groom/bride || chalii meri dulhan kii Dolii – Darpan (1970)
dulhaniyaa: bride || le jaaye.nge le jaye.nge dilvaale dulhaniyaa – Chor Machaye Shor (1974)


Amitabh Bacchan and Hema Malini in “Dilbar Mere” from Satte Pe Satta (1982)


goraa (m.)/ gorii (f.): fair one || gorii teraa gaa.nv baDaa pyaaraa – Chitchor (1974)
goriyaa: fair one || goriyaa kahaa.n teraa desh re? – Caravan (1974)
gulbadanrose-bodied one || ai gulbadan phuulo.n kii mahekProfessor (1962)

Screen Shot 2016-02-11 at 12.49.49 AM.png

Amol Palekar and Zarina Wahab in “Gori Tera Gaon Bada Pyara” from Chitchor (1974)


hamdam: companion (who shares breaths) || koii hamdam na rahaaJhumroo (1960)
hamdard: companion (who shares pain) || manzile.n apnii jagah hai.n – Sharabi (1980)
hamjolii: companion (who shares age) || aaj na chhoDenge bas hamjolii – Kati Patang (1970)
hamnafas: companion (who shares breaths) || koii hamnafas nahii.n – Non-Film
hamnashii.n: companion (who shares a seat) || aa zara mere hamnashii.n – Poonam (1981)
hamnavaah: companion (who shares a voice) || mere hamnafas mere hamnavaah – Non-Film
hamqadam:  companion (who shares footsteps) || aa mere hamqadamHumkadam (1980)
hamraahii:  companion (who shares a path) || chheD mere hamrahii koii giit aisaa – Mastana (1970)
hamraaz:  companion (who shares secrets) || o mere hamraaz, kaisaa hai yah raaz? –Ghungroo (1981)
hamsafar:  companion (who shares a journey) || tum jo hue mere hamsafar –  12 O’Clock (1958)
harjaayii:  unfaithful one || jaa re jaa o harjaayii Kalicharan (1976)
hasiinaa: beautiful lady || o hasiinaa zulfo.nvaalii jaan-e-jahaa.nTeesri Manzil (1966)
hiiriye: diamond-like one || o merii soniye, o merii hiiriye – Insaaniyat Ke Dushman (1987)
hoshiyaarclever one || ek chatuur naar baDii hoshiyaar Padosan (1968)
husnvaalaa (m.) / husnvaalii (f.):  beautiful one || husnvaale teraa javaab nahii.n – Gharana (1961)
huur: fairy || yuu.n to ham ne laakh hasii.n dekhe hai.nTumsa Nahin Dekha (1957)
master || aao huzuur tum ko – Kismat (1968)

Screen Shot 2016-02-11 at 1.05.20 AM.png

Rajesh Khanna and Asha Parekh in “Aaj Na Chhodenge Bas Humjoli” from Kati Patang (1970)


jaaduugar:  wizard, magician || jaaduugar saiyaa.n, chhoD morii baiyaa.n – Nagin (1954)
jaa.n:  soul, life, love || merii jaa.n, mujhe jaan na kahoAnubhav (1971)
jaan-e-adaa: soul of charm || jo vaadaa kiyaa vah nibhaanaa paDegaaTaj Mahal (1963)
jaan-e-bahaar:  life of Spring || jaan-e-bahaar, husn teraa bemisaal hai  – Pyar Kiya To Darna Kya (1963)
jaan-e-chaman:  life of the flower garden || jaan-e-chaman sholaa badan – Gumnaam (1965)
jaan-e-ghazal: soul of poetry || mere mahbuub tujhe merii muhabbat kii qasam –Mere Mehboob (1963)
jaan-e-hayaa:  soul of modesty || jo vaadaa kiyaa vah nibhaanaa paDegaa – Taj Mahal (1963)
jaan-e-jaa.n:  love of my life || aa jaan-e-jaa.n – Inteqaam (1969)
jaan-e-jaanaa: love of my life || jaan-e-jaanaa yuu.n na dekho mujhe aaj nafrat se – Faulad (1963)
jaan-e-jahaa.n: love of my world || dasht-e-tanhaayii me.n ai jaan-e-jahaa.n – Non-Film
jaan-e-janaana: love of my life || o mere shaah-e-khubaa.n, o merii jaan-e-janaana Love in Tokyo (1966)
jaan-e-jigar:  love of my heart || are jaan-e-jigar duniyaa me.n – Pukar (1983)
jaan-e-man: love of my heart || jaan-e-man ek nazar dekh le – Mere Mehboob (1963)
jaan-e-tamanna: love of my desires || dil me.n ek jaan-e-tamanna ne jagaah paayii hai -Benazir (1964)
jaan-e-vafaa:  soul of faithfulness || ghairo.n pe karam apno.n pe sitam, ai jaan-e-vafaa – Aankhen (1968)
jaan-e-zindagaanii: love of my life || mujhe ishq hai tujh hi se, merii jaan-e-zindagaanii – Ummeed (1962)
jaanam: darling || jaanam samjhaa karo – Non-Film
jaanevaalaa (m.) / jaanevaalii (f.):  one who leaves || ruk jaa o jaanevaalii – Kanhaiya (1959)
jaanii:  darling || jaanii o jaanii Raja Jani (1972)
jaanuu:  darling || jaanuu merii jaan, mai.n tere qurbaan – Shaan (1980)
janaab:  your honor/excellency || maanaa janaab ne pukaaraa nahii.n – Paying Guest (1957)
janaab-e-aalii: your honor/excellency || nain tumhaare mazedaar o janaab-e-aalii – Professor (1962)
jhuuThaa (m.) / jhuuThii (f.)
: liar || manmohanaa baDe jhuuThe Seema (1955)
jiivan saathii: life partner || mere jiivan saathii – Ek Duje Ke LIye (1981)
jogii:  yogi/devotee (often refers to Lord Krishna) || jogii jab se tu aayaa mere dvaare – Bandini (1963)
jogiyaa:  yogi/devotee (often refers to Lord Krishna) || jogiyaa se priit kiye dukh hoye – Garam Coat (1955)

Screen Shot 2016-02-11 at 1.14.00 AM

Nutan in “Jogi Jab Se Tu Aaya Hai from Bandini (1963)


kaanchaa (m.)/kaanchii (f.): young boy/girl (Nepali origin) || kaanchii re kaanchi re – Hare Rama Hare Krishna (1972)
: delicate one || tum kamsin ho nadaan ho Aayi Milan Ki Bela (1966)
khilaaDii: player ||  manmohanaa baDe jhuuThe Seema (1955)
khvaab kii taabiir: interpretation of my dreams || mere mahbuub tujhe merii muhabbat kii qasam –Mere Mehboob (1963)

Screen Shot 2016-02-11 at 1.31.59 AM.png

Sadhana in the title track from Mere Mehboob (1963)


maahii:  beloved || maahii o maahii dupaTTa de de meraa de – Meena Bazaar (1950)
maahiyaa: beloved || mahiyaa terii qasam haaye jiina nahii.n jiinaa – Ghayal (1989)
maalik (m.)/malikaa (f.): emperor/empress || ai phuulo.n kii raanii, bahaaro.n kii malikaa – Arzoo (1965)
maashuuq (m.)/maashuqaa (f.): lover || maashuuqaa maashuuqaa – Aaj Ka Arjun (1990)
maharbaa.n:  merciful/gracious one || aaiye maharbaa.n baiThiye jaan-e-jaa.n – Howrah Bridge (1958)
mahbuub (m.)/mahbuubaa (f.):  beloved || mere mahbuub qayamat hogii – Mr. X in Bombay  (1964)
mahjaabii.n: moon-faced beauty || sun ai mahjabii.n Dooj Ka Chand (1964)
makhnaa: beloved || mere pyaar kaa ras zaraa chaknaa, oye makhnaa Bade Miyan Chhote Miyan (1988)
one who resides in the heart ||  aajaa rasiyaa more man-basiyaa Pilot Officer (1961)
: one who pleases the mind || manbhaavan ke ghar jaaye gorii Chori Chori (1956)
manmohanaa: enchanter of the heart (often refers to Lord Krishna) || manmohanaa baDe jhuuThe – Seema (1955)
mastaanaa/mastaanii: intoxicating one || diivaanii mastaaniiBajirao Mastani (2016)
matvaalaa (m.)/matvaalii (f.): intoxicated one ||  koii matvaalaa aayaa mere dvaare – Love in Tokyo (1966)
miit: beloved || aa lauT ke aa jaa mere miit Rani Roopmati (1957)
mitvaa:  beloved || mere mitvaa mere miit re – Geet (1970)
mrignayanii: doe-eyed || o mrignayanii chandramukhiiRang Birangi (1982)
musaafirtraveler || path bhuulaa ek aayaa musaafir Door Gagan Ki Chaaon Mein (1964)

Screen Shot 2016-02-10 at 1.24.42 AM.png

Madhubala in “Aaiye Meherbaan” from Howrah Bridge (1958)


naadaa.n: innocent, naive one || balmaa baDaa naadaan re – Albela (1951)
worthy of pride || naaznii.n baDaa rangii.n hai / hamdam mere – Phir Wohi Dil Laya Hoon (1963)
naazuk: delicate one || kahii.n ek maasuum naazuk-sii laDkiiShankar Hussain (1977)
nargis-e-mastaanaa: one with intoxicating eyes || ai nargis-e-mastaanaa 
 Arzoo (1965)
natkhat: naughty one || jaa re haT naTkhaT ghunghaT ke paT – Navrang (1959)
naujavaa.n: youthful one || ai naujavaa.n hai sab kuchh yahaa.n Apradh (1972)
nuurii: my light || aa jaa re aa jaa o mere dilbar…nuurii nuuriiNoorie (1979)

Screen Shot 2016-02-10 at 1.28.42 AM.png

Helen and Feroz Khan in “Aye Naujawan Sab Kuch Yahan” from Apradh (1972)


pardaanashii.n: veiled one || sharmaake ye kyo.n sab pardaanashii.n  Chaudvin Ka Chand (1960) 
foreign lover || ghar aayaa meraa pardesii – Awaara (1952)
​pardesiyaa: foreign lover || pardesiyaa yah sach hai piyaa – Mr. Natwarlal (1979)
parii: fairy || yuu.n to ham ne laakh hasii.n dekhe hai.nTumsa Nahin Dekha (1957)
patthar kaa sanam: stone-hearted lover || patthar ke sanam tujhe ham ne – Patthar Ke Sanam (1967) 
beloved || ab aage terii marzii – Devdas (1955)
pii: beloved || pii bin suunaa re Hamdard (1953)
piyaa: beloved || piyaa tose naina laage re  Guide (1965)
priye (m.)/priyaa (f.): beloved || kaun hai jo sapno.n me.n aayaa…o priyaa! – Jhuk Gaya Aasman (1967)
priitam: beloved || priitam daras dikhaao – Chacha Zindabad (1959)
pyaar: love || o mere pyaar aa jaa – Bhoot Bangla (1965)


Waheeda Rahman in “Piya Tose Naina Lage Re” from Guide (1965)


qaatildangerous one || jaadugar qaatil – Kohinoor (1960)


raajaa (m.)/raanii (f.):  king/queen || raajaa kii aayegii baaraat – Aah (1949)
raajkumaar (m.)/raajkumaarii (f.): prince/princess || aa jaa aayii bahaar…o mere raajkumaar – Rajkumar (1964)
raanjhanaa: beloved || aa mere raanjhanaa – Heer (1956)
raazdaar: secret-bearer || itnaa hai tum se pyaar mujhe mere raazdaar – Suraj (1963)
rangiilaa (m.)/rangiilii (f.): colorful one || tuu ne o rangiile kaisaa jaduu kiyaaKudrat (1981)
rang rasiyaa: one who romances with colors || o rang rasiyaa re – Paap Aur Punya (1974)
rasik (m.)/rasikaa (f.): passionate one || rasik balmaa – Chori Chori (1956)
rasiyaa: beloved || chalaa bhii aa aa jaa rasiyaa – Man Ki Aankhen (1970)

Screen Shot 2016-02-11 at 1.39.01 AM.png

Nargis in “Rasik Balma” from Chori Chori (1956)


saa.nvalaa (m.)/saa.nvalii (f.): dark one (often refers to Lord Krishna) || jaa re saa.nvale salone natkhat baanvaarii – Payal (1957)
saa.nvaraa (m.)/saa.nvarii (f.): dark one (often refers to Lord Krishna) || saa.nvare saa.nvareAnuradha (1960)
saa.nvariyaa: dark one (often refers to Lord Krishna) || mohe bhuul gaye saa.nvariyaaBaiju Bawra (1952)
saajan: beloved || mere saajan hai.n us paar – Bandini (1963)
saaqii-e-maikhaanaa: wine-bearer of the tavern || ai nargis-e-mastaanaa – Arzoo (1965)
saaqiyaa: wine-bearer || saaqiyaa aaj mujhe nii.nd nahii.n aaye – Sahib Bibi Aur Ghulam (1962)
saathii: companion || saathii re Muqaddar Ka Sikandar (1978)
saathiyaa: companion || saathiyaa nahii.n jaanaa – Aaya Sawan Jhoom Ke (1969)
sahibaa: gentleman || sun sahibaa sun – Ram Teri Ganga Maili (1985)
saiyaa.n: beloved || saiyaa.n dil me.n aanaa re – Bahar (1951)
sajanavaa: beloved || sajanavaa bairii ho gaye hamaar Teesri Kasam (1966=)
sajaniyaa: beloved ||  are chhoD de sajaniyaa Nagin (1954)
sajnaa (m.)/sajnii (f.):  beloved || sajnaa barkhaa bahaar aayii – Parakh (1960)
salonaa (m.)/salonii (f.): dark one (often refers to Lord Krishna) ||  o more saa.nvare salone piyaa – Kanhaiya (1959)
sanam: beloved || o mere sanam – Sangam (1964)
sangdil: merciless one || baDe bevafaa hai.n ye husnvaale – Roop Tera Mastana (1972)
sarkaar: overlord || badle badle mere sarkaar aate hai.n – Chaudvin Ka Chand (1960)
shaah-e-khubaa.n: empress of beauty || o mere shaah-e-khubaa.n – Love in Tokyo (1966)
shahazaadaa (m.)/shahazaadii (f.): prince/princess || vaadii-e-ishq se aaya hai meraa shahazaadaa – Non-Film
sharaabii: intoxicated one || mai.n huu.n saaqii, tuu hai sharaabii || Ram Aur Shyam (1967)
sharmiilaa (m.)/sharmiillii (f.): shy one || o merii sharmilii – Sharmilee (1972)
sonaa (m.)/sonii (f.): golden one || o mere sonaa re – Teesri Manzil (1966)
soniyaa (f.)/soniye (m.): handsome/beautiful one || ni soniye – The Train (1970)

Screen Shot 2016-02-11 at 1.44.52 AM.png

Joy Mukherjee and Asha Parekh in “O Mere Shah-E-Khuban” from Love in Tokyo  (1966)


yaar: friend/lover ||  nii mai.n yaar manaanaa niiDaag (1973)
yaaraa: friend/lover ||  yaara silii silli – Lekin (1991)


zaalim: cruel one ||  zaalim terii aa.nkho.n ne – Devta (1956)
zaalimaa: cruel one || sun sun sun zaalimaaAar Paar (1954)
zohraa-jabii.n: one with a forehead shining like Venus || ai merii zohraa-jabii.n Waqt (1969) 
zulmii: cruel one || zulmii sang aa.nkh laDii – Madhumati (1958)

Screen Shot 2016-02-11 at 1.48.21 AM.png

Vyjayanthimala in “Zulmi Sang Aankh Ladi” from Madhumati (1958)


Tu Jahan Jahan Chalega Lyrics and Translation: Let’s Learn Urdu-Hindi

Reposting a translation from Mera Saaya (1966) in tribute of actress Sadhana Shivdasani who passed away today at the age of 74. Her legacy of style, grace, and beauty lives on through many of the unforgettable songs filmed on her during Bollywood’s Golden Era.

Mr. & Mrs. 55 - Classic Bollywood Revisited!

SD Against the stunning backdrop of the Lake Palace in Udaipur, Sunil Dutt mourns the loss of  his deceased wife in Mera Saaya (1966)

Today, we present the lyrics and English translation to the title track from Raj Khosla’s Mera Saaya (1966): tuu jahaa.n jahaa.n chalegaa. This timeless classic is embedded within the hearts of Hindi film music fans as an ode to love and its ability to provide strength and support during the most trying of circumstances.  

Unlike many songs from this era, tuu jahaa.n jahaa.n chalegaa is not used exclusively as a playback song in Mera Saaya. One version of this song plays in the background while a tormented Sunil Dutt sulks in confusion after an accused dacoit resembling his deceased wife (double role played by Sadhana) claims to be his wife weeks after her death. As he trudges around the beautiful Lake Palace

View original post 826 more words

Interview with Bollywood Playback Singer Minoo Purushottam: A Mr. & Mrs. 55 Exclusive!

Minoo Purushottam tanpura

Minoo Purushottam, renowned Hindi film playback singer. Photo: Personal collection of Minoo Purushottam.

Last year, we published a popular post on the career of one of our favorite yesterday playback singers, Minoo Purushottam. In one of those great twists of fate taken straight from a 60s masala flick, shortly afterwards, we received an email from Minoo-ji’s son who re-connected Mrs. 55 with her Hindi classical voice teacher, Minoo-ji herself, from years before! Minoo-ji was gracious enough to grant Mr. and Mrs. 55 – Classic Bollywood Revisited! an exclusive interview about her career. After spending many years in Houston since leaving Bombay, Minoo-ji has now settled into her new home in Illinois near her son where she continues to teach new students and perform at concerts. We are honored to share with you a transcript of our delightful conversation with her that includes reminiscing about her early schooldays when she was first recognized as a musical prodigy, that time Mukesh blew his 16th take during a recording session, and what advice she has for aspiring singers!

MRS. 55: Could you tell us a little bit more about your early music training?

MINOO: I grew up in Bombay. There were music classes in school. A South Indian teacher used to come and teach us the ragas. At that time, I was chosen to lead the school prayers. That was a great time for me, I was not thinking then that I would become a singer when I was at school. I wanted to become a schoolteacher actually. I had very simple ambitions. When suddenly I realized I was a singer, I started seriously practicing, four hours every day, every day, every day. This was because I had to prepare for my exams: 25 ragas for the sangeet visharad in the first year. It was very difficult. But I always loved to teach, and I still love it. Everybody now thinks they can sing without practice. I think karaoke messed things up that way. If you know the Bhagavad Gita, Krishna said we have 4 Vedas, and there is a Samaveda based on music. The whole universe is singing if you carefully listen to it. All the sounds are like singing. It affects one a lot.

MR. 55: Who was your favorite duet partner in the past?

MINOO: All these singers are great humans. I was working all my life with Mohammed Rafi. At that time I was very young and toured with Asha Bhonsle too. But after the great singers were gone, I was not interested in staying in Bombay. With whom should I sing? I was feeling sad. But still I love to work, I love to sing. Even now I practice every day.

Minoo Purushottam and Asha Bhonsle rehearsing

Playback singers Minoo Purushottam and Asha Bhonsle rehearsing together in a recording studio. Photo: Personal collection of Minoo Purushottam.

MRS. 55: Some singers have commented on the difficult of breaking into the industry when it was dominated by a few select singers. How did you overcome that?

MINOO: I didn’t have any difficulty. It seemed that everybody loved me so much, they wanted to give me a chance. I was doing my job well. All the music directors were very happy with me when I was working with them. I never said that, “I want this, I want that.” I never made demands, so I was very easy to work with. At that time music was so great. The stories in the films were so good. You can see those films 100 times. From my childhood, I saw the film Mahal. It’s a very old movie. I can see that film over and over. I love all those songs. I can see it 1000 times. But my time was after that, mostly colour movies.

MR. 55: You worked with many great music directors. What lessons did they teach you?

MINOO: I was working a lot with Madan Mohan. He was my teacher, teaching me ghazals and pronunciation and accent of ghazals. Jaidev was also my teacher.

MRS. 55: I remember when I took lessons from you, you talked fondly about the actors you worked with, especially Sanjeev Kumar.

MINOO: You know, Sanjeev Kumar’s sister is in Houston and used to come to meet me. We were very good friends. But things change a lot. Madhumati was very good friend of mine as well.

Minoo Purushottam and Manna Dey

Bollywood playback singers Minoo Purushottam and Manna Dey. Photo: Personal collection of Minoo Purushottam.

MR. 55: Are there any new artists that you enjoy?

MINOO: I have a habit of listening to old songs from singers like Talat Mehmood. It’s hard to change that. But some students do want to learn new songs, and then I help them. We should be open-minded, it’s a part of the job.

MRS. 55: What is your favorite film song that you sang?

MINOO: I love all of them. You put so much time and effort into each one. You have to concentrate very hard, you can’t play around with it. One should be very serious. Nowadays they can break the song down in pieces to record just the pieces, and then put them together. But in those days, you and all the musicians had to sing it perfectly all the way through. If you make a mistake, you’d be rejected. One day I was sitting for the recording and Mukesh-ji was making so many mistakes! He was on his 16th take and he said, “If I don’t get it right this time, I’m going to forget this song.” I think my voice has changed with age, and it suits bhajans and ghazals now. And anyway, who would compose film music now the way S.D. Burman and C. Ramchandra did? This time people just want to make money, not make real music.

MRS. 55: Is there anything you’d like to tell your fans?

MINOO: If you really want to sing, you must learn something. Find a teacher. But I can tell you, it’s hard to find time to devote just to music. But you must do it.

– Mr. and Mrs. 55

Minoo Purushottam and Mohammed Rafi

Playback singers Minoo Purushottam and Mohammed Rafi often toured together in the 60s and 70s. Photo: Personal collection of Minoo Purushottam.

Mera Kuch Saamaan Lyrics and Translation: Let’s Learn Urdu-Hindi

Anuradha Patel plays an impetuous and free-spirited woman who haunts her former lover and his current wife with her gift for poetry. in Ijaazat (1987)

Anuradha Patel plays an impetuous and free-spirited woman who haunts her former lover and his current wife with her gift for poetry in Ijaazat (1987).

Released in 1987, Gulzar’s Ijaazat starring Naseeruddin Shah, Rekha, and Anuradha Patel is a film that falls outside of the time period traditionally associated with the “Golden Era” of Hindi cinema. Although we tend to feature films from the 1950s-1970s on this blog, an exception must be made for this film because of its timeless soundtrack composed by R.D. Burman, penned by Gulzar, and sung by Asha Bhonsle. Today, we present the lyrics and English translation to an ever-haunting gem from Ijaazat (1987): meraa kuchh saamaan

Based on the Bengali story Jatugriha by Subodh Ghosh, this film presents the classic love triangle trope often used to excess in Bollywood in a refreshingly subtle and poignant manner that reflects the high caliber of Gulzar’s artistry as a poet-turned-director. The story in this film revolves around the relationships among three main characters: Mahinder (Naseeruddin Shah), Sudha (Rekha), and Maya (Anuradha Patel). Mahinder, a young photographer, has been engaged to his childhood friend Sudha for five years in an arrangement made by his grandfather (Shammi Kapoor). In spite of this arrangement, Mahinder falls passionately in love with the impulsive and free-spirited Maya, but he is too afraid to confide the truth to his grandfather. When pressured to go through with the wedding, the conflicted Mahinder reveals his true feelings to Sudha. However, when Maya suddenly disappears from his life, Mahinder decides to honor his grandfather’s wishes and marries Sudha after all. Even at the end of the film, a lingering question remains: why would Sudha agree to marry a husband who did not truly love her?

Rekha struggles deeply as she is forced to grapple with her husband's history with Anuradha Patel and its effects on their marriage in Ijaazat (1987)

Rekha offers an understated performance as a vulnerable wife forced to grapple with her husband’s history with an ex-lover and its devastating effects on their marriage in Ijaazat (1987)

As the companionship between Sudha and Mahinder begins to grow, the underlying presence of Maya as an unwanted third party in their marriage inevitably leads to marital discord. Mahinder’s unresolved feelings for Maya and Sudha’s awareness of these feelings gradually creates tension that escalates once Maya re-appears in their lives and rekindles a friendship with Mahinder through letters, phone calls, and poems. Mahinder indulges Maya’s attention-seeking actions at each opportunity, deepening the rift that already exists between him and his wife. Despite many efforts to adjust to the very tangible presence of Maya in their lives, Sudha comes to realize that she will never be able to live happily with Mahinder and decides to walk away from her marriage. The turmoil and tragedy of this film goes on to culminate in a conclusion that is surprisingly positive and heart-warming–without completely spoiling the ending here, I will just say that fans of Shashi Kapoor will not be disappointed!

In spite of its portrayal of a relatively ordinary story, Ijazaat stands out from other films in the same vein because of its evocative dialogues, nuanced character development, and, of course, the beautiful music and poetry found in its soundtrack. In the context of the film, meraa kuchh saamaan is a poem addressed to Mahinder from Maya that captures the essence of their troubled relationship with remarkable finesse and sophistication. In this poem, Maya asks Mahinder to return her things back to her–these requests are not for the return of physical objects but rather for memories of their time spent together. Gulzar’s evocative poetry in an unusual free verse format earned him the National Film Award and Filmfare Award for Best Lyricist in 1988, while Asha Bhonsle won the National Film Award for Best Female Playback Singer for her soulful rendition of this song.


Anuradha Patel’s character is unique to the version of Jatugriha that is presented in Ijaazat (1987), as the original story depicted the woes of a troubled marriage between a husband and wife without the “other woman” character.

Those of you familiar with this classic already may have wondered why Gulzar chose to use the number 116 in the last stanza of this song to describes the number of moonlit nights spent together by the protagonists. Some have suggested that 116 nights may indicate that Maya and Mahinder were involved in a relationship four months in duration (with four new moons), while others have suggested it is a reference to the number of phases of the moon found in ancient Indian literature. Interestingly, when asked in an interview about the interpretation of this number, Gulzar said: It’s not the number which is important, it’s important that somebody kept the count of the moonlit nights of which they spent together.”  This number went on to carry special significance for Gulzar as he recounts in a 2005 interview that he has written lyrics for exactly 116 of R.D. Burman’s songs during his career. 

Lyrics and Translation:

mera kuchh saamaan tumhare paas paDaa hai
Some of my belongings remain with you.
saavan ke kuchh bhiige bhiige din rakhe hai.n
A few wet monsoon days,
aur mere ek khat me.n lipaTii raat paDii hai
and a night folded into one of my letters.
voh raat bujhaa do, meraa voh saamaan lauTaa do
Extinguish that night, and return my things to me.

patjhaD hai kuchh, hai na?
It was autumn then, no?
patjhaD me.n kuchh patto.n kii girane kii aahaT
The rustling whispers of leaves falling in autumn.
kaano.n me.n ek baar pahan ke lauT aayii thii
I had brought back those whispers once by wearing them as earrings.
patjhaD kii voh shaakh abhii tak kaa.np rahii hai
A branch of autumn still trembles in the breeze.
voh shaakh giraa do, meraa voh saamaan lauTaa do
Make that branch fall down, and return my things to me.

ek akelii chhatrii me.n jo aadhe-aadhe bhiig rahe the
When we both became drenched in the rain under a single umbrella,
aadhe giile aadhe sukhe, sukhaa to mai.n le aayii thii
half of our things became wet. I had brought the dry half back with me that day.
giilaa man shayad bistar ke paas paDaa ho
But perhaps my drenched heart remained next to the bed.
voh bhijvaa do, meraa voh saamaan lauTaa do
Send that back, and return my things to me.

ek sau solaah chaa.nd kii raate.n, ek tumhaare kaa.ndhe kaa til
One hundred and sixteen moonlit nights, and the single mole on your shoulder.
giillii maha.ndii kii khushbuu, jhuuTh-muuTh ke shikve kuchh
The fragrance of wet henna, and some fake tantrums.
jhuuTh-muuTh ke vaade bhii sab yaad karaa duu.n?
Shall I remind you of all the false promises too?
sab bhijvaa do, meraa voh saamaan lauTaa do
Send all of them back, and return my things to me.

ek ijaazat de do bas, jab isko dafnaauu.ngii
When I bury these these things, just grant me the permission
mai.n bhii vahii.n so jaauu.ngii
To lay myself to sleep among them.
mai.n bhii vahii.n so jaauu.ngii
To lay myself to sleep among them.


saamaan: belongings, things; saavan: monsoon; bhiigaa: drenched, wet; khat: letter; lipaTnaa: to wrap, fold; bujhaa denaa: to extinguish; lauTaa denaa: to return; patjhaD: autumn; pattaa: leaf; giranaa: to fall; aahaT: whisper, faint noise; pahanna: to wear; shaakh: branch; giraa denaa: to make something fall; chhatrii: umbrella; aadhaa: half; giilaa: wet; sukhaa: dry; bistar: bed; bhijvaanaa: to have something sent; ek sau solaah: 116; kaa.ndh: shoulder; til: mole; maha.ndii: henna: khushbuu: fragrance; jhuuTh-muuTh: fake, false; shikvaa: complaint, tantrum; vaadaa: promise: yaad karaa denaa: to remind; ijaazat: permission; dafnaanaa: to bury: so jaanaa: to sleep.

In 2005, Asha Bhonsle in collaboration with the Kronos Quartet reprised several of her old songs as a tribute to her late husband R.D. Burman in the album You’ve Stolen My Heart: Songs from R.D. Burman’s Bollywood. In recognition of her work on this album, Asha received her second Grammy nomination in the category of Best Contemporary World Music. When asked to name her favorite song from the album, she said it was meraa kuchh saamaan because it “is very close to my heart as it transports me back into time when I was with Pancham.” (Source).

 -Mr. 55

Yeh Duniya Yeh Mehfil Lyrics and Translation: Let’s Learn Urdu-Hindi

Priya Rajvansh Heer Raanjha

Priya Rajvansh, as Heer, displays her usual limited range of emotion as a beautiful Panjabi maiden in Heer Raanjha (1970).

Today we showcase the full lyrics and English translation to “Yeh Duniya Yeh Mehfil” from Heer Raanjha (1970). Heer Raanjha tells the famous story of two star-crossed lovers, immortalized by the epic poem by Panjabi Sufi Waris Shah (1722-1798) . So handsome it hurts, Rajkumar is a perfect romantic hero as the charming Ranjha of the tale. When he falls for Heer, the daughter of a wealthy Jat family from a neighboring village (played by Priya Rajvansh), jealous relatives scheme to end their courtship. As she is married off against her will to another man, Rajkumar is overcome with devastation.

Like other great poems steeped in the Sufi tradition, Heer Ranjha has multiple layers of interpretation, one of which is man’s eternal quest for God. This is exemplified by the film’s most famous song, “Yeh Duniya Yeh Mehfil” sung by the great Mohammed Rafi. At once a song of lament for the love he has lost as well as an ode to yogic renunciation, “Yeh Duniya Yeh Mehfil” manages to express a yearning for a connection while embracing the search for a higher meaning.

The beautifully-written story of Heer Ranjha is a fundamental part of classical Panjabi literature, a poem my grandparents growing up in pre-partition Panjab were made to read and analyze in school. Waris Shah’s detailed and authentic description of rural Panjabi life around the turn of the 16th century is a pleasure to study today. To convert this leviathan of a poem to film was a daunting challenge met by the great modern Urdu poet, Kaifi Azmi. He wrote the entire script for the 1970 film entirely in verse. Every line gleams with ornamentation, and only Rajkumar with his characteristically mesmerizing dialogue delivery can lend it the stateliness it deserves. One of my favorite verses from the film is below:

Us se kehna ki tum meraa ek khwab ho, jo chamakta hai dil mei.N woh mahataab ho. [Tell her that you are a dream of mine, that you are the moonlight glittering in my heart.]

Us se kehna ki gehuyo.N ke kheto.N ka rang, tilmatii huii titliyo.N kii umang. [Tell her that she is the is the color of wheat fields, that she is the joy of the fluttering butterflies.]

Us se kehna ki jharno.N kaa chanchal shabaab, ghat ki taazgii, aabroo-e-janaab. [Tell her that she is the the playful youth of the waterfalls, the freshness of a mountain pass, and the honour of our elders.]

Us se kehna ki jhoolo.N kii angdaiyaa.N aur uDhte dupatto.N kii shenaiyaa.N. [Tell her that she is the movement of swings and the music of flying dupattas.]

Us se kehna ki chakki ke geeto.N kii aag, ladkhadatii jawaanii, machaltaa suhaag. [Tell her that she is the fire of the song of the mills, the trembling youth, the excitement of a wedding night.]

Us se kehna ki dulhano.N ke kaajal kii pyaas, pehle bauchhaar kii garam aur Thandii miithaas. [Tell her that she is the thirst of a bride’s kajal and the hot and cold sweetness of the first rain.]

Itnii ra.Nginiyo.N ko jab ek jaa kiyaa, Heer kudrat ne tab tujhko paida kiyaa. [When all this colors were made into one, then nature created you, Heer.]

Your heart’s fluttering, right? “Yeh Duniya Yeh Mehfil” also a brilliant example of the classic Bollywood cliche about men’s facial hair. The more manscaping that needs to be done, the more the hero has fallen out of touch with reality. Check it out:

Rajkumar 5 o'clock shadow

At first Ranjha displays an appropriately  manly 5 o’clock shadow. However, his depression takes a nosedive from bad…

Rajkumar lumbarjack beard

…to worse with a full on lumberjack look. This get-up quickly transitions to…

Rajkumar yogi beard

…WHAT THE…where did Ranjha go??!

But before you rush to give your own facial hair a much-needed trim, allow us to share our English translation and lyrics of “Yeh Duniya Yeh Mehfil” below! Follow along with the video and let us know how much you love a good song of self-pity in the comments!

Yeh Duniya Yeh Mehfil Lyrics and Translation:

Yeh duniyaa yeh mehfil mere kaam ki nahii.N
This world and these people are not for me

Kisko sunaaoo.N haal dil-e-beqaraar kaa?
Whom should I tell the state of my restless heart?
Bujhtaa huaa chiraagh hoo.N apne mazaar kaa
I am the extinguished flame of my own mausoleum
Aye kaash bhool jaaoo.N, magar bhooltaa nahii.N
If only I could forget, but I am unable to forget
kis dhoom se uthaa thaa janaazaa bahaar kaa
with what uproar marched the funeral of Spring

Apnaa pataa mile, naa khabar yaar kii mile
I know neither my own whereabouts nor have I heard news from friends
Dushman ko bhii naa aisii sazaa pyaar kii mile
Even enemies do not receive such a punishment for love
Unko khudaa mile hai.N khudaa kii jinhe talaash
Others meet the God for whom they have searched
Mujhko bas ek jhalak mere dildaar kii mile
Let me have just one glance from my beloved

Saharaa mei.N aake bhii, mujhki Thikaanaa na milaa
Even as I enter the wilderness, I found no shelter
Gham ko bhoolaane kaa koii bahaanaa naa milaa
I found no pretense to erase the memory of my sadness
Dil tarase jis mei.N pyaar ko, kyaa samajhoo.N us sansaar ko?
What can I understand about the world in which my heart remains longing for love?
Ek jiitii baazii haar ke, mai.N DhuunDhuu.N bichhaDe yaar ko
Upon losing a winning gamble, I must search for my lost friend

Duur nigaaho.N se aa.Nsuu bahaataa hai.N koii
Far from my gaze, someone is shedding tears
Kaise na jaaoo.N mai.N, mujhko bulaataa hai.N koii
How can I resist going when someone calls to me?
Yaa TuuTe dil ko joD do, yaa saare bandhan toD do
Either let me mend this broken heart or let me break all ties
Aye parbat, rastaa de mujhe! Aye kaanto.N, daaman chhoD do!
Oh mountains, show me the path! Oh thorns, let go of my embrace!

Yeh duniyaa yeh mehfil mere kaam ki nahii.N
This world and these people are not for me


duniyaa: world, society; mehfil: company, gathering of people; haal: state, health; dil: heart; beqaraar: restless; bhujnaa: to extinguish; chiraagh: lamp; mazaar: mausoleum; kaash: if only, would that; bhoolnaa: to forget; dhoom: noise, uproar; janaazaa: funeral; bahaar: Spring; pathaa: whereabouts, address; khabar: news; yaar: friend; dushman: enemy; sazaa: punishment; pyaar: love; khudaa: God; [kisii kii] talaash: in search [of someone]; jhalak: glance; dildaar: beloved; saharaa: wilderness; Thikaanaa: shelter; gham: sadness; [kisi ko] bhoolaanaa: to make [something] forgotten; bahaanaa: excuse, pretense; [kisi ko] tarasnaa: to long [for something], samajhnaa: to understand; sansaar: world; baazi: a hand (ie. in a game of cards or a gamble); haarnaa: to lose; DhuunDhnaa: to search; bichhaDnaa: to be separated; duur: far; nigaahe.N: gaze; aa.Nsuu bahaanaa: to shed tears; bulaanaa: to call; yaa: either, or; TuuTaa: broken; joDnaa: to mend, to bring together; bandhan: tie, knot; toDnaa: to break; parbat: mountain; rastaa: path; kaa.Ntaa: thorn; daaman: embrace; chhoDnaa: to leave, to let go

Rajkumar yogi heer raanjha

Rajkumar goes rogue and renounces the world as a yogi upon learning that his beloved has married another. Epic shots like these earned Jal Mistry the Filmfare Award for Best Cinematography in 1971!

The line “mere kaam ki nahii.N” is particularly difficult to translate. The word “kaam” is in its simplest form translated as “work.” However, the word has numerous subtleties in Hindustani. With this line, Kaifi Azmi is expressing his dissatisfaction with and inability to function in the world and society as he has experienced them.

This song was requested by our fan Raju! Thank you for the brilliant Urdu treat!

– Mrs. 55


Hum Tere Pyar Mein Lyrics and Translation: Let’s Learn Urdu-Hindi

Meena Kumari expresses ultimate devotion to her husband through song in Dil Ek Mandir (1963).

Today, we provide the lyrics and English translation to a memorable song from C.V. Sridhar’s Dil Ek Mandir (1963): ham tere pyaar me.n .  Starring Meena Kumari, Rajendra Kumar, and Raaj Kumar, Dil Ek Mandir is a Hindi remake of the Tamil film Nenjil Ore Alayam (1962). Dil Ek Mandir was a box-office hit at the time of its release, and it even garnered Raaj Kumar a Filmfare Award for his performance in the film.

When oncologist Rajendra Kumar returns from abroad, he is shocked to learn that his former love Meena Kumari has been married off to another man in a cruel twist of fate. Grief-stricken, he devotes the rest of his life to caring for cancer patients at a nursing home. One day, Meena Kumari brings her husband Raaj Kumar to the nursing home because he has fallen critically ill. When she realizes that Rajendra Kumar will be his doctor, she wants to take her husband elsewhere out of fear that Rajendra Kumar will be unable to offer him unbiased medical care.  As Rajendra Kumar prepares to perform a technically demanding operation to save the life of his former lover’s husband, he is faced with an uncomfortable ethical dilemma: should he save Raaj Kumar’s life by performing the surgery to the best of his abilities or should he use this opportunity to rekindle his love with Meena Kumari after Raaj Kumar’s impending death? Watch the movie to find out if he does the right thing!

Placed into the context of this film, “ham tere pyaar me.n” is picturized on Meena Kumari singing to Raaj Kumar in reaction to his suggestion that she should marry Rajendra Kumar after his death. Staunchly adhering to the pativrata norms that defined ideal female behavior at the time, she rejects this proposal as immoral and absurd. In this song, she expresses ultimate devotion to her husband by declaring that she can only understand the true meaning of love through him. While devotion and commitment are certainly admirable, many would argue that the poetry of this song penned by Hasrat Jaipuri errs on the side of misogyny and anti-feminism. When a male poet makes a female protagonist start singing about loving cages instead of people (“yah pyaar kaa pinjraa man bhaayaa“) or about harboring a wish to die at her husband’s feet (“ab in charano.n me.n dam nikle, bas itnii aur tamanna hai“), you can’t help but think that something’s not quite right.

However, two things are definitely right about this song: Lata Mangeshkar’s angelic rendition and Shankar-Jaikishan’s exquisitely crafted melody. Even if the lyrics are too extreme for your liking, the artistic beauty of this song is still preserved in the way Lata’s voice drips with pathos as she navigates through this delicate tune. Meena Kumari’s on-screen portrayal is suitably melodramatic, and I am especially fond of the way in which the beautiful sitar interludes have been highlighted by including the instrument in the song’s picturization.

Finally, as an aside, some of you may remember that Sonu Nigam sang the mukhDaa of this song on the very first episode of SaReGaMa, the televised singing competition that went on to discover many notable talents such as Shreya Ghosal. This song is certainly an interesting choice to open a show with, and the rendition by a male singer casts a new light upon the discussion of this song’s underlying subtext of misogyny. Enjoy, and share your thoughts with us in the comments! Until next time…

-Mr. 55

Raaj Kumar won a Filmfare Award for Best Supporting Actor for his portrayal of a cancer patient in Dil Ek Mandir (1963)

Hum Tere Pyar Mein: Lyrics and Translation

ham tere pyaar me.n saaraa aalam kho baiThe hai.n, kho baiThe
I have lost the entire world by loving you. 
tum kahte ho ki aise pyaar ko bhuul jaao, bhuul jaao
Yet, you tell me to forget this love.

panchhii se chhuDaa kar uskaa ghar tum apne ghar par le aaye
You took a cage from the birds and brought it to your own house.
yah pyaar kaa pinjraa man bhaayaa, ham jii bhar bhar kar muskaaye
This cage of love pleased me, and I smiled to my heart’s content. 
jab pyaar huaa is pinjre se tum kahne lage aazaad raho
When I fell in love with this cage, you told me to remain free. 
ham kaise bhuulaaye pyaar teraa? tum apnii zubaa.n se yah na kaho
But how can I forget this love? Please don’t tell me this in your own words. 
ab tum saa jahaa.n me.n koii nahii.n hai, ham to tumhaare ho baiThe
No one else like you exists in this world, and I will remain yours forever. 
tum kahte ho ki aise pyaar ko bhuul jaao, bhuul jaao
Yet, you tell me to forget this love.

is tere charan kii dhuul se ham ne apnii jiivan maa.ng bharii
From the dust at your feet, I have marked the parting of my hair.
jab hii to suhaagan kahlaayii, duniyaa kii nazar me.n pyaar banii
When I considered myself a married woman, the world witnessed the creation of love.
tum pyaar kii sundar muurat ho aur pyaar hamaari puujaa hai
You are a beautiful idol of love, and love is my form of worship.
ab in charano.n me.n dam nikle bas itnii aur tamannaa hai
Indeed, I harbor one parting desire: I hope to die at your feet.
ham pyaar ke ganga jal se, balam jii, tan-man apna dho baiThe
My beloved, I have cleansed my body and soul with water from the Ganges of love.
tum kahte ho ki aise pyaar ko bhuul jaao, bhuul jaao
Yet, you tell me to forget this love.

sapno.n kaa darpan dekhaa thaa, sapno.n ka darpan toD diyaa
I saw a mirror of dreams, and then I shattered it.
yah pyaar kaa aa.nchal ham ne to daaman se tumhaare baa.ndh liyaa
I tied the end of this sari of love to the tail of your shirt.
yah aisii gaa.nTh hai ulfat kii, jis ko na koii bhii khol sakaa
This knot of romance is tied so tightly that no one can untie it.
tum aan base jab is dil me.n, dil phir to kahii.n na Dol sakaa
Since you began to reside in my heart, it has been unable to frolic elsewhere.
o pyaar ke saagar, ham terii laharo.n me.n naav Dubo baiThe
Oh, the ocean of love! I have drowned a boat in your waves.
tum kahte ho ki aise pyaar ko bhuul jaao, bhuul jaao
Yet, you tell me to forget this love.

ham tere pyaar me.n saaraa aalam kho baiThe hai.n, kho baiThe
I have lost the entire world by loving you.


aalaam: world; chhuDaaanaa: to take, remove; pinjraa: cage; man bhaanaa: to please the mind; jii bhar kar:  wholeheartedly;  aazaad: free; zubaa.n: language, words; jahaa.n: world;  maa.ng bharnaa: to apply vermillion to the parting of a woman’s hair (a Hindu ritual signifying wedded status); suhaagaan: a married individual; kahlaanaa: to call oneself; dam nikalna: to lose one’s breath, to die; tamanna: desire; ganga: the Ganges, a sacred Indian river; tan-man: body and soul; darpan: mirror; aanchal: decorative end of a sari; Dolnaa: to frolic, to swing; daaman: tail of a garment; gaa.nTh: knot; ulfat: love; lahar: wave; naav: boat.

Meena Kumari’s image is reflected upon Raaj Kumar’s pupils in the picturization of this song. How melodramatic!