Saiyan Dil Mein Aana Re Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on May 3, 2013 by mrandmrs55

Shamshad Begum Bollywood playback singer

Bollywood playback legend Shamshad Begum (1919-2013)

Last Wednesday, Bollywood lost another of its finest treasures: legendary playback singer Shamshad Begum. The veteran singer was 94 years old. She was well-known for breaking the norms–a maverick with a Brenda Lee-esque penchant for the Western and an irresistible je ne sais quoi that drew hoards of admirers from across the sub-continent. While Lata Mangeshkar and her clones sought to define femininity by delicate, high-pitch vocals Shamshad Begum proved over and over again that a sexy, strong timber could still carry innocence and that women in India could not all be categorized by a single stereotyped voice. Yes, the world needed Shamshad Begum, a woman who never succumbed to expectations and whose daring voice lent itself to some of the greatest works of Bollywood’s Golden Age. We salute you, Shamshad, and the invaluable service you did to the nascent Hindi film industry.

Who can forget her performance with Nigar Sultana as the sultry Bahar in Mughal-e-Azam‘s “Teri Mehfil Mein Qismat“? Few women dared sing a duet with Lata Mangeshkar for fear of inferiority–but that was precisely where the great talents of Shamshad shined their brightest. With a voice unlike anything in Bollywood history, Shamshad dazzled audiences with a deep, edgy flair for which she was famous. There was simply no competition because the voices were incomparable. Shamshad’s other famous duets such as “Leke Pehla Pehla Pyar” with Mohammed Rafi from CID (1956), “Mere Piya Gaye Rangoon” with Chitalkar Ramchandra in Patanga (1949) or “Kajra Mohabbatwala” with Asha Bhonsle in Qismat (1968) to name a few, showcase her unique robust twist on the norm and continue to be remade and popularized today.

Shamshad Begum receiving the Padma Bhushan for a lifetime of achievements in 2009.

Music director O.P. Nayyar confessed in an interview that when he entered the music industry, he begged Shamshad Begum to sing for his compositions. Her first collaboration with him became absolutely legendary: “Kabhi Aar, Kabhi Paar” from the film Aar Paar (1954). Here at Mr. and Mrs. 55, our favorite of her solo hits is the extraordinarily catchy S.D. Burman composition, “Saiyan Dil Mein Aana Re” from Bahar (1951) in which classical dancer Vijayantimala made her Bollywood debut.

You can tell from themyriad of hand gestures reminiscent of a classical mudra to accompany the emotion of each line (coupled with her impeccable posture), that teenager Vijayantimala was well-trained in Bharatnatyam arts. This theatrical dance form meshes interestingly with the medium of film, at times carrying the over-expression of a silent movie and the spectacle of a living room classical dance performance. Perhaps the best part of this adorably innocent love song (besides, of course, Shamshad’s vocals!) is the clever and hilariously unnecessary drama accompanying the actresses 4 costumes changes in the song!

Vijayantimala in Bahar 1951 Saiyan Dil Mein Ana Re

Young Vijantimala makes her Bollywood film debut singing Shamshad Begum’s “Saiyan Dil Mein Aana Re” in Bahar (1951).

Please enjoy the full lyrics and English translation to this Shamshad Begum hit “Saiyan Dil Mein Aana Re” below and let us know YOUR favorite Shamshad Begum song in the comments!

Saiyan Dil Mein Aana Re Lyrics and Translation:

Saiyaa.N dil mei.N aanaa re
Beloved, come into my heart
Aake phir na jaanaa re
And once you come, never leave
Chham chhamaa chham chham

Raja ban ke aanaa re
Like a king, come to me
Mohe leke jaanaa re
And take me with you when you go
Chham chhamaa chham chham

Chaandnii raat hogii, taaro.N kii baaraat hogii
It will be a moonlit night, the stars will form a wedding procession
Pehle pehle pyaar kii pehlii pehlii baat hogii
The first words of my first love will be spoken
Khushii khushii gaaye.Nge ham geet suhaanaa re
We will joyfully sing a beautiful song

ThoDii thoDii sahal hogii, thoDaa thoDaa pyaar hogaa
Little by little, our love will become easy
Kabhii iqraar hoga, kabhii inkaar hogaa
Sometimes you will agree with me, sometimes you will refuse me
Teraa manaanaa meraa rooTh jaanaa re
But you appease me, my anger will disappear

Tum mere paas hoge, gham baDii duur hogaa
You will be beside me, and all sadness will be far away
Kehtaa hai jiyaa meraa hogaa zuroor hogaa
My heart tells me this will certainly be so
Laanaa re laanaa tashriif laana re
Come, believe in me

Saiyaa.N dil mei.N aanaa re
Beloved, come into my heart
Aake phir na jaanaa re
And once you come, never leave
Chham chhamaa chham chham

Raja ban ke aanaa re
Like a king, come to me
Mohe leke jaanaa re
And take me with you when you go
Chham chhamaa chham chham

Glossary:

saiyaaN: beloved; raajaa: king; chaandnii: moonlight; baaraat: wedding procession; khushii: happiness, joy; geet: song; suhaanaa: beautiful; thoDaa: a little; sahal: easy; iqraar: agreement, acceptance; inkaar: refusal; manaanaa: to appease someone; rooTh: sulk, anger; gham: sadness; duur: far; jiyaa: soul, heart; zuroor: certainly; tashriif laanaa: a respectful way of asking someone to come or to enter (and in doing so, trust their honor with you)

So now you’re asking yourself, why is there no translation given for arguably the best line of the song: “Chham chhamaa chham chham“? There are a few ways to analyze this line–whether she’s referencing the glittering of stars, doing some free-styling by adding an extemporaneous beat to the melody, or getting carried away by the excitement of her own life–I think any real attempt to translate that exceedingly interpretive line formally would be an injustice to the song’s joie de vivre. Let us know your favorite Shamshad Begum moment in the comments!

– Mrs. 55

Plagiarism in Hindi Film Music: Is Imitation the Most Sincere Form of Flattery?

Posted on August 24, 2012 by mrandmrs55

Music directors in the Bollywood industry today are often accused of plagiarizing songs without giving proper credit to the original sources. Pritam Chakraborty, in particular, comes to mind as a composer who has been subjected to such accusations in recent times. Yet, lifting tunes is not a new trend in the industry: its origins can be traced back to the industry’s earliest days when music directors of the Golden Era composed melodies heavily inspired by unattributed sources. Below, let’s take a listen to some plagiarized works composed by five of the greatest music directors of yesteryear: R.D. Burman, S.D. Burman, Shankar-Jaikishan, Salil Chowdhury, and O.P. Nayyar.

R.D. Burman

Among the music directors of his time, R.D. Burman was perhaps the most notorious for composing inspired tunes. Within the list that I’ve provided below, the magnitude of plagiarism varies from song to song. Some numbers below are direct lifts from their originals, such as the cult classic “mahbuubaa mahbuubaa” from Sholay (1975). Others represent more subtle variations of plagiarism: for instance, the Kishore Kumar classic “dilbar mere kab tak mujhe” only takes it mukhDaa from “Zigeunerjunge” but has original antaras and interludes. As a musician, I personally feel that the latter form of lifting is somewhat justifiable because it still reflects a level of creativity and originality on the part of the composer. The direct copying of tunes, however, raises ethical concerns and may have even placed music directors like R.D. Burman in legal trouble had such songs been released today. Regardless of your opinion on this issue, what is universally striking about the list of songs below is the diversity of sources from which R.D. Burman drew his inspiration. Collectively, the original melodies come from a smorgasbord of musical genres from all over the world: traditional folk, American pop, Greek, German, French, and even Iranian rock!

aao twist kare.n (Bhoot Bangla, 1965) / “Let’s Twist Again” (Chubby Checker, 1962)
churaa liyaa hai tum ne  (Yaadon Ki Baraat, 1973) / “If It’s Tuesday, This Must Be Belgium” (Bojoura, 1969)
teraa mujhse hai pahle kaa naataa koii  (Aa Gale Lag Ja, 1973)/ “The Yellow Rose of Texas” (Traditional)
mahbuubaa, mahbuubaa (Sholay, 1975) / “Say You Love Me” (Demis Roussos, 1974)
mil gayaa ham ko saathii (Hum Kisi Se Kum Nahin, 1977) / “Mamma Mia” (ABBA, 1975)
jahaa.n terii yah nazar hai (Kaalia, 1981) / “Heleh Maali” (Zia Atabi, 1977)
kaisaa teraa pyaar (Love Story, 1981) / “I Have A Dream” (ABBA, 1979)
dilbar mere kab tak mujhe (Satta Pe Satta, 1982) / “Zigeunerjunge” (Alexandra, 1967)
kahii.n na jaa  (Bade Dilwala, 1983) / “La Vie En Rose” (Edith Piaf, 1955)
tum se milke (Parinda, 1989) / “When I Need You” (Leo Sayer, 1977)

Zeenat Aman sizzles in “churaa liyaa tum ne” from Yaadon Ki Baraat (1973)

S.D. Burman

Like his son, S.D. Burman has also composed melodies that reflect marked inspiration from foreign sources. Although we have already investigated the influence of Tagore’s music on S.D. Burman in a previous post, we now observe how his compositions also were inspired by non-Indian genres. For a composer who was rather traditional in his musical output, who would have imagined that he lifted material from Mexican, Italian, and American country melodies?

chaahe koi khush ho (Taxi Driver, 1954) / “Tarantella” (Traditional)
jiivan ke safar me.n raahii (Munimji, 1955) / “Mexican Hat Dance” (Traditional)
ek laDkii bhiigii bhaagii sii (Chalti Ka Naam Gaadi, 1958) / “Sixteen Tons” (Tennessee Ernie Ford, 1955)
ham the vah thii (Chalti Ka Naam Gaadi, 1958) / “Watermelon Song” (Tennessee Ernie Ford, 1957)
yah dil na hotaa bechaaraa (Jewel Thief, 1967) / “March” (Bridge on the River Kwai, 1957)
saalaa mai.n to sahab ban gayaa (Sagina, 1974) / “Chella Lla” (Renato Carosone, 1959)

The ever-versatile Kishore Kumar stars in a comic role in Chalti Ka Naam Gaadi (1955)

Shankar-Jaikishan

In my opinion, Shankar-Jakishan were the quintessential music directors of Bollywood’s Golden Age. They combined the authenticity of traditional Indian music with the modern sophistication of Western influences to produce songs that appealed to the masses. It’s not surprising that some of their tunes reflect inspiration from foreign influences, but what is remarkable is that several of the songs listed below are remembered today as some of this duo’s most treasured gems. Two songs from Chori Chori (1956), two songs from Gumnaam (1965), and the title track of Jab Pyar Kisi Se Hota Hai (1961) — among many other hits — were heavily inspired by existing Western numbers. I think you’ll be surprised to see some of your favorites on the list below…

ghar aayaa meraa pardesii (Awaara, 1952) / “Al Balad El Mahboub” (Umm Kulthum)
aajaa sanam madhur chaa.ndnii me.n ham (Chori Chori, 1956) / “Tarantella” (Traditional)
panchii banuu.n uDtii phiruu.n (Chori Chori, 1956) / “Coming Through The Rye” (Traditional)
aigo aigo yah kyaa ho gayaa? (Boyfriend, 1961) / “Stupid Cupid” (Connie Francis, 1958)
jiyaa ho jiyaa kuchh bol do (Jab Pyar Kisi Se Hota Hai, 1961) / “Broken-Hearted Melody” (Sarah Vaughan, 1959)
sukuu sukuu (Junglee, 1961) / “Sucu Sucu” (Ping Ping, 1961)
dekho ab to kis ko nahii.n hai khabar (Janwar, 1964) / “I Want To Hold Your Hand” (The Beatles, 1963 )
gumnaam hai koii (Gumnaam, 1965) / “Charade” (Henry Mancini and Orchestra, 1963)
jaane chaman sholaa badan (Gumnaam, 1965) / “Autumn Leaves” (Nat King Cole, 1956)
le jaa le jaa meraa dil (An Evening in Paris, 1967) / “Man of Mystery” (The Shadows, 1960)
kaun hai jo sapno.n me.n aayaa? (Jhuk Gaya Aasman, 1968) / “Marguerita” (Elvis Presley, 1963)

Rajendra Kumar definitely breaks conventions of automobile safety during the picturization of “kaun hai jo sapno.n me.n aayaa?” from Jhuk Gaya Aasman (1968).

Salil Chowdhury

Salil Chowdhury’s compositions always reflect an intelligent and sophisticated mastery of music that set him apart from his peers in the industry. Instead of describing the songs listed here as cases of plagiarism, I would be more likely to categorize them as adaptations. When Salil Chowdhury used another Western melody as an inspiration, he always managed to make it his own by adding something special that would resonate with Indian audiences. Take, for example, the evergreen Talat-Lata duet “itnaa mujhse tu pyaar baDhaa.” Although the mukhDaa is clearly inspired by Mozart’s Jupiter Symphony, Salil composes new antaras that beautifully complement the original melody. As another example, consider “bachpan o bachpan” from Memdidi (1961). Inspired by the children’s rhyme “A Tisket, A Tasket,” Salil takes the melody to a new level of complexity by inserting operatic interludes sung by our beloved diva Lata Mangeshkar. Bravo!

dharti kahe pukaar ke (Do Bigha Zameen, 1953) / “Meadowlands” (Lev Knipper, 1934)
halke halke chalo saa.nvare (Tangewaali, 1955) / “The Wedding Samba” (Edmund Ros and Orchestra, 1950)
dil taDap taDap ke (Madhumati, 1957) / “Szla Dziewczka” (Traditional)
zindagii hai kyaa, sun merii jaan (Maya, 1961) / “Theme from Limelight [from 3:27] ” (Charlie Chaplin, 1952)
itnaa na mujhse tu pyaar baDhaa (Chhaya, 1961) / “Molto allegro” from Symphony No. 40 (Wolfgang Amadeus Mozart, 1788)
bachpan o bachpan (Memdidi, 1961) / “A Tisket, A Tasket” (Traditional)
aa.nkho.n me.n tum ho (Half-Ticket, 1962) / “Buttons and Bows” (Dinah Shore, 1948)

Vijayantimala coyly hides behind a tree in the picturization of “dil taDap taDap ke” from Madhumati (1957)

O.P. Nayyar

O.P. Nayyar is known for his characteristically Western-inspired approach to crafting melodies for Hindi films, but his contribution to our list of directly plagiarized songs is relatively small in comparison to some of his peers in the industry. The most well-known example here is, of course, the Rafi-Geeta duet “yah hai bambaaii merii jaa.n” which has been lifted from its predecessor “My Darling Clementine.”

baabuujii dhiire chalnaa (Aar Paar, 1954) / “Quizas, Quizas, Quizas” (Trio Los Panchos, 1947)
yah hai bambaii merii jaa.n (C.I.D., 1955) / “My Darling Clementine” (Traditional)
lakho.n hai.n yahaa.n dilvaale (Kismat, 1968) / “Red River Valley” (Traditional)

Biswajeet hams it up for Babita during the picturization of “lakho.n hai.n yahaa.n dilvaale” in Kismat (1968)

What is your opinion on plagiarism in Hindi film music? Was it acceptable for music directors of this time to lift material from Western sources in order to introduce musical diversity to Indian audiences? Or, is it unethical for such plagiarism to occur without giving credit to the original musicians who created the songs in the first place? Let us know in the comments, and feel free to share any examples that go along the theme of this post!