Yeh Zindagi Usi Ki Hai Lyrics & Translation: Let’s Learn Urdu-Hindi

Posted on January 13, 2019 by mrandmrs55

Bina Rai's lovely smile in Anarkali (1953)

Bina Rai’s enchanting smile commands the screen in Anarkali (1953).

Today we present the lyrics and English translation to “Yeh Zindagi Usiki Hai” from Anarkali (1953). “Yeh Zindagi Usiki Hai” is a true Bollywood legend, one of Lata Mangeshkar’s most iconic numbers picturised upon a nail-biting thriller of historical mythology.

The doomed tale of 16th century Mughal Prince Salim and fabled courtesan Anarkali has been a favorite of the Bollywood film industry dating back to the pre-talkie days. A silent film in 1928 and then a talkie in 1935 starred Sulochana in the title role (who incidentally also plays Queen Jodha in the 1953 version).

In 1944, K. Asif too announced he would remake the film with Nargis as the lead, but unfortunately, the film was put on hold with the partition of India when his producer Shiraz Ali Hakim moved to Pakistan. Almost a decade after Bina Rai’s 1953 version became a blockbuster, K. Asif picked up steam on his “period” project, toyed with casting Nutan before honing in on Madhubala, and eventually released his magnum opus Mughal-e-Azam (1961).

Pradeep Kumar and Bina Rai star in Anarkali 1953.png

Pradeep Kumar and Bina Rai star as Prince Salim and his songstress lover in Anarkali (1953).

In Filmistan’s magnificent 1953 version, the song “Yeh Zindagi Usiki Hai” both opens and ends the film. A romantic version starts the movie on a high note (literally) while an ominous version carries the film’s climax as the heroine is entombed alive. The cinematography, particularly of the first iteration, is stunning: dream-like extreme close-ups of Bina Rai lend a lyrical quality to the Salim-Anarkali courtship. Every shot is infused with languid glamour matched by the actress’ complete command of the screen. I remain awestruck by Bina Rai’s performance–she possess that elusive je ne sais quoi, which eclipses beauty or theatrics to make her unquestionably a star. You cannot stop watching her even as the last brick is placed in front of her face (Geeta Bali from that era possesses a similar enchanting appeal).

Let me be clear: no matter how you slice it, the biggest star of this piece is Lata Mangeshkar whose vocals could overpower any Mughal army–from her gorgeous opening alaap to the haunting final farewell. It’s one of those mind-numbing songs that makes me sad when I remember some people live their whole pathetic lives without ever hearing this angel’s voice. Music composer C. Ramachandra famously shafted Geeta Dutt by switching the soundtrack to a pure Lata production halfway through (fortunately, one Geeta Dutt number was salvaged). The expert sitar that punctuates both versions of “Yeh Zindagi Usiki Hai” is performed by none other than Abdul Halim Jaffer Khan (yes, the same genius who wowed you in “Madhuban Mein Radhika“).

Now that your cup runneth over with tea, check out the lyrics and our English translation to “Yeh Zindagi Usiki Hai” below!

Yeh Zindagi Usiki Hai Lyrics & English Translation:

Romantic version:

Yeh zindagii usii kii hai jo kisii ka ho gayaa
This life belongs to only to whomever gives themselves to another
pyaar hii mei.N kho gayaa
To whomever becomes lost in love

Yeh bahaar yeh samaah keh rahaa hai pyaar kar
This spring and this moment are telling us to fall in love
Kisi kii aarzuu mei.N apne dil ko beqaraar kar
They tell us to make ours hearts restless in desire of another
Zindagii hai bewafaa…
Life is unfaithful
Zindagii hai bewafaa, luuT pyaar kaa mazaa
Life is unfaithful, so we must steal the pleasures of love
Yeh zindagii usii kii hai…

dhaDak rahaa hai dil, to kyaa? Dil ke dhaDakane.N na gin
So what if my heart is racing? Do not count your heartbeats
Phir kahaa.N yeh fursate.N, phir kahaa.N yeh raat-din
Where again will we have this leisure time, where again will we have these days and nights?
Aa rahii hai yeh sadaa…
The call is coming
Aa rahii hai yeh sadaa mastiiyo.N mei.N Duub jaa
The call is coming for us to immerse ourselves in these intoxications
Yeh zindagii usii kii hai..

Yeh zindagii usii kii hai jo kisii ka ho gayaa
This life belongs to only to whomever gives themselves to another
pyaar hii mei.N kho gayaa
To whomever becomes lost in love

Bina Rai as Anarkali gazes at the audience one final time before she is (in theory) entombed alive in Anarkali (1953).

Sad version:

Yeh zindagii usii kii hai jo kisii ka ho gayaa
This life belongs to only to whomever gives themselves to another
pyaar hii mei.N kho gayaa
To whomever becomes lost in love

Jo dil yahaa.N na mil sake, mile.Nge us jahaa.N mei.N
Those hearts which could not meet here will meet in the other world
Khile.Nge hasrato.n ke phuul, jaa ke aasmaan mei.N
The flowers of our wishes will bloom as they reach heaven
Yeh zindagii chalii gayii…
Even if this life goes away
Yeh zindagii chalii gayii jo pyaar mei.N, to kyaa huaa?
Even if this life goes away, if it was for love, then so what?
Yeh zindagii usii kii hai…

Sunaayegii yeh daastaa.N, shamaa mere mazaar kii
The flame of my shrine will tell this story
Khizaa.N mei.N bhii khilii rahii, yeh kalii anaar kii
This pomegranate flower will keep blooming even in Autumn
Isse mazaar mat kaho…
Do not call this a shrine
Isse mazaar mat kaho, yeh mahal hai pyaar kaa
Do not call this a shrine, this is a palace of love
Yeh zindagii usii kii hai…
This life…

Hai zindagii kii shaam aa, tujhe gale lagaauu.N mai.N
Let the evening of my life come, I would take you in my arms
Tujhii mei.N Duub jaauu.N mai.N
I would immerse myself in you
Jahaa.N ko bhuul jaauu.N mai.N
I would forget the world
Bas ek nazar, mere sanam…
Just one last glance from you, my dear

Alviidaah….alviidaah…
Farewell…farewell…
Alviidaah….alviidaah…
Farewell…farewell…
Alviidaah….alviidaah…
Farewell…farewell…
Alviidaah….alviidaah…
Farewell…farewell…

Glossary:

zindagii: life; pyaar: love: kho jaanaa: to become lost; bahaar: Spring; samaa: moment, time; aarzuu: desire; beqaraar: restless; bewafaa: unfaithful; luuTnaa: to steal; mazaa: enjoyment, pleasure; dhaDaknaa: to beat [heart]; dil: heart; ginnaa: to count; fursaat: leisure time; raat-din: night and days; sadaa: call, cry; mastii: intoxication; Duubnaa: to drown, to immerse; hasrat: wish, desire; phuul: flower; aasmaa.N: sky, heaven; sunaanaa: to tell, to make heard; daastaa.N: story; shamaa: light, flame; mazaar: shrine, tomb; khizaa: Autumn; khilnaa: to bloom; kalii: flower; anaar: pomegranate; mahal: palace; shaam: evening; gale lagaanaa: to take in [one’s] arms; bhuulnaa: to forget; nazar: glance; sanam: lover, dear; alviidaah: farewell

Sulochana or Ruby Myers as Anarkali and Queen Jodha

Sulochana (also known as Ruby Myers) was a silent Indian film star of Jewish ancestry who starred in Anarkali (1928) (left) and later played Queen Jodha in the 1953 remake (right).

You are doubtless asking yourself, why did they have to entomb Anarkali alive though? Was there no more humane way of doing things? Okay, fine, the Mughals were not exactly known for their humane war strategies, but sheesh, when Prince Salim arrives at her tomb, don’t you think he would try tearing it down and checking if she’s alive rather than just having a meltdown and crying? Seriously, there had to be enough oxygen in there to last at least a little while longer!

As it turns out, Indian audiences couldn’t get enough of Pradeep Kumar and Bina Rai in a good old Mughal romance so they were cast again ten years later as Shah Jahan (Prince Salim’s real life son) and his queen Mumtaz Mahal in the film Taj Mahal (1963). Check out “Jo Wada Kiya Woh” or “Paao.N choo lene do” for more epic period Urdu poetry!

– Mrs. 55

Pyar Kiya To Darna Kya Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on June 19, 2016 by mrandmrs55

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On June 12, 2016, the deadliest mass shooting in modern American history took place at Pulse nightclub in Orlando, Florida. This tragedy took the lives of 49 innocent victims and wounded at least 53 more. The majority of victims targeted in this violent massacre were LGBT people of color. We stand in solidarity with Orlando and pay tribute to the lives lost in this hate-fueled tragedy through the translation of a timeless song from Mughal-E-Azam (1960): “pyaar kiyaa to Darnaa kyaa?”

Madhubala’s portrayal of Anarkali in Mughal-E-Azam (1960) is widely considered to be her greatest work.

Mughal-E-Azam (1960), directed by K. Asif, narrates the story of forbidden love between Anarkali (played by Madhubala) and Salim (Dilip Kumar). Salim, prince of the Mughal empire, falls in love with Anarkali, a beautiful dancer in the royal court. Emperor Akbar, Salim’s father, is outraged by his son’s relationship with a lowly courtesan. The ensuing conflict between Akbar and Salim, with Anarkali caught in the middle, results in a war between father and son that culminates in a tragic conclusion on all sides.

Although the love story of Salim and Anarkali has been dramatized several times over the decades, this depiction has become immortalized as a masterpiece in the realm of Hindi cinema. This film is considered a crowning glory of the careers for several of the artists involved, especially actress Madhubala, playback singer Lata Mangeshkar, music director Naushad, and lyricist Shakeel Badayuni.

With poignant eloquence, “Pyar Kiya To Darna Kya?” embodies the spirit of bravery in love. Indeed, this song expresses a universal message that originates from the time of Mughal emperors yet still resonates today. It inspires us to fight for those we love, to have courage in the face of adversity, and to live our lives freely without fear.

In light of the recent tragedy, let it also be a reminder that love can be expressed in many different ways. Those who love differently from the norm should not be afraid of expressing themselves simply for being who they are. By promoting tolerance over hate, we must come together and take a stand against the persecution of the LGBT community in today’s society.

After all, we cannot forget that love is love.

-Mr. ’55

Madhubala brazenly defies societal norms in the royal court of Emperor Akbar in Mughal-E-Azam (1960)

Pyar Kiya To Darna Kya: Lyrics and English Translation

insaan kisii se duniyaa me.n ek baar muhabbat kartaa hai
An individual only falls in love once in this world.
is dard ko lekar jiitaa hai, is dard ko lekar martaa hai
He lives with this pain, and he dies with this pain.

pyaar kiyaa to Darnaa kyaa?
If I have loved, then why must I be afraid?
pyaar kiyaa koii chorii nahii.n kii
I have simply loved; I have committed no theft.
chhup chhup aahe.n bharnaa kyaa?
Then, why must I heave these sighs of pain in secrecy?

aaj kahe.nge dil kaa fasaanaa
Today, I will narrate the story of my heart,
jaan bhii le le chaahe zamaanaa
even if the world takes my life.
maut vahii jo duniyaa dekhe
If death is only accepted when witnessed by the world,
ghuT ghuT kar yuu.n marnaa kyaa?
then why must I die by suffocating alone?

unkii tamanna dil me.n rahegii
My desire for him will continue to grow in my heart.
shamma isii mahfil me.n rahegii
The flame will continue to burn in this gathering.
ishq me.n jiinaa, ishq me.n marnaa
After living in love and dying in love,
aur hame.n ab karnaa kyaa?
what else remains for me to do?

chhup na sakegaa ishq hamaraa
My love cannot be hidden,
chaaro.n taraf hai unkaa nazaaraa
it can be seen in all four directions.
pardaa nahii.n hai jab koii khudaa se,
If I do not wear a veil in front of God,
bando.n se pardaa karnaa kyaa?
why must my love remain veiled from society?

pyaar kiyaa to Darnaa kyaa?
If I have loved, then why must I be afraid?

Glossary

insaan: person, human; dard: pain; Darnaa: to fear; chorii: theft; aahe.n bharnaa: to heave sighs; fasanaa: story; zamaanaa: society, world; maut: death; ghuTnaa: to suffocate; tamanna: desire; shamma: flame; ishq: love; nazaaraa: sight; pardaa: veil: banda: person, human.

Mughal-E-Azam (1960) became the first Hindi feature film to be digitally colorized for re-release in theaters in 2004.

The Top 30 Best Music Albums of Classic Bollywood

Posted on January 21, 2016 by mrandmrs55

The greatest music albums from classic Bollywood have been chosen. Which songs made the list of Hindi films’s top 30?

Introduction

Welcome to the greatest music of classic Bollywood! We at Mr. and Mrs. 55 – Classic Bollywood Revisited! have compiled our ultimate list of the top 30 best classic Bollywood film soundtracks of all-time. Music is the very soul of classic Bollywood, a legacy of beauty and style that once lit the world. These soundtracks showcase the most talented artists of Bollywood and are as diverse and transformative as the films to which they lent their magic. Long after the cinema lights fade, this music remains in the air, haunting us with desire, sustaining us through tragedy, and enchanting our daily experiences in the world.

Soundtracks of all Hindi films released between the years of 1945 to 1985 were considered and ranked based on the merit of lyrics, musical composition and complexity, historical and cultural value, vocal performance, and accomplishments of the soundtrack elements as an ensemble. Topping our list are composers Sachin Dev Burman, Rahul Dev Burman, Naushad, and the duo Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal (often credited as Shankar-Jaikishen) whose works both defined and reinvented Bollywood. Like our enormously popular list of the Top 30 Greatest Classic Bollywood Films of All Time, these soundtracks embrace the unexpected.

The advent of music in Bollywood binds the stormy history of a shackled India emerging from depression and war with the golden age of Hollywood musical film. Many believe that films with de rigeur musical numbers is a unique hallmark of Hindi cinema. However, the early “talkie” pictures of India such as Alam Ara (1931) were heavily influenced by the popular western films like The Jazz Singer (1927) and Showboat (1929) in which the new sound technology instantly propelled musical film as the most profitable genre. Hollywood directors like Busby Berkeley whose signature spectacle was the mass ornament and nimble-footed singer-dancers like Fred Astaire and Ginger Rogers helped contribute to the hundreds and hundreds of musical films cherished by the western world during the 1930s-1950s. The then universal convention of five to seven musical numbers peppering a film was easily embraced and adapted by Hindi movie directors who introduced Hindustani musical traditions to their work. Playback singers such as Lata Mangeshkar, Mohammed Rafi, Kishore Kumar, and Asha Bhonsle were as celebrated as the actors for whom they lent their voices. Often before a film was released, a Bollywood movie’s soundtrack was played repeatedly on the radio, reaching the hearts of millions across the country who may not have afforded the luxury to see the actual film in theatres.

While Hollywood eventually diverged from the musical film genre by the late 1960s, India was awakening to its own golden era of film in which music dominated the sensory milieu. Perhaps it was the escapism of music with its perfect harmonies and piercing poetry that touched the newly freed country still finding its identity. From solemn hymns of the countryside to feverish cabarets of city nightlife, from extravagant orchestras to solitary sitar solos, and from singers whose voices seem to descend from heaven, these soundtracks unleashed new eras of possibility and romance. The music of classic Bollywood will change you forever. For a few fleeting minutes, the ideals you dreamed of are made real.

Take this journey with us through the best music albums of yesteryear Hindi cinema. This music the way is was meant to be. This is classic Bollywood.

The Top 30 Best Classic Bollywood Soundtracks of All Time:

1. Pakeezah

Ghulam Mohammed and Naushad, 1971

Chalte Chalte – Lata Mangeshkar
Taare Rahiyo – Lata Mangeshkar
Teer-e Nazar – Lata Mangeshkar
Chalo Dildar Chalo – Lata Mangeshkar and Mohammed Rafi
Inhi Logon Ne – Lata Mangeshkar
Mausam Hai Aashiqana – Lata Mangeshkar
Title Music/Alap – Lata Mangeshkar

2. Guide

S.D. Burman, 1965

Din Dhal Jaaye – Mohammed Rafi
Aaj Phir Jeene Ki – Lata Mangeshkar
Piya Tose – Lata Mangeshkar
Tere Mere Sapne – Mohammed Rafi
Gaata Rahe Mera Dil – Lata Mangeshkar and Mohammed Rafi
Kya Se Kya Ho Gaya – Mohammed Rafi
Saiyan Beiman – Lata Mangeshkar

3. Mughal-e-Azam

Naushad, 1960

Teri Mehfil Mein Qismat – Lata Mangeshkar and Shamshad Begum
Pyar Kiya To Darna Kya – Lata Mangeshkar
Mohe Pangat Pe – Lata Mangeshkar
Mohabbat Ki Jhooti Kahani – Lata Mangeshkar
Aye Mohabbat Zindabad – Mohammed Rafi
Prem Jogan Ban Ke – Ustad Bade Ghulam Ali Khan
Yeh Dil Ki Lagi – Lata Mangeshkar
Title Music

4. Nagin

Hemant Kumar, 1954

Man Dole Mera – Lata Mangeshkar
Jadugar Saiyan – Lata Mangeshkar
Tere Dwar Khada Ek Jogi – Hemant Kumar
Mera Dil Yeh Pukare Aaja – Lata Mangeshkar
Sun Ri Sakhi – Lata Mangeshkar
Yaad Rakhna Pyar Ki Nishani – Asha Bhonsle and Hemant Kumar

5. Aradhana

S.D. Burman, 1969

Roop Tera Mastana – Kishore Kumar
Mere Sapnon Ki Rani – Kishore Kumar
Kora Kaagaz Tha – Lata Mangeshkar and Kishore Kumar
Gunguna Rahe Hai Bhanware – Asha Bhonsle and Mohammed Rafi
Baghon Mein Bahar Hai – Mohammed Rafi and Lata Mangeshkar
Saphal Hogi Teri Aradhana – S.D. Burman

6. Teesri Manzil

R.D. Burman, 1966

Aaja Aaja – Asha Bhonsle and Mohammed Rafi
Deewana Mujhsa Nahin – Mohammed Rafi
O Haseena Zulfonwali – Asha Bhonsle and Mohammed Rafi
O Mere Sona Re – Asha Bhonsle and Mohammed Rafi
Tumne Mujhe Dekha – Mohammed Rafi

7. Barsaat

Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal, 1949

Hawa Mein Udta Jaye – Lata Mangeshkar
Chhod Gaye Balam – Lata Mangeshkar and Mukesh
Jiya Beqarar Hai – Lata Mangeshkar
Mujhe Kisise Pyar – Lata Mangeshkar
Patli Kamar Hai – Lata Mangeshkar and Mukesh

8. Anarkali

C. Ramachandra, 1953

Yeh Zindagi Usiki Hai – Lata Mangeshkar
O Zindagi Ke Denewale – Hemant Kumar
O Aasmanwale – Lata Mangeshkar
Jaag Dard-e-Ishq – Lata Mangeshkar and Hemant Kumar
Mohabbat Aisi Dhadhkan Hai – Lata Mangeshkar
Mujhse Mat Pooch – Lata Mangeshkar
Aaja Ab To Aaja – Lata Mangeshkar

9. Kati Patang

R.D. Burman, 1970

Jis Gali Mein – Mukesh
Yeh Jo Mohabbat Hai – Kishore Kumar
Na Koi Umang Hai – Lata Mangeshkar
Yeh Shaam Mastani – Kishore Kumar
Pyaar Diwanaa Hota Hai – Kishore Kumar
Aaj Na Chhodenge – Lata Mangeshkar and Kishore Kumar

10. Chori Chori

Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal, 1956

Panchi Banoon Udti – Lata Mangeshkar
Aaja Sanam – Lata Mangeshkar and Manna Dey
Jahan Main Jaati Hoon – Lata Mangeshkar and Manna Dey
Yeh Raat Bheegi Bheegi – Lata Mangeshkar and Manna Dey
Rasik Balma – Lata Mangeshkar
Man Bhavan Ke Ghar – Lata Mangeshkar and Asha Bhonsle

11. Taj Mahal

Roshan, 1963

Jo Wada Kiya Woh – Lata Mangeshkar and Mohammed Rafi
Jo Baat Tujh Mein Hai – Mohammed Rafi
Jurm-e Ulfat Pe – Lata Mangeshkar
Paaon Choo Lene Do – Lata Mangeshkar and Mohammed Rafi
Chandi Ka Badan – Asha Bhonsle and Mohammed Rafi

12. Hum Dono

Jaidev, 1961

Abhi Na Jao Chhod Kar – Asha Bhonsle and Mohammed Rafi
Allah Tero Naam – Lata Mangeshkar
Kabhi Khud Pe – Mohammed Rafi
Main Zindagi Ka Saath – Mohammed Rafi
Prabhu Tero Naam – Lata Mangeshkar

13. Jewel Thief

S.D. Burman, 1967

Honton Pe Aisi Baat – Lata Mangeshkar
Aasman Ke Neeche – Lata Mangeshkar and Kishore Kumar
Dil Pukare – Lata Mangeshkar and Mohammed Rafi
Rulake Gaya Sapna – Lata Mangeshkar
Yeh Dil Na Hota – Kishore Kumar
Title Music

14. Caravan

R.D. Burman, 1971

Piya Tu Ab To – Asha Bhonsle
Chadti Jawani – Lata Mangeshkar and Mohammed Rafi
Kitna Pyara Wada – Lata Mangeshkar and Mohammed Rafi
Goriya Kahan – Asha Bhonsle and Mohammed Rafi
Ab Jo Mile Hai – Asha Bhonsle

15. Bobby

Laxmikant Shantaram Kudalkar and Pyarelal Ramprasad Sharma, 1973

Main Shayar To Nahin – Shailendra Singh
Bahar Se Koi Andhar – Lata Mangeshkar and Shailendra Singh
Jhoot Bole Kauwa Kate – Lata Mangeshkar and Shailendra Singh
Mujhe Kuch Kehna Hai – Lata Mangeshkar and Shailendra Singh
Na Mangoon Sona Chandi – Manna Dey and Shailendra Singh

16. Pyaasa

S.D. Burman, 1957

Jaane Woh Kaise – Hemant Kumar
Aaj Sajan Mohe – Geeta Dutt
Hum Aap Ki Ankhon Mein – Geeta Dutt and Mohammed Rafi
Jane Kya Tune Kahi – Asha Bhonsle
Yeh Duniya Agar Mil Bhi Jaaye – Mohammed Rafi

17. Abhiman

S.D. Burman, 1973

Tere Mere Milan – Lata Mangeshkar and Kishore Kumar
Nadiya Kinare – Lata Mangeshkar
Tere Bindiya Re – Lata Mangeshkar and Mohammed Rafi
Piya Bina – Lata Mangeshkar
Ab To Hai Tumse – Lata Mangeshkar

18. Anand

Salil Choudhury, 1971

19. Kabhi Kabhi

Mohammed Zayur Khayyam, 1976

Kabhi Kabhi Mere Dil Mein – Lata Mangeshkar and Mukesh
Pyar Kar Liya To – Kishore Kumar
Main Pal Do Pal Ka – Mukesh
Mere Ghar Aayi Ek – Lata Mangeshkar
Tere Chehre Se – Lata Mangeshkar and Kishore Kumar

20. Baiju Bawra

Naushad, 1952

O Duniya Ke Rakhwale – Mohammed Rafi
Man Tarpat Hari Dar – Mohammed Rafi
Mohe Bhool Gaye Sanwariya – Lata Mangeshkar
Jhoole Mein Pawan Ke – Lata Mangeshkar and Mohammed Rafi
Tu Ganga Ki Mauj – Lata Mangeshkar and Mohammed Rafi

21. Mother India

Naushad, 1957

Duniya Mein Hum Aaye Hain – Lata Mangeshkar, Usha Mangeshkar, and Meena Mangeshkar
Ghunghat Nahin Kholungi – Lata Mangeshkar
Nagari Nagari Dware Dware – Lata Mangeshkar
O Janewalo Jao Na – Lata Mangeshkar
O Gadiwale – Shamshad Begum and Mohammed Rafi

22. Madhumati

Salil Choudhury, 1958

Aaja Re Pardesi – Lata Mangeshkar
Dil Tadap Tadap – Lata Mangeshkar and Mukesh
Suhana Safar – Mukesh
Ghadi Ghadi Mora Dil – Lata Mangeshkar
Chadh Gayo Papi Bichua – Lata Mangeshkar and Manna Dey

23. Basant Bahar

Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal, 1956

Duniya Na Bhaye Mohammed Rafi
Bhaye Bhanjana – Manna Dey
Ja Ja Re Ja – Lata Mangeshkar
Main Piya Teri – Lata Mangeshkar
Nain Mile Chain Kahan – Lata Mangeshkar and Manna Dey

24. Aar Paar

O.P. Nayyar, 1954

Babuji Dheere Chalna – Geeta Dutt
Sun Sun Sun Zalima – Geeta Dutt and Mohammed Rafi
Kabhi Aar Kabhi Par – Shamshad Begum
Yeh Lo Main Haari Piya – Geeta Dutt
Hoon Abhi Main Jawan – Geeta Dutt

25. Kashmir Ki Kali

O.P. Nayyar, 1964

Deewana Hua Badal – Asha Bhonsle and Mohammed Rafi
Isharon Isharon – Asha Bhonsle and Mohammed Rafi
Subhan Allah Haseen – Mohammed Rafi
Kisi Na Kisi Se – Mohammed Rafi
Meri Jaan Balle Balle – Asha Bhonsle and Mohammed Rafi

26. Bandini

S.D. Burman, 1963

Ab Ke Baras Bhej – Asha Bhonsle
O Re Mahji – S.D. Burman
Mora Gora Ang Laile – Lata Mangeshkar
Jogi Jab Se Tu Aaya – Lata Mangeshkar
O Janewale Ho Sake – Mukesh

27. Sangam

Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal, 1964

Yeh Mera Prem Patra – Mohammed Rafi
Bol Radha Bol – Mukesh
Dost Dost Na Raha – Mukesh
O Mehbooba – Mukesh
Har Dil Jo Pyar Karega – Lata Mangeshkar

28. Yaadon Ki Baraat

R.D. Burman, 1973

Chura Liya Hai – Asha Bhonsle and Mohammed Rafi
Aapke Kamre Mein – Asha Bhonsle and Kishore Kumar
Lekar Hum Deewana Dil – Asha Bhonsle and Kishore Kumar
Meri Soni Meri Tamana – Asha Bhonsle and Kishore Kumar
Yaadon Ki Baraat – Mohammed Rafi and Kishore Kumar

29. Amar Prem

Rajesh Khanna Amar Prem

R.D. Burman, 1972

Chingari Koi Bhadke – Kishore Kumar
Raina Beeti Jaaye – Lata Mangeshkar
Kuch To Log Kahenge – Kishore Kumar
Yeh Kya Hua – Kishore Kumar
Bada Natkhat Hai Yeh – Lata Mangeshkar

30. Umrao Jaan

Rekha2_UmraoJaan

Mohammed Zayur Khayyam, 1981

In Ankhon Ki Masti – Asha Bhonsle
Dil Cheez Kya Hai – Asha Bhonsle
Justuju Jiski Hai – Asha Bhonsle
Yeh Kya Jagah Hai – Asha Bhonsle
Jab Bhi Milti Hai – Asha Bhonsle

Find out more about these and other classic Bollywood soundtracks on our song pages! Which soundtracks do you consider among classic Bollywood’s all-time best and why? Leave us a comment and let us know!

– Mrs. 55

Bekas Pe Karam Kijiye Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on June 29, 2014 by mrandmrs55

Shackled by chains, Madhubala pleas for mercy by singing a naat in Mughal-e-Azam (1960)

Today, we present the lyrics and English translation to a treasured gem from the regal soundtrack of K. Asif’s Mughal-e-Azam (1960): bekas pe karam kiijiye. Imprisoned by Emperor Akbar for falling in love with Prince Salim, Anarkali sings this song as a plea for mercy and delivery from her troubles. This composition is an example of a naat — a song in praise of the Prophet Mohammed — and it remains one of the most beautiful naats to grace Bollywood’s silver screen to this day.

For the soundtrack of Mughal-e-Azam, Naushad and Shakeel Badayuni teamed up to create a lyrical and musical masterpiece whose iconic splendor shines brightly in the annals of Hindi cinema. In particular, this composition has been tuned skillfuly by Naushad to the lilting notes of Raga Kedar, an ancient and revered raga named after Lord Shiva that is known for its complex melodic phrases and evocation of the shanta (tranquil) rasa. The tranquil piety of this song has been expressed most beautifully by melody queen Lata Mangeshkar, whose artistic genius is featured prominently throughout this film’s soundtrack. Not surprisingly, for a special record released in 1967 on the occasion of her silver jubilee in playback singing, Lata selected bekas pe karam kijiye as one of the top ten favorite songs of her career. Take a listen to a live version of this song from Lata’s famous Royal Albert Hall debut (London, UK) in 1974. Flawless as usual!

The poetry of this song employs a number of phrases and metaphors that are traditionally found in naats and other Muslim prayer songs. Specifically, Mohammed is referred to as mushkil-kushaa.n (remover of difficulties) and sarkaar-e-madiinaa (leader of the holy city Medina). The city of Medina occupies a revered position in Muslim history because it is believed that the migration of Mohammed and his followers from Mecca to Medina to escape perseuction in the year 622 A.D marks the beginning of the Islamic Era. In addition, this song employs two common metaphors used in religious songs to describe tragedy and misfortune: an ark stranded in a whirlpool (bha.nvar me.n safiina) and the sinking boat (Duubtii kashtii). Along with Madhubala’s devastating portrayal of Anarkali, such lyrics throughout the soundtrack of Mughal-E-Azam provide additional poignancy and artistry to the narration of this tragic epic.

See our translation of Teri Mehfil Mein Qismat Aazmaakar for more discussion about Mughal-E-Azam, and stay tuned as we translate the rest of the songs from this monumental film. Until next time…

-Mr. 55

Even during imprisonment, Madhubala’s beauty shines in this classic scene from Mughal-e-Azam (1960)

Bekas Pe Karam Kijiye: Lyrics and Translation

ai mere mushkil-kushaa.n fariyaad hai
Oh, my savior! Please heed this complaint.
aap ke hote hue duniyaa merii barbaad hai
Although I remain devoted to you, my world is being destroyed.

bekas pe karam kiijiye, sarkaar-e-madiinaa
Please have mercy upon this wretched soul, oh leader of the holy city.
gardish me.n hai taqdiir, bha.nvar me.n safiinaa

My fate revolves in a vicious cycle, while my ark is stranded in a whirlpool.

hai vaqt-e-madad, aaiye bigaDii ko banaane
As the time for aid has arrived, please come and resolve my troubles.

poshiidaa nahii.n aap se kuchh dil ke fasaane
I keep no tales of my heart hidden from you.
zakhmo.n se bharaa hai kisii majbuur kaa siinaa
This helpless devotee’s chest is marked by many wounds.

chhaayii hai musiibat kii ghaTaa gesuuo.n vaale
The dark lock-like clouds of misfortune have cast upon me.
lilaah merii Duubtii kashtii ko bachaa le.n
May the Lord rescue my sinking boat.
tuufaan ke aasaar hai.n, dushvaar hai jiinaa
With signs of an impending storm, my life is in danger.

bekas pe karam kiijiye, sarkaar-e-madiinaa
Please have mercy upon this wretched soul, oh leader of the holy city.

Glossary

mushkil-kushaa.n: remover of difficulties, savior; fariyaad: complaint; barbaad: destroyed; bekas: wretched, destitute; karam karnaa: to have mercy; sarkaar-e-madiinaa: leader of Medina (holy city of Islam), God; gardish: cycle; taqdiir: fate; bha.nvar: whirlpool; safiinaa: ark; vaqt-e-madad: time for aid; bigaDii banaanaa: to resolve troubles; poshiidaa: hidden; fasaanaa: tale; zakhm: wound; majbuur: helpless; siinaa: chest; musiibat: misfortune; ghaTaa: cloud; gesuuo.n: locks, hair; lilaah: Allah, God; kashtii: boat; tuufaan: storm; aasaar: signs; dushvaar: difficult, arduous.

The heavy chains used during the shooting of this song took a physical toll on Madhubala, who was diagnosed with a congenital heart condition known as Ventricular Septal Defect (VSD) or colloquially as a “hole in the heart”.

Teri Mehfil Mein Qismat Aazmaakar Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on May 2, 2012 by mrandmrs55

The mehfil for the qawwali looks particularly vibrant in the recolored version of Mughal-e-Azam (1960)

Directed by K. Asif, Mughal-e-Azam (1962) is one of the most cherished films in the history of Bollywood cinema. Although several films have been made around the same premise, Mughal-e-Azam is by far the most well-known depiction of the forbidden love story between Prince Salim and courtesan Anarkali. We could write (and probably will) at least ten different posts to describe all the things we love about this movie: the intricate Urdu dialogue, the beautiful soundtrack composed by Naushad, the elaborate costumes and set design, the heartwrenching plot, and so on. Here, I’d like to share the lyrics and translation for one of many gems found in this film’s soundtrack: terii mahfil me.n qismat aazmaakar.

This qawwali is set between Anarkali (played by Madhubala) and her chief rival Bahar (played by Nigar Sultana) as a musical debate on the nature of love. As both women fight for his affections, Prince Salim (played by Dilip Kumar) watches the performance and is supposed to give a rose to the winner of the debate at its conclusion.The back-and-forth debate style of these lyrics is quite a rare find in Bollywood cinema, and it is even rarer to encounter such lyrics (penned by Shakeel Badayuni!) as a female-female duet. Despite being a female-female duet, there is still a subtle division of gender roles if you pay close attention to the song. From her costume, mannerisms, and lines, it could be argued that Bahar is taking on the more masculine role in this qawwali. In fact, her singing part is rendered by the more masculine of the two voices: Shamshad Begum.

Although the lyrics of this qawwali can be interpreted as universal statements about love, there are a couple of interesting things to point out here with the context of the film’s plot in mind. For example, Bahar introduces a pun on her name when she sings “bahaare.n aaj paigham-e-muhabbat leke aayii. hai.n” (the spring has brought a message of love). Moreover, Bahar snarkily calls attention to the secret love affair between Salim and Anarkali when she claims, “kisii din yeh tamasahaa muskuraakar ham bhii dekhe.nge” (we shall smile one day and watch this spectacle). Aware that her affair with Salim is unacceptable by society’s standards, Anarkali admits that love can be hard when she sings, “muhabbat hamne maanaa zindagi barbaad kartii hai” (we admit that love can destroy one’s life”). She then posits, however, that suffering for the sake of love is worth it because lovers can leave a lasting legacy on the world after they die: “yeh kyaa kam hai ki mar jaane pe duniyaa yaad kartii hai?” Even though she’s being a little dramatic with her lines here, it’s hard not to be rooting for Anarkali over Bahar.

Salim, played by Dilip Kumar, judges the musical debate between Anarkali and Bahar.

At the end of the qawwali, Salim actually declares Bahar the winner of the debate by giving her the rose. This isn’t really a genuine victory because we know that even though Bahar wins the rose, Anarkali has already won Salim’s heart. Also, who could really lose when you have Madhubala and Lata Mangeshkar on your team at their peak of their careers? Come on, Salim, keep it real.

-Mr. 55

Teri Mehfil Mein Qismat Aazmaakar Lyrics and Translation:

Shamshad: terii mahfil me.n qismat aazamaakar ham bhii dekhe.nge
In the gathering of your court, we will test our fate.
ghaDii bhar ko tere nazdiik aakar ham bhii dekhe.nge
We shall come close to you fleetingly and watch this spectacle.
ajii haa.n ham bhii dekhe.nge
Yes, we shall watch this spectacle.

Bahar, played by Nigar Sultana, being sassy as she sings a classic qawwali in Mughal-e-Azam (1960)

Lata: terii mahfil me.n qismat aazamaakar ham bhii dekhe.nge
In the gathering of your court, we will test our fate.
tere qadamo.n pe sar apanaa jhukaa kar ham bhii dekhe.nge
We shall bow our heads at your feet and watch this spectacle
ajii haa.n ham bhi dekhe.nge
Yes, we shall watch this spectacle.

Madhubala charms all of us with her beautiful smile in Mughal-e-Azam (1960).

Shamshad: bahaare.n aaj paighaam-e-muhabbat leke aayii hai.n
The spring has brought a message of love.
baDii muddat me.n ummiido.n kii kaliyaa.n muskuraayii hai.n
The flowerbuds of hope have smiled after a long time.
gham-e-dil se zaraa daaman bachaakar ham bhii dekhe.nge
We shall protect ourselves from heartache and watch this spectacle.
ajii haa.n ham bhii dekhe.nge
Yes, we shall watch this spectacle.

Lata: agar dil gham se khaalii ho to jiine kaa mazaa kyaa hai?
If the heart is empty of pain, then what pleasure can one find in living?
na ho khuun-e-jigar to ashq piine kaa mazaa kyaa hai?
If the heart does not bleed, then what pleasure can one find in swallowing tears?
muhabbat me.n zaraa aa.nsuu bahaakar ham bhii dekhe.nge
We shall shed a few tears in love and watch this spectacle.
ajii haa.n ham bhii dekhe.nge
Yes, we shall watch this spectacle.

Shamshad: muhabbat karnevaalo.n kaa hai bas itnaa hii afasaanaa
Such is the story of lovers:
taDapnaa chupke chupke aahe.n bharnaa ghuT ke mar jaanaa
They quietly suffer; their eyes fill with tears; they suffocate and die.
kisii din yeh tamaashaa muskuraakar ham bhii dekhe.nge
We shall smile one day and watch this spectacle.
ajii haa.n ham bhii dekhe.nge
Yes, we shall watch this spectacle.

Lata: muhabbat hamne maanaa zindagii barbaad kartii hai
We admit that love can destroy one’s life.
yeh kyaa kam hai ki mar jaane pe duniyaa yaad kartii hai?
But, is it unworthy if the the world remembers lovers after they die?
kisii ke ishq me.n duniyaa luTaakar ham bhii dekhe.nge
We shall sacrifice the world for someone’s love and watch this spectacle.
ajii haa.n ham bhii dekhe.nge
Yes, we shall watch this spectacle.

terii mahfil me.n qismat aazamaakar ham bhi dekhe.nge
In the gathering of your court, we will test our fate.

Glossary

qismat: fate; aazamaanaa: to test; ghaDii bhar ko: fleetingly; nazdiik: close; qadam: feet; paighaam-e-muhabbat: message of love; baDii muddat me.n: after a long time; ummiid: hope; daaman bachaanaa: to protect; khuun-e-jigar: blood of the heart; ashq piinaa: to swallow tears; aa.nsuu bahaanaa: to shed tears; afasanaa: story; aahe.n: eyes; ghuTnaa: to suffocate; tamaaashaa: spectacle; barbaad: destroyed; luTaanaa: to sacrifice.