Tag Archives: Chori Chori

The Top 30 Best Music Albums of Classic Bollywood

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

Raj Kapoor Nargis Iconic BarsaatIntroduction

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

Pakeezah Meena Kumari Chalte Chalte

Ghulam Mohammed and Naushad, 1971

2. Guide

Guide

S.D. Burman, 1965

3. Mughal-e-Azam

Mughal-e-Azam

Naushad, 1960

4. Nagin

Nagin

Hemant Kumar, 1954

5. Aradhana

Aradhana

S.D. Burman, 1969

6. Teesri Manzil

Teesri Manzil

R.D. Burman, 1966

7. Barsaat

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

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

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

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

Taj Mahal

Roshan, 1963

12. Hum Dono

Hum Dono Abhi Na Jao Dev Anand Sadhana

Jaidev, 1961

13. Jewel Thief

Jewel Thief

S.D. Burman, 1967

14. Caravan

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

Bobby Main Shayar To Nahin

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

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

Abhiman

S.D. Burman, 1973

18. Anand

Anand

Salil Choudhury, 1971

19. Kabhi Kabhi

Kabhi Kabhi

Mohammed Zayur Khayyam, 1976

20. Baiju Bawra

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

Mother India

Naushad, 1957

22. Madhumati

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

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

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

Kashmir Ki Kali

O.P. Nayyar, 1964

26. Bandini

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

Sangam

Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal, 1964

28. Yaadon Ki Baraat

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

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

Panchhi Banoon Udti Phiroon Lyrics and Translation: Let’s Learn Urdu-Hindi

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Nargis

Nargis frees a bird from its cage in a symbolic representation of her unfettered joy in Chori Chori (1956)

I have some good news to share with our readers: I was recently accepted to my top-choice medical school and I will be matriculating there this fall! To celebrate this momentous occasion in my life, I am providing the lyrics and English translation to one of Bollywood’s most memorable feel-good numbers from Chori Chori (1956): panchhii banuu.n uDtii phiruu.n. 

Adapted from Frank Capra’s It Happened One Night (1932), Chori Chori (1956) narrates the story of a wealthy socialite (played by Nargis) who flees her home when her father objects to her decision to marry a pilot with a reputation for womanizing and greed. En route to Bangalore, Nargis encounters Raj Kapoor, a journalist hoping to scoop this exciting story about an heiress on the run. Throughout the course of their journey, the initial bickering and animosity between Raj Kapoor and Nargis gradually transforms into love.  This film’s most memorable asset is the on-screen chemistry shared by Raj Kapoor and Nargis, who were involved in a real-life affair that became the talk of the town in the Bollywood industry during this era. 

Claudette Colbert and Clark Gable star in It Happened One Night (1932).

Placed into the context of the film, panchhii banuu.n uDtii phiruu.n sung by Lata Mangeshkar is picturized on Nargis as she basks in her newfound freedom after running away from home. Composed by Shankar-Jaikishan and penned by Hasrat Jaipuri, this song is inspired by a traditional Scottish standard called “Comin’ Thro’ the Rye.” In addition to its Western influences, Hindustani classical music buffs may also argue that this melody is based on the pentatonic Raga Bhupali. Indeed, the diversity of musical influences found in the Chori Chori soundtrack make this one of Shankar-Jaikishan’s most treasured scores. From classical (“rasik balma“) to folk (“man bhaavan ke ghar“) to Western (“aajaa sanam madhur chaa.ndnii“), the compositions in Chori Chori are remarkable for their technical quality and popular appeal. It is no surprise that Shankar-Jaikishan received a well-deserved Filmfare Award for this soundtrack in 1957.

The exuberant essence of panchii banuu.n uDtii phiruu.n is undeniable: its exaltation of life brings a smile to my face with every listen. As I celebrate my acceptance to medical school, I hope to continue pursuing my dreams in the future with this spirit of joie de vivre always in mind. Until next time…

-Mr. 55
Nargis

The rural landscape accentuates Nargis’s liberated state of mind in Chori Chori (1956).

Panchhi Banoon Udti Phiroon: Lyrics and Translation

panchhii banuu.n uDtii phiruu.n mast gagan me.n
As a bird, I want to fly in the beautiful sky.
aaj mai.n aazaad huu.n duniyaa ke chaman me.n
Today, I have been liberated in the garden of the world.

(hillorii, hillorii)

mere jiivan me.n chamkaa saveraa
The morning light has shined brightly in my life.
miTaa dil se vah gham kaa andheraa
It has removed the darkness of sorrow from my heart. 
hare kheton me.n gaaye koii lahraa
Someone sings, billowing in the green fields. 
yahaa.n dil par kisi kaa na pahraa
Here, no one keeps guard over the heart. 
rang bahaaro.n ne bharaa mere jiivan me.n
The Spring has filled my life with color.
aaj mai.n aazaad huu.n duniyaa ke chaman me.n
Today, I have been liberated in the garden of the world.

dil yah chaahe bahaaro.n se kheluu.n
My heart desires that I play with the Spring. 
gorii nadiyaa ke dhaaro.n se kheluu.n
I shall frolic in the currents of the fair river. 
chaand suuraj sitaaro.n se kheluu.n
I shall play with the Moon, the Sun, and the stars. 
apnii baaho.n me.n aakaash le luu.n
I shall embrace the sky in my arms. 
baDhtii chaluu.n gaatii chaluu.n apnii lagan me.n
I shall forge ahead as I sing to my own tune. 
aaj mai.n aazaad huu.n duniyaa ke chaman me.n
Today, I feel liberated in the garden of the world. 

(hillorii, hillorii)

mai.n to oDhuu.ngii baadal kaa aa.nchal
I shall wear a shawl of clouds.
mai.n to pahnuu.ngi bijlii kii paayal
I shall wear an anklet of lightning rods.
chhiin luu.ngii ghaTaao.n se kaajal
I shall steal some kohl from the dark clouds.
meraa jiivan hai nadiyaa kii halchal
My life is like the movement of a river:
dil se mere lahre.n uThe.n ThanDii pavan me.n
waves arise from my heart in the cool breeze.
aaj mai.n aazaad huu.n duniyaa ke chaman me.n
Today, I have been liberated in the garden of the world.

panchhii banuu.n uDtii phiruu.n mast gagan me.n
As a bird, I want to fly in the beautiful sky.

*Female lines in red are sung by Lata Mangeshkar. Male lines in green are sung by Manna De. 

Glossary

panchhii: bird; mast: beautiful, incredible; gagan: sky; aazaad: liberated, free; chaman: garden; saveraa: morning; andheraa: darkness; haraa: green; khet: field; lahraanaa: to billow; pahraa: guard; rang bharnaa: to fill with color; goraa: fair; dhaar: current of a river; sitaaraa: star; aakaash: sky; baDhnaa: to advance, move forward; aa.nchal oDhnaa: to wear a shawl; pahnaa: to wear; bijlii: lightning; paayal: anklet; chiin lenaa: to steal; ghaTaa: dark cloud; kaajal: kohl; halchal: bustle, movement; lahar: wave; pavan: breeze, wind.

Nargis

The color version of this song released by UltraHindi offers modern vibrance to a timeless beauty.

 

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

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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!

-Mr. 55