Main Zindagi Ka Saath Nibhata Lyrics and Translation: Let’s Learn Urdu Hindi

Posted on July 11, 2012 by mrandmrs55

Dev Anand Hum Dono Main Zindagi Ka Saath

Dev Anand plays a philosophical military officer in Navketan Films’ all-time hit Hum Dono (1961)

We now present the full lyrics and English translation to the evergreen Mohammed Rafi solo, “Main Zindagi Ka Saath Nibhata” from the film Hum Dono (1961). As we know, Hum Dono was released in colour last year by the late film legend Dev Anand, and newly entitled Hum Dono Rangeen. The film joins a string of recently re-colourized classics such as Mughal-e-Azam (1961) and Naya Daur (1957), riding the wave of India’s general excitement to enter previously unexplored technologies in film-making–from animation to digital special effects. The amount of work that goes into a recolourization of a film is amazing–particularly a 3 hour Hindi epic. Imagine hand-painting a single frame from the film: First, you must decide which colours would best match the director’s intention and the styles of the time. Then painstakingly painting the colours onto the frame that follow to exactly match the hue of the one before, making allowances for natural shifts of shadows and lighting as the actors move. When you remember that it takes 24 frames to make 1 second of a film, you can realize the enormity of the job ahead.

Dev Anand imagines Sadhana appearing next to his reflection in a pool of water.

Additionally, apart from adding a splash of colour, it would seem the new editors also altered the aspect ratio of the film into a widescreen presentation. Throughout some of the songs, you’ll also see Dev Anand had added fancy fades to and from black, which are definitely classy. However, I mourn the loss of the original aspect ratio–because the film is now made for the widescreen, a portion of the frame’s top and bottom have been cut off. A bit of the magic was cut too.

But even without these external alterations, the original beauty of the film has shone for decades. Hum Dono is a war film, but the story is not strictly about war. Dev Anand plays a dual role in the film and faces a moral dilemma when he impersonates the identity of his look-alike after the latter’s presumed death. Every action he makes has spiraling and exciting ethical repercussions. The film is one of the finest Bollywood has ever produced, and like most Dev Anand films, boldly explores difficult social themes and relationships. My only regret is that it’s obviously a twin story that no one bothered to explicitly state in the script. It’s a big gripe of mine about Bollywood twin movies, and for one of the worst examples of it, Haseena Maan Jaayegi, see our previous post on Bekhudi Mein Sanam!

Dev Anand hum Dono Main Zindagi Ka Saath 2

Dev Anand in full military dress from Hum Dono (1961)

But the greatest achievement of Hum Dono is in its music by Jaidev. Every single song in its soundtrack is pure gold, from the Rafi-Asha love duet “Abhi Na Jaao ChoD Kar” to the majestic Lata devotional “Allah Tero Naam.” The sweet melodies of Hum Dono have remained popular today, and amongst them is the sentimental mood-lifter “Main Zindagi Ka Saath Nibhata Chala Gaya.” In it, Dev Anand expresses many of the philosophies that would present in his later films such as Guide (1965). The Vedic-inspired line “gham aur khushi ke farq na mehsuus ho jahaan” allows the hero a carefree outlook that is unusual and refreshing for a jaded military officer. Because of it, this song has retained its popularity over the years. Of interesting note, Hindi movies were not allowed to use authentic Indian Army officer outfits for their costumes. So for anyone familiar with period military wear in India, you’ll notice the epaulette on the shoulder has been adjusted so it is not an exact replicate of what was actually worn!

Check out the youtube link here, and follow along with us below for full lyrics and English translation of “Main Zindagi Ka Saath“!

Main Zindagi Ka Saath Nibhata Lyrics and Translation

Mai.N zindagii ka saath nibhaataa chalaa gayaa
I faithfully followed wherever life took me
Har fikr ko dhuei.N mei.N uDaataa chalaa gayaa
I blew every worry into a mist of smoke

Barbaadiyo.N ka shok manaanaa fizuul tha
It was pointless to grieve about my destruction,
Barbaadiyo.N ka jashn manaataa chalaa gayaa
So I kept making a celebration of my destruction!
Har fikr ko dhuei.N mei.N uDaataa chalaa gayaa
I blew every worry into a mist of smoke

Jo mil gayaa usii ko muqaddar samajh liyaa
Whatever came my way I considered to be my destiny
Jo kho gayaa mei.N usko bhulaataa chalaa gayaa
Whatever was lost to me, I kept putting out of my mind.
Har fikr ko dhuei.N mei.N uDaataa chalaa gayaa
I blew every worry into a mist of smoke

Gham aur khushi mei.N farq na mehsuus ho jahaa.N
That state where happiness and sorrow are indistinguishable
Mai.N dil ko us muqaam pe laataa chalaa gayaa
That realm is where I kept pushing my heart
Har fikr ko dhuei.N mei.N uDaataa chalaa gayaa
I blew every worry into a mist of smoke

Glossary:

zindagii: life; fikr: worry; dhuuei.N; smoke; barbaad: destruction; shok manaanaa: grieve; fizul: pointless; jashn: celebration; muqaddar: destiny, fate; bhulaanaa: to forget gham: sadness; khushi: happiness; farq: difference mehsuus: feeling; muqaam: realm

Dev Anand blows all his worries away in a puff of smoke in Hum Dono (1961)

The gentle chiming at the beginning of the song can also be found at the very end of “Abhi Na Jaao ChoD Kar” from the same film. Nice, Jaidev. Nice. This song translation was made by special request from our fan Bhuvesh! We always welcome requests from our readers, so don’t forget to drop us a line!

– Mrs. 55

Jis Gali Mein Tera Ghar Na Ho Balma Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on July 8, 2012 by mrandmrs55

Rajesh Khanna serenades Asha Parekh in one of Hindi cinema’s most treasured boat songs from Kati Patang (1970)

If you’ve been following the latest news about Bollywood stars (as you should be), you might be aware of the fact that Rajesh Khanna has been hospitalized recently for exhaustion and a stomach infection. In light of this news, I thought I’d share one of my favorite songs picturized on the Bombay superstar and send along our best wishes for a speedy recovery. Below, I’ve provided the lyrics and a translation for “jis galii me.n teraa ghar na ho baalma,” a beautiful number sung by Mukesh in Kati Patang (1970).

Mukesh singing for Rajesh Khanna? Blasphemy, you might say. As we all know, Kishore Kumar was officially the playback voice for India’s beloved ‘Kaka,’ and you might hear a pairing with Mohammed Rafi on occasion. But a Mukesh song picturized on Rajesh Khanna, let alone a popular one, is quite rare indeed.

In spite of the unconventional pairing, this song from Kati Patang is an all-time classic that has been cherished by fans of Hindi cinema over the years. The beauty in the simplicity of Anand Bakshi’s lyrics here is striking. Expressing the the theme of selflessness in love, these lyrics are unique when placed into context of the film. Rajesh Khanna’s character uses this song to profess his love for Asha Parekh, a woman pretending to be a widow after fleeing the altar. At a time when societal norms prevented such women from marrying again, using such romantic lyrics to describe the love between a man and an ostensible widow is a bold move. In his inimitable style, Mukesh gives one of his career’s best performances as he sings these lyrics with sincerity and a tinge of melancholy. To top it all off, R.D. Burman composes a simple, yet touching melody that does justice to the beauty of these lyrics. Enjoy this poignantly crafted declaration of love with our glossary and translation below!

-Mr. 55

Playing the role of a supposed widow, Asha Parekh wears a white sari throughout most of this film.

Jis Gali Mein Tera Ghar Na Ho Balma: Lyrics and Translation

jis galii me.n teraa ghar na ho baalma
Any street on which your house does not reside
us galii se hame.n to guzarnaa nahii.n
is not a street that I shall traverse.
jo Dagar tere dvaare pe jaatii na ho
Any path that does not lead to your door
us Dagar pe hame.n paa.nv rakhnaa nahii.n
is not a path on which I shall set foot.

zindagii me.n kaii rangraliyaa.n sahii
In my life, there have been many colorful celebrations.
har taraf muskuratii ye kaliyaa.n sahii
In every direction, there are smiling flowerbuds
khuubsurat bahaaro.n kii galiyaa.n sahi
and many beautiful views of springtime.
jis chaman mei.n tere pag me.n kaa.nTe chubhe.n
Yet, the garden in which thorns pierce your feet
us chaman se hame.n phuul chunnaa nahii.n
is not a garden from which I shall pick flowers.

haa.n ye rasme, ye qasame.n sabhii toD ke
Yes, after having broken these rituals and vows,
tu chalii aa chunar pyaar kii oDh ke
please come to me, flying your scarf of love in the air.
yaa chalaa jaauu.nga mai.n yah jag chhoD ke
Or else, I shall go away and leave this world.
jis jagah yaad terii sataane lage
The place where your memories begin to torture me
us jagah ek pal bhii Thaharana nahii.n
is not a place where I shall spend a single moment.

jis galii me.n teraa ghar na ho baalma
Any street on which your house does not reside…

Glossary

galii: street, alley; baalma: beloved; Dagar: path; dvaaraa: door; rangraliyaa.n: colorful celebrations; kaliyaa.n: flower buds; chaman: garden; pag: foot; chubhnaa: to pierce; rasm: ritual, ceremony; qasam: vow; chunar: scarf; jag: world; sataanaa: to torture.

Rajesh Khanna charms the audience with his characteristic smile.

This song was filmed on site at Lake Nainital in Uttarakhand, India.

The Meaning of Zuby Zuby Jalembu

Posted on July 4, 2012 by mrandmrs55

Sharmila Tagore burns up the screen in a quasi-French number from “An Evening in Paris” (1967).

I have breaking news. It’s a glimmer of light upon one of Bollywood’s great mysteries. The scene? Middle of the film An Evening in Paris. The year is 1967, and Shammi Kapoor is hot on the trail of a mystery. It’s one of those twin storylines–good twin is being held against her will by the bad guys (who look a whole lot like Pran in a blue pinstripe suit), and bad twin is a nightclub dancer who moonlights as a hit woman. By a stroke of brilliant luck, both twins are Sharmila Tagore.

So, anxious and slightly disheveled, Shammi Kapoor strolls into the Parisien nightclub, and his sense of Indian purity and uprighteousness takes a hit when the lights dim and a half-naked Sharmila Tagore struts onto the stage in a feathery swimsuit. Suddenly, she bursts into song:

“Zuby zuby jalembu! Zuby zuby jalembu! Aa gaye. Shukriya. Ho mere meherabaan.”

I mean, what the heck? What do those cryptic words mean? For most of the general Indian population of the 60s watching this bizarre film, I’m guessing they

Assumed it was something French and exotic (“is she really saying Suzy Suzy allez-vous?”)
Didn’t care because the meaning of these Asha cabaret songs are rarely profound anyway
Were too distracted by Sharmila’s dance moves and (lack of) costume to pay attention to the lyrics

Well, folks, I’m here to tell you it’s a mixture of choice 1 and 2! It’s actually slightly more meaningful than you probably thought (caveat: slightly). The tagline of the song has a legitimate basis in French music. Indian record companies probably got the spelling wrong–what we typically see as “Zuby Zuby Jalembu” should have been “Zou Bisou Bisou Bisou.” Asha’s awkward pronunciation, of course, did not help anyone.

Released as hit single in 1960 by Gillian Hills, “Zou Bisou Bisou” was a famous go-go style French song of seduction that was later redone by everyone from Sophia Loren to Megan Draper in Mad Men. Cover versions of it hit the French billboards in the 60s and, although its slow sensuality is a far cry from the high-pitched ecstatic Asha Bhonsle version, both certainly share something in common. “Bisou” (French slang for “kiss”) must have been heard somehow, somewhere by Shailendra who used it for authentic inspiration in writing this classy number that made it all the way back to Bombay.

So you see? It’s not entirely nonsense, nor is it entirely logical–the rest of the song’s lyrics don’t add up to anything profound in Hindi, but at least the effect is at very least “exotic.” And that’s all Indian audiences of the 60s could hope for in these kinds of tourist films, right? Sharmila Tagore had a special relationship with France, so much so that in 1999, the country awarded her the highest honor for artists: Insignes de Commandeur de l’Ordre des Arts et des Lettres I. Sure, it was probably more in honor of her earlier work with Satyajit Ray, but her tribute to French go-go music must’ve helped.

Look, it’s the Eiffel Tower in the background! WOW EXOTIC!

And there it is. One mystery closed. You can thank me later. This request was submitted by one of our favorite readers, Reena! Have an obscure Bollywood mystery you want solved? Send us a request and we’d love to investigate!

-Mrs. 55

P.S. OK, so I get it. The most interesting part of this post was the mention of Sharmila wearing a bikini on stage. The irony? After igniting a wave of change in film censorship and standards with her bold moves, when Sharmila herself joined the Central Board of Film Certification, she expressed concern with the idea of too many bikinis on screen. For more on cabaret songs in Bollywood, see our post on Lata gone wild!

Kisi Patthar Ki Murat Se Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on June 30, 2012 by mrandmrs55

Sunil Dutt serenades Vimmi at an evening soiree in Hamraaz (1967)

The soundtrack of B.R. Chopra’s Hamraaz (1967) is remembered today for its showcasing of Mahendra Kapoor’s voice. Music director Ravi composed some unforgettable tunes for Mahendra Kapoor in this film, including “niile gagan ke tale,” “tum agar saath dene kaa vaadaa karo,” “na muu.nh chhupaake jiiyo,” and the gem that I’ve chosen to translate today: “kisii patthar kii muurat se.”

This song is found toward the beginning of Hamraaz, an entertaining murder mystery starring Sunil Dutt and newcomer Vimmi among a supporting cast of well-known names like Balraj Sahni, Helen, Mumtaz, Madan Puri, and Raaj Kumar. In the film, Sunil Dutt plays the role of a popular stage actor who falls in love with Vimmi, the daughter of a wealthy contractor, during a trip to Darjeeling. With this particular song, he serenades Vimmi around the piano at an evening soiree.

Sahir Ludhianvi was right on point when he described the film’s heroine Vimmi as a “patthar kii muurat” (a statue of stone) in this song. In an otherwise entertaining and well-produced film, Vimmi sticks out as a sore thumb for her tepid and expressionless acting. While Vimmi certainly had the beauty to make it in films, it is clear from her debut performance here that she was not cut out to become an actress. Introduced to B.R. Chopra by music director Ravi after meeting at a dinner party in Calcutta, Vimmi struggled immensely during the production of Hamraaz. Next to some of the stalwarts involved with film, Vimmi appeared to be a novice as she struggled to deliver her lines and required take after take to complete the simplest scenes. Interestingly, in spite of Vimmi’s lackluster performance, Hamraaz was a big hit when it was released. Unfortunately, Vimmi could not capitalize on the success of her debut and she failed to make a successful career for herself in the industry. Like many individuals associated with Bollywood, Vimmi’s life ended in tragedy: her family disowned her after she signed Hamraaz, her marriage fell apart a few years later, and it is said that she even turned to prostitution to finance an addiction to alcohol before her death. Quite sad, indeed. You can learn more about her tragic life by reading a surprisingly detailed Wikipedia biography here.

In any case, this song is a pure delight to listen to because of Sahir’s exquisite use of Urdu poetry combined with Mahendra Kapoor’s silky vocals. For a seemingly simple song, some of the Urdu here is quite advanced–do you know what the words parastish, taqalluf, and baghaavat mean? If not, find out by reading the glossary and translation that we’ve provided below! To learn more about another classic song produced by the Mahendra Kapoor-Sahir-Ravi combo, see our previous post on “chalo ek baar phir se” here.

-Mr. 55

Songs picturized around the piano are so classy.

Kisi Patthar Ki Murat Se Lyrics and Translation

kisii patthar kii muurat se muhabbat kaa iraadaa hai
I have intentions of loving a statue of stone.
parastish kii tamanna hai, ibaadat kaa iraadaa hai
I desire to worship it; I intend to pray to it.

jo dil kii dhaDakane.n samajhe, na aa.nkho.n kii zubaa.n samajhe
She understands neither the beating of my heart nor the language of my eyes.
nazar kii guftaguu samajhe, na jazabo.n kaa bayaa.n samajhe
She understands neither the dialogue of my glances nor the expression of my emotions.
usii ke saamane uskii shikaayat kaa iraadaa hai
I intend to air my grievances about this woman in her presence.

sunaa hai har javaan patthar ke dil me.n aag hotii hai
I have heard that a flame resides in the hearts of these young stones.
magar jab tak na chheDo, sharm ke parde me.n sotii hai
Yet, until you inflame it further, it remains asleep behind a veil of modesty.
yeh sochaa hai ki dil kii baat uske ruubaruu kah de.n
I have resolved to express my heart’s feelings to her face-to-face.
natiija kuch bhii nikale aaj apanii aarazuu kah de.n
Regardless of the outcome, I will reveal my desires to her.
har ek bejaan taqalluf se baghaavat kaa iraadaa hai
I intend to rebel against every spiritless formality today.

muhabbat berukhii se aur bhaDakegii voh kyaa jaane
Little does she know that her indifference will further arouse my love,
tabiiyat is adaa pe aur phaDakegii voh kyaa jaane
Little does she know that my disposition will be further agitated by her charm,
voh kyaa jaane ki apnaa kis qayaamat kaa iraadaa hai
And little does she know of my disastrous intentions.

kisii patthar kii muurat se muhabbat kaa iraadaa hai
I have intentions of loving a statue of stone.

Glossary

muurat: statue; iraadaa: intention; parastish: worship; tamanna: desire; ibaadat: worship; zubaa.n: language; guftaguu: dialogue, conversation; jazbaa: emotion; bayaa.n: expression; shikaayat: complaint; chheDnaa: to tease, inflame; ruubaru: face-to-face; natiija: outcome; aarazuu: desire; bejaan: spiritless; taqalluf: formality; baghaavat: rebelion; berukhii: indifference; bhaDakanaa: to arouse, flare up; tabiiyat: disposition; adaa: charm; phaDakanaa: to quiver, agitate; qayaamat: disaster.

Despite her looks, Vimmi falls very flat in her debut role as Meena in Hamraaz (1967)

Ab Kya Misal Doon Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on June 25, 2012 by mrandmrs55

Pradeep Kumar sings an Urdu love poem to Meena Kumari in Aarti (1962)

The next English translation in our series is of the poetic lyrics to “Ab Kya Misal Doon” from Aarti (1962). This timeless song is one of Bollywood’s most beloved romantic odes by Mohammed Rafi. Pradeep Kumar, Meena Kumari, and Ashok Kumar star in Aarti, a family drama of love, debts, and vengeance. Ashok Kumar plays a wealthy surgeon and the villain of the film, vowing revenge when his betrothed, Meena Kumari, marries another man, Pradeep Kumar. An exacting dilemma of the film comes when ironically Ashok Kumar must decide whether or not to push aside his emotional battles and perform surgery on his own rival Pradeep Kumar to save his life. Of course, Meena Kumari throws in some more drama into the bargain–and her quiet beauty steals the show yet again. Aarti has a number of great songs written by Majrooh Sultanpuri, but unarguably the greatest is the sweet Mohammed Rafi ballad “Ab Kya Misal Doon.”

Pradeep Kumar plays “the other man” in the film–a good-hearted, but unemployed poetic dreamer who croons softly to Meena Kumari in this number. It would put any girl in a tough position: the poetry of the song is exquisite, without overwhelming anyone with an Urdu vocabulary exam. It has just the right blend of tenderness, lyricism, and adoration made magical by the unequivocal talent of Mohammed Rafi. Follow along on youtube here and enjoy our English translation of this poetic masterpiece!

Meena Kumari blushes as she hears Pradeep Kumar singing her praises in Aarti (1962)

Ab Kya Misal Doon: Lyrics and Translation

Ab kyaa misaal doon mei.N tumhaare shabaab ki
What can I now compare to your lustre?
Insaan ban gayee hai kiran mahtaab kii
You are a ray of the moon in human form

Chehre mei.N ghul gayaa hai haseen chaandni ka noor
The beautiful light of the moon has melted upon your face
Aankho.N mei.N hai chaman ki jawaan raat ka suroor
In your eyes is the garden of the early night’s joy
Gardan hai ek jhuki hui daali gulab kii
Your neck is like a lowered branch of a rose flower
Ab kyaa misaal doon…
What can I compare now…

Gesu khule to shaam ke dil se dhuan uThe
When your hair was let open, then the smokiness of night emerged from my heart
Chhule qadam to jhuk ke na phir aasmaan uThe
When your feet hit the ground, the sky bowed down would not raise itself again
Sau baar jhilmilaaye shamaa aftaab kii
The light of this sun sparkled a hundred times
Ab kyaa misaal doon…
What can I compare now…

Deewar-o-dar kaa rang, yeh aanchal, yeh pairhan
The end of your saarii and your robes are the colours of my refuge
Ghar kaa mere chiraagh hai boota sa yeh badan
The lamp of my house is this slender plant-like body
Tasveer ho tumhii mere jannat ke khwaab kii
You are the image of the paradise of my dreams
Ab kyaa misaal doon…
What can I compare now…

Glossary:

misaal: example, comparison; shabaab: glory, lustre; insaan: human; kiran: ray, mahtaab: moon; chehra: face; noor: light; chaman: garden; suruur: joy, exhilaration; gardan: neck; daalii: branch; gulaab: rose flower; gesuu: hair; dhuaan: smoke; qadam: footsteps; aasmaan: sky; sau baar: a hundred times; jhilmilaanaa: to sparkle, to shine; aftaab: sun; deewar-o-dar: walls and doors, refuge; rang: colour; aanchal: the end draping of a saarii; pairhan: robe; ghar: house; chiraagh: light; boota: small plant; badan: body; tasveer: image, picture; jannat: paradise; khwaab: dream

Meena Kumari poses with Ashok Kumar and actress Shashikala at the 1962 Filmfare Awards.

Did you know in 1962, Meena Kumari was the only nominee at the Filmfare Awards for Best Actress? She was nominated for Aarti, Sahib Bibi Aur Ghulam, Main Chhup Rahuungi. Talk about a walk-over. She took it home for Sahib Bibi Aur Ghulam (1962).

-Mrs. 55