O Mere Sona Re Lyrics & Translation: Let’s Learn Urdu-Hindi

Posted on April 7, 2019 by mrandmrs55

Shammi Kapoor Asha Parekh in O Mere Sona Re Teesri Manzil

Asha Parekh flirts with Shammi Kapoor by poking hay in his ear during “O Mere Sona Re” from Teesri Manzil (1966).

Today we showcase the lyrics and English translation of “O Mere Sona Re” from the film Teesri Manzil (1966). This playful duet is one of many gems in R. D. Burman’s crowning soundtrack for this memorable film.

Teesri Manzil opens as a dark murder mystery when Asha Parekh’s sister falls to her death off the balcony of the third story of a hotel. Seeking revenge on her sister’s ex-lover Rocky whom she believes to be the culprit, Asha travels to Deradhun where Rocky is the lead singer in a band. However, she’s (almost literally) derailed by a train ride meet-cute with Shammi Kapoor, transforming the film into a slapstick romantic-comedy. Smooth operator Shammi Kapoor and corny, but savage Asha Parekh exchange a biting repartee that builds a perfect synergy between the two notoriously over-the-top actors.

After a misunderstanding about Shammi’s romantic, but honorable intentions, Asha leaves him in the lurch only for him to be beaten up by goons before her eyes–a consequence she deeply regrets. Asha cajoles him with the energetically flirtatious “O Mere Sona Re” on a sunny hillside. The song has particular significance in the film as she had hitherto refused to call him by his nickname “Sona.” Although she now uses this term of endearment for romantic effect, the joke is on her because the audience knows something he has been desperately hiding from her: Sona is actually Rocky!

Shammi Kapoor Asha Parekh Teesri Manzil.png

Asha Parekh and Shammi Kapoor create Vaudevillian chemistry in Teesri Manzil (1966).

Can you hear that single-note high-pitched violin? It’s the sound of your interest being piqued. We hope that you love our English translation of the beloved “O Mere Sona Re” below–it’s one of the most fun Asha-Rafi duets from that era! And we both know you never hit “skip” when it pops up on your iTunes shuffle.

O Mere Sona Re Lyrics & Translation:

O mere sonaa re, sonaa re, sonaa re
Oh my beloved, my beloved, my beloved
de duu.Ngii jaa.N judaa mat honaa re
I will give you my life, but let us not be separated
mai.N ne tujhe zaraa der mei.N jaanaa
I took some time to get to you know better
huaa qusuur khafaa mat honaa re
It was my fault, but do not become upset
O mere sonaa re, sonaa re, sonaa …
Oh my beloved, my beloved, my beloved…

o merii baaho.N se nikal ke, tu agar mere raste se haT jayegaa
Oh if you escape from my arms and leave my path
toh laharaake ho balkhaake, meraa saayaa tere tan se lipaT jaayegaa
Then swaying and billowing, my shadow will wrap around your body
Tum chhuDaao laakh damaa.N
You may release yourself from a hundred thousand of my embraces
chhoDte hai.N kab yeh armaa.N?
But when will you let go of these desires?
Ki mai.N bhii saath rahuu.Ngii rahoge jahaa.N
For I will stay together with you wherever you are

O mere sonaa re, sonaa re, sonaa…

O miyaa, hamse na chhipaao, woh banaavaT kii saarii adaaye.N liye
O gentleman, do not hide from me with all your artificial graces
Ki tum is pe ho itaraate, ki mai.N piichhe huu.N sau iltijaae.N liye
Why must you flaunt so much when I am behind you pleading a hundred times?
jii, mai.N khush huu.N, mere sonaa
Yes, I am happy my beloved
jhuuTh hai kyaa? Sach kaho na!
Is this a lie? Tell me the truth!
Ki mai.N bhii saath rahuu.Ngii rahoge jahaa.N
For I will stay together with you wherever you are

O mere sonaa re sonaa re sonaa…

O phir hamse na ulajhnaa, nahii.N laT aur uljhan mei.N paD jayegii
Oh, do not entangle me again, for if not, your hair will become even more tangled
O pachtaaogii kuch aise, ki yeh surakhii labo.N kii utar jaayegii
Oh, you will regret so much that the redness of your lips will disappear
yeh sazaa tum bhuul na jaanaa
Do not forget this punishment
pyaar ko Thokar mat lagaanaa
Do not knock down love again
ki chalaa jaau.Ngaa phir mai.N na jaane kahaa.N
For I will leave then, I do not know where

O mere sonaa re sonaa re sonaa…

Glossary:

sonaa: beloved (literally: gold/golden one); jaan: life; judaa: separation; der mei.N: late; qusuur: fault; khafaa: angry; baahe.N: arms; nikalnaa: to come out, to emerge; raastaa: path; haT jaanaa: to get out; laharaanaa: to sway, to wave; balkhaanaa: to billow; saayaa: shadow; tan: body; lipaT jaanaa: to wrap around, to twist; chhudaanaa: to release, to disengage; laakh: one hundred thousand; daamaa.N: embrace; chhodnaa: to let go of, to release; armaa.N: desire; miyaa: gentleman; chhipaanaa: to hide; banaavaT: artificial, fake; adaa: grace, style; itaraanaa: to flaunt, to show off; piichhe: behind; iltajaa: plea; khush: happy; jhuuTh: lie; sach: truth; phir: again, then; ulajhnaa: to bother, to entangle; laT: locks of hair; pachtaanaa: to regret; surakhii: redness; lab: lips; utarnaa: to get off, to descend; sazaa: punishment; bhuulnaa: to forget; Thokar: knock;

His pompadour ruffled irreparably, Shammi Kapoor reproaches Asha Parekh at the end of “O Mere Sona Re” from Teesri Manzil (1966).

You may now be asking yourself, what is poetic genius Majrooh Sultanpuri really saying on a deeper level with the whole “pachtaaogii kuch aise, ki yeh surakhii labo.N kii utar jaayegii“?

Like…are we just talking about lipstick getting smudged here…by her love interest perhaps? Or is she going to lose that red color because she grows pale from iron deficiency anemia? Will there be actual blood loss?

So many ways to interpret this. I leave it to you, O, gentle reader.

This winner was requested by superfan Shiraz. We love getting great requests like this one!

– Mrs. 55

Husnwale Tera Jawab Nahin Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on September 10, 2018 by mrandmrs55

Rajendra Kumar serenades Asha Parekh in the Vrindavan Gardens of Mysore, India in Gharana (1961)

Today, we present the lyrics and English translation to “Husnwale Tera Jawab Nahin” from Gharana (1961).

Penned by Shakeel Badayuni and composed by Ravi, this song stands out as an eternal favorite in the genre of Bollywood courtship songs, which includes gems such as “Chaudavin Ka Chand Ho” and “Mere Mehboob Tujhe.” Here, Mohammed Rafi lends his silky vocals to Rajendra Kumar, a pairing that dominated the silver screen throughout the ’60s.

This song is filled with several common tropes found in Urdu poetry that are employed to describe a woman’s beauty. These include similes to the Moon, the flowers of springtime, and the intoxication of wine. Interestingly, while “black cloud” has a negative connotation in English, the phrase kaalii ghataa is used here and frequently in other Urdu-Hindi poems to admire the dark color of a woman’s tresses.

The grammar police out there may be wondering: why has the poet chosen to refer to the object of affection here using the male vocative husnvaale instead of the feminine husnvaalii? The answer to this question can be found by understanding the historical origins of the Urdu ghazal, a form that borrows heavily from the Persian tradition. Unlike Urdu-Hindi, the Persian language does not distinguish gender among pronouns/objects. In keeping with this tradition of gender neutrality, Urdu poetry often refers to female objects of affection using masculine pronouns, leaving it up to the reader to perceive gender using other contextual clues. Now you know!

-Mr. 55

Despite being a quintessential romantic here of the 1960s, Rajendra Kumar never received a Filmfare Award.

Husnwale Tera Jawab Nahin: Lyrics and English Translation

husnvaale teraa javaab nahii.n
Oh, beautiful one! There is no match for you.
koii tujh-saa nahii.n hazaaro.n me.n
Among thousands, you are peerless.

tuu hai aisii kalii jo gulshan me.n
You are the flower bud that invites
saath apne bahaar laayii ho
the new Spring to the rose garden.
tuu hai aisii kiran jo raat Dhale
You are the ray of light that, upon nightfall,
chaa.ndnii me.n nahaa ke aayii ho
arrives bathed in the moonlight.
yeh teraa nuur ye tere jalve
Your luster and resplendence shine
jis tarah chaa.nd ho sitaaro.n me.n
like the Moon among the stars.

terii aa.nkho.n me.n aisii mastii hai
Your eyes evoke a deep intoxication,
jaise chhalke hue ho paimaane
like a goblet overflowing with wine.
tere ho.nTho.n me.n voh khamoshii hai
You lips contain the silence of
jaise bikhre hue ho afsaane
hidden tales scattered in the wind.
terii zulfo.n kii aisii rangat hai
The dark hue of your tresses is colored
jaise kaalii ghaTaa bahaaro.n me.n
like the black clouds of springtime.

terii surat jo dekh le shaayar
If a poet were to behold your face,
apne shero.n me.n taazgii bhar le
it would fill his couplets with new passion.
ek musavviir jo tujh ko paa jaaye
If a painter were to meet you,
apne khvaabo.n me.n zindagii bhar le
it would fill the creations of his dreams with new life.
naghmagar DhuunDh le agar tujh ko
If a songster were to find you,
dard bhar le voh dil ke taaro.n me.n
his tune of melancholy would pull at the heartstrings.

husnvaale teraa javaab nahii.n
Oh, beautiful one! There is no match for you.

Glossary

husnvaale: beautiful one; javaab: match; tujh-saa: like you; kalii: flower bud; gulshan: rose garden; chaa.ndnii: moonlight; nahaanaa: to bathe; nuur: light, luster; jalvaa: passion, resplendence; chaa.nd: moon; sitaaraa: star; mastii: intoxication; chhalke hue: spilled, overflowing; paimaanaa: goblet; khamoshii: silence; bikhre hue: scattered; afsaanaa: tale; zulfe.n: tresses; rangat: color; ghaTaa: cloud; surat: face; shaayar: poet; sher: couplet; taazgii: freshness, passion; musavviir: painter; naghmagar: songster; dil ke taar: heartstrings.

Rajendra Kumar and Asha Parekh star in their first film together in Gharana (1961)

The Best Holi Songs of Classic Bollywood Movies

Posted on March 26, 2013 by mrandmrs55

Hema Malini dances with joyful abandon in Sholay’s famous holi number “Holi Ke Din.”

The festival of Holi is among Bollywood’s favorite celebrations–an occasion at last as colorful as the country of its origin. Indeed Holi, a Hindu spring festival, is commonly known as the Festival of Colors. It is both a religious celebration signifying the triumph of Good over Evil, as well as a cultural one commemorating the onset of a new Spring season. It is marked by the throwing of colorful powders, the lighting of bonfires, and the strengthening of bonds between all individuals in colorful merriment. Its spirited catchphrase “Buraa na maano, Holi hai!” (Don’t bear any ill-feelings, it’s Holi!”) speaks to the underlying theme of the day – the burning of negative forces or ill-will, a sort of spiritual purging. The smearing of colors represents the deconstructing of identities and the breaking of social barriers, as all rejoice and participate together, regardless of social class. At the very least, it is a day to settle old scores and move on. Indeed, everyone is welcome and everyone is pardoned for his or her revelry. Thus, we mortals celebrate Holi today with fun and games, colors and powder, and Bollywood takes this grand opportunity to ignite romance.

Rajesh Khanna woos Asha Parekh with color at the Holi celebration of Kati Patang (1970).

There’s something inherent to the playful tag-style nature of Holi that lends itself so conveniently to flirtation and a male-female dichotomy. We discussed the appalling lack of Diwali-associated songs in classic Bollywood previously, and hazarded the guess that the festival is far less conducive to overt flirtation and bumping dance grooves like Holi invariably is. Whether wooing the mourning lover into a literal rainbow of joy or painting your sweetheart with a visible mark of your flirtatious overtures, Holi delivers the goods for Bollywood every time.

Even the old school epic Mother India takes a drama break for the holi festivities!

Below is our list of the 10 greatest Holi songs of classic Bollywood cinema. Happy Holi to all our readers–and if you’re stuck in a huge snowstorm like we are, here’s hoping Holi will usher in the Spring at last!

1. Rang barse (Silsila 1981)

The ultimate old school Holi hit, this song will force anyone to get in the mood and join the festivities! Say what you want about Amitabh and Rekha’s clandestine affair, this dance number will get you on board in no time!

2. Aaj na chodenge (Kati Patang 1970)

This song is easily my favorite Bollywood holi song! Besides the fact that I grew up on the Kati Patang soundtrack, does it get much better than Rajesh Khanna-Asha Parekh shy seduction? Lata and Kishore are delightful, but don’t get me started on the bizarre chorus act that chops up the number like barbarians on holiday.

3. Holi Aayi Re Kanhaayi (Mother India 1957)

Oh, there’s no school like the old school! Bring it back Nargis-style with this classic song from Mother India that just overflows with romance and sass! The only thing better than a Holi song is a Holi village dance-off.

4. Tan rang lo ji (Kohinoor 1960)

While this royal gem may be shot in black-and-white, you can practically see the colors flying in this fantastic Mohammed Rafi-Dilip Kumar celebration that invites the entire kingdom for a Holi song-and-dance sequence!

5. Holi Ke Din (Sholay 1975)

Retro flirting Queen Hema Malini proves to Dharmendra that she’s more than just a loud mouth in Sholay–her moves and dancing steal the show in this colorful song!

6. Are Ja Re Hat Natkhat (Navrang 1959)

Classical dancer Sandhya wows the audience with this traditional stage performance, alternating as both the male and female character complete with ghungroo! Asha Bhonsle’s Hindustani vocals balance out Mahendra Kapoor’s mainstream sway in a Holi number that is well-known even today for its stunning classical choreography.

7. Piya Tose Naina (Guide 1965)

Looking for something a little classier? Go no further than this Waheeda Rehman semi-classical piece from the great philosophical Guide. Watch her prance around with so much joie de vivre, you’ll ignore how gaudy the stage is decorated and your feelings for high-pitched female choruses of the 1960s.

8. Nadiya Se Dariya (Namak Haram 1973)

This song is just plain cute. While not a roaring shoulder-shaking dance off like some of these others, the song is playful and full of shy passion for Rajesh Khanna, which we always approve of.

9. Baghi Re Bhagi Brij Bala (Rajput 1982)

I think this hidden jewel is under-appreciated by historians. While something of a repeat of previous Hema Malini-Dharmendra magic, Vinod Khanna holds his own in this fast-paced duet that once again brings an entire kingdom to the palace to party Holi-style!

10. Kaikhe Paan Banaraswala (Don 1978)

OK, so this isn’t technically a Holi song per se, but it’s arguably the unofficial anthem! There’s something about a traditional, rich beat coupled with Kishore’s absolutely unabashed vocals that set the tone of a celebration and throwing inhibitions to the wind!

While Holi was born in India, it’s popularity was carried across the diaspora and is celebrated around the world each year with full force! The picture below is from my freshman year at Harvard where Holi was played on the Mac quad! Can you spot me in the pigtails with the orange-yellow face?

– Mrs. 55

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

Posted on December 24, 2012 by mrandmrs55

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

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

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

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

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

-Mr. 55

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

Aao Tumhein Chand Pe Le Jaaye: Lyrics and Translation

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

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

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

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

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

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

Glossary

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

My blockmates and me at my last winter holiday formal at Harvard! (12.08.2012)

Retro Bollywood Hairstyles from Caravan (1971): Wigs, Teasing, and More Wigs

Posted on October 30, 2012 by mrandmrs55

Asha Parekh sports long side-parted bangs with a girlish ribbon and a bouffant wig in the exciting opening chase scene of Caravan (1971). And please don’t ignore the matching orange lipstick!

In India in the 60s and early 70s, Hindi film heroines were notorious for sporting heavy wig pieces day-to-day that added volume, glamour, and pizazz. Hairdos in India from that time period sought to create works of art atop a woman’s head, from simple teased crown, to elaborate braiding with ornaments, jewelry, and soaring heights. The key was to wear enormous wigs and lots of them (and yes, those wigs are made of REAL hair!)

Big hair was by no means a strictly Indian phenomena. Starting as early back in history as the famous wigs of Marie Antoinette, puffy bouffant styles were sported not just in films, but by First Lady Jackie Kennedy in the 60s and took the musical South by storm when Dolly Parton learned how to tease (a word for the back-combing technique used to bulk up layers of hair). But I’d say, Audrey Hepburn in Breakfast at Tiffany’s (1961) aside, Indian women like Sharmila Tagore and Asha Parekh were the ones to bring it to new levels.

The overall effect when done correctly can be extremely elegant and beautiful–at some point or another, we’ve all tried to emulate big hair in the hopes of looking fabulous. But, of course as you’ll see, there are always those special moments when wigs go wild and the ‘do takes on an alternate life of its own.

Check out our gallery of fabulous retro Bollywood hairdos sported by Asha Parekh in the 1971 film Caravan (yes, it’s 1971, but the styles are super 60s!). This film is notable for many reasons, from a delightfully ridiculous plot to a magical soundtrack enhanced by Helen’s insane dance moves. But every time I watch it, I am way too distracted by Asha Parekh’s latest ‘do to care for anything else. Haute couture meets gypsy allure, good intentions meet near-lethal doses of hairspray. After all, the higher the hair, the closer to God.

Who is it?? Why, it’s little bo peep. She wants her ribbon back.

Asha’s fabulous ‘do in the opening scene of Caravan has tight long curls, a side-tied white ribbon, and of course, a 4-inch high wig.

Asha goes gypsy! Note the most important touch of all: the little ringlet of hair by her cheek that probably was once a delicate sideburn.

Hair parted in the center is getting slightly more 70s than 60s, but thank goodness you threw in that 3-inch poof, Asha. Otherwise, I don’t think the look had enough crazy going on.

What a pleasant little surprise! The back of the ‘do is as wild as the front! What was the stylist really going for with this ruffled little back-bun? Historians may never know.

Bring on the ribbons! And the back-up dancers.

Oh, just kidding–those aren’t ribbons after all! They are bangles arranged like a pillbox hat at the crown of the coiffe! You can never be too creative with accessories, can you?

I like the “au natural” look of the long sweeps of locks hanging to one side. And look how Asha made the “jhumar” a day-to-day fashion accessory long before it became vogue!

Drooping pigtails with bright yellow flower ties for a much-needed pop of colour.

Great hair aside…I think the most striking aspect of this photo is that Asha is about to have a conniption on-screen.

I love the side-parted pigtail village look. Who cares if you’re pushing 40 years old?!

I could do without the brushed back bangs in the center, while leaving an awkward patch of bangs to the side. But perhaps it’s all part of how distressed she’s supposed to be?

Again with the awkward patch of bangs! I far prefer some Sadhana-fringe.

You get a good sense of the volume of hair involved in the making of this ‘do in this shot.

The forehead to wig-height ratio is borderline criminal.

Classic example of a ‘do taking on it’s own life. It’s like she’s attacking Jeetendra, and her hair is attacking her. The hair wins, of course.

The glamour shot is nice–especially since you can’t see all the little people jumping off the top of her ‘do to commit suicide.

Back to a simple, conservative ribbon with moderate heights. That’s more like it!

Oh, and a little curl too? Sign me up!!

Love how far back the ribbon is pushed–less of a headband, more an accessory to make room for the beehive.

I don’t know how I feel about pony-tails this short and this puffy.

Very Audrey Hepburn from the front. We’ll take it.

These bangs are classic from this era–the angled part, the bouffant! If only it had been a French twist in the back instead of an incomplete pony.

Now after seeing this gallery, you must be under the mistaken impression that Asha Parekh does nothing but make painfully melodramatic faces in throughout the film. You wouldn’t be entirely wrong, but just know that in addition to that, she dances occasionally too. Asha Parekh’s hairstyles are so mesmerizing in this film, that you shouldn’t really be looking for much artistic depth.

Now why, you may be asking, am I so invested in retro Bollywood hairdos? I’ve been planning my look for my fiance and my official engagement party and needed some 70s inspiration! I’m probably one of the few brides-to-be these days that are still all about the vintage Bollywood look–from sweeping cat-eyeliner to hair that reaches the ceiling. I went through dozens of old school films to perfect the ‘do I wanted. Here’s the final product!

It’s a classy mixture of Asha’s best looks in Caravan, complete with flowers! Now although I did not use wigs, my tricks were to use LOTS and LOTS of hairspray, back-combing like my life depended on it, and a puffy headband underneath the bump to give some structural support to the ‘do.

For more galleries of costumes from the great films of the 60s and 70s, check out our earlier post on famed Bollywood costume designer Mani Rabadi!

-Mrs. 55