Kahin Deep Jale Kahin Dil Lyrics & Translation: Let’s Learn Urdu-Hindi

Posted on October 31, 2017 by mrandmrs55

Biswajeet looks dapper in a fedora even as he is haunted by a ghost in Bees Saal Baad (1962).

In honor of Halloween, today we are showcasing one of Bollywood’s spookiest songs “Kahin Deep Jale” from the film Bees Saal Baad (1962). Loosely based on Sir Arthur Conan Doyle’s “The Hound of the Baskervilles”, Bees Saal Baad is a textbook film in the study of Hindi film noir: ghungroo bells echo throughout a long-abandoned mansion. A sad woman’s song fills the night air. Something lurks deep within the marshes, beckoning the viewer closer with every haunting dolly shot through the tall grass. The scene set, Bees Saal Baad weaves an enticing murder mystery that torments us with the thematic imagery of shadows and light as chandeliers sway and silhouettes vanish into the night.

Like a moth drawn to a flame (note the classic Bollywood metaphor that plays a critical role in “Bees Saal Baad”), dapper Londoner Biswajeet cannot resist returning to his ancestral home in Chandangarh and seeking out the truth behind a series of crimes that has plagued the village for 20 years. As the mystery unravels, he falls in love with a local goat shepherdess (played by Waheeda Rehman) who is forbidden from marrying him due to the “curse” marring his family.

There are a number of shady characters who could be the culprit at the dark heart of this whodunnit. Is it the soft-spoken doctor who is next in line to inherit the family fortune? The bug-eyed servant? Or perhaps it is the creepy romantic rival with an oily mustache? None are more despicable than the hero’s own grandfather who had committed the crime of raping a beloved village girl 20 years prior to the film’s main action. Vaguely intrigued? You should be.

"Kahin Deep Jale" opens with a beautifully framed overhead shot of Biswajeet playing the piano moodily, literally engulfed by the flames in the chandelier (above). The camera then floats to eye level as he hears the sound of a woman singing in the distance (below).

“Kahin Deep Jale” opens with a beautifully framed overhead shot of Biswajeet playing the piano, symbolically engulfed by the flames in the chandelier (above). The camera then floats to eye level as he hears the sound of a woman singing in the distance (below).

“Kahin Deep Jale” is the film’s dangerous Siren song broken composed by Hemant Kumar in Ragaa Shivranjani. Other famous songs in this ragaa are Awaaz Deke, Dil Ke Jharoke Mein, and Mere Naina Saawan Bhado, and Shivranjani is a ragaa best performed at midnight (no kidding, right?). We compiled a list of the spookiest songs of classic Bollywood and “Kahin Deep Jale” rightfully made the top three (see which song made #1 here!). Lyricist Shakeel Bayaduni and playback singer Lata Mangeshkar won the Filmfare award in 1962 for their work on “Kahin Deep Jale”!

Director Biren Nag would go on to make Kohra released 2 years later in 1964 (a remake of Hitchcock’s Rebecca), also starring Waheeda Rehman and Biswajeet. Kohra is an even more gorgeously directed film that learned from the mistakes in timing and absent character nuance of Bees Saal Baad. I recommend you binge on all of these films today, we are not judging.

Waheeda Rehman finds herself at the center of a decades old mystery in Bees Saal Baad (1962).

We hope you enjoy the Halloween festivities safely with friends and family! Set the mood by following along with the video here. Fans of the song may be fascinated to hear that parts of the orchestration used in the movie after the chorus that is a full octave lower than the one heard in the recorded version! I find the whole atmosphere becomes even more frightening as a result. Check out our lyrics and English translation to “Kahin Deep Jale” below!

Kahin Deep Jale Kahin Dil Lyrics & Translation:

kahii.N diip jale kahii.N dil…
Somewhere a candle burns, somewhere a heart…
zaraa dekh le aa kar, parvaane
Come closer and take a look, moth
terii kaun sii hai manzil?
Which destiny is yours?
kahii.N diip jale kahii.N dil…
Somewhere a candle burns, somewhere a heart…

meraa giit tere dil kii pukaar hai
My song is the calling of your heart
jahaa.N mai.N huu.N, wahii.N teraa pyaar hai
Wherever I am, your love is there
meraa dil hai terii mehfil
My heart is your only company
zaraa dekh le aa kar, parvaane
Come closer and take a look, moth
terii kaun sii hai manzil?
Which destiny is yours?
kahii.N diip jale kahii.N dil…
Somewhere a candle burns, somewhere a heart…

na mai.N sapnaa huu.N, na koii raaz huu.N
I am neither a dream nor a secret
ek dard bharii aavaaz huu.N
I am a voice filled with sorrow
piiyaa, der na kar, aa mil
Beloved, do not delay, come meet me
zaraa dekh le aa kar, parvaane
Come closer and take a look, moth
terii kaun sii hai manzil?
Which destiny is yours?
kahii.N diip jale kahii.N dil…
Somewhere a candle burns, somewhere a heart…

dushman hai.N hazaaro.N yahaa.N jaan ke
Here there are a thousand enemies of life
zaraa milnaa nazar pehchaan ke
Just make eye contact and recognize them
kaii ruup mei.N hai.N qaatil
Murderers come in many colours
zaraa dekh le aa kar, parvaane
Come closer and take a look, moth
terii kaun sii hai manzil?
Which destiny is yours?
kahii.N diip jale kahii.N dil…
Somewhere a candle burns, somewhere a heart…

Glossary:

diip: candle; jalnaa: to burn; dil: heart; dekhnaa: to look; parwaanaa: moth; kaunsii: which; manzil: destination; giit: song; pukarnaa: to call out; pyaar: love; mehfil: company, gathering; sapnaa: dream; raaz: secret; dard: pain; bharaa: full; awaaz: voice; piyaa: beloved; der karnaa: to delay, to be late; dushman: enemy; hazaar: thousand; jaan: life; nazar milnaa: to make eye contact; pehchaan karnaa: to recognize; ruup: colour; qaatil: murderer

A shadowy figure haunts the mansion and surrounding marshes of Biswajeet’s ancestral home in Bees Saal Baad (1962).

Dying for a little more? The Bengali predecessor of “Kahin Deep Jale” from Jinghasa (1951) can be heard here, also composed by Hemant Kumar. There is a familiar echo of the eerie alaap that later made it to the Hindi version!

While “Bees Saal Baad” does have a handful of things that are scary for the wrong reasons (the bumbling detective hired to investigate the mystery, Waheeda Rehman’s cutesy village girl one-liners clearly written by a man, and the cheesy glove used in the murder scenes), the camerawork is mesmerizing and there is a legitimately satisfying plot twist at the end. Make sure to peruse our translation of Lata Mangeshkar’s creepy “Naina Barse” from that sublime noir film Woh Kaun Thi? (1964) if you dare!

– Mrs. 55

Naina Barse Rimjhim Rimjhim Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on October 30, 2015 by mrandmrs55

Sadhana excels in her role as the mysterious femme fatale of Woh Kaun Thi? (1964)

Happy Halloween to our readers! What better way to celebrate with a classic ghost song featuring Lata Mangeshkar’s spooky vocals, Sadhana’s haunting beauty, and Madan Mohan’s soul-stirring composition? In the spirit of Halloween, we are sharing the lyrics and English translation to nainaa barse rimjhim rimjhim from Raj Khosla’s suspense thriller Woh Kaun Thi? (1964).

In a previous post, we have discussed how Woh Kaun Thi? is the quintessential example of film noir being adapted for vintage Hindi cinema. In this film, Dr. Anand (Manoj Kumar) encounters a mysterious woman (Sadhana) on a stormy night and offers to give her a ride in his car. After she makes a strange request to be dropped off at a local cemetery, he hears this woman sing the first part of nainaa barse – a song that continues to haunt him at various points throughout the film. Later in the movie, Dr. Anand is called to see a patient in an old mansion that is rumored to be haunted. When he arrives at this mansion, the patient has already died and she appears to be the same woman that he encountered on the stormy night. In an even more strange turn of events, Dr. Anand’s fiancee is murdered suddenly by a cyanide injection. To alleviate his grief and loneliness, Dr. Anand is set up by his mother to his marry a new woman named Sandhya. Much to his surprise, Dr. Anand finds on his wedding night that his new wife looks exactly like the supposedly dead woman he gave a ride to in the film’s opening scene! Like Dr. Anand, the audience is left confused as they grapple with the film’s eponymous question: Woh kaun thi? Who was she?

Throughout her career, Lata Mangeshkar earned a reputation for her haunting renditions of ghost songs in films. Some of her most influential and beautiful hits are used as ghost songs in their respective movies: aayegaa aanevaalaa from Mahal (1949), tuu jahaa.n jahaa.n chalegaa from Mera Saaya (1966), kahii.n diip jale kahii.n dil from Bees Saal Baad (1962), and gumnaam hai koii from Gumnaam (1965). In an interview for her 80th birthday, the melody queen humorously remarks about her career: mai.n ne sab se zyaadaa gaanaa gaaye hai.n bhuuto.n ke (I have sung the most songs for ghosts!).

An interesting and apt anecdote: when this song was being filmed in Kufri (near Shimla), Lata had not yet had the opportunity to record the song in the studio. Much to the surprise of the crowd that had gathered to watch the filming, actress Sadhana shot her scenes by lip-syncing to a version of this song rendered by music director Madan Mohan himself – perhaps a bit creepy but also a rare treat!

Did you know that Woh Kaun Thi? was inspired by a British play called The Woman In White (1859) written by Wilkie Collins? Raj Khosla’s mentor Guru Dutt had attempted to create a film based on the same story a few years earlier in 1959. He abandoned this project entitled Raaz in which he was supposed to play the male lead while Waheeda Rehman played the female lead. Interestingly, this film was supposed to have been R.D. Burman’s debut as a solo music director.

-Mr. 55

Manoj Kumar plays a confused doctor who is recurrently haunted by a mysterious woman and her song in Woh Kaun Thi? (1964)

Naina Barse Rimjhim Rimjhim (Version 1): Lyrics and Translation

nainaa barse rimjhim rimjhim
My eyes shed tears, drop by drop,
piyaa tore aavan kii aas
in hopes of your return, my beloved.
nainaa barse, barse, barse
My eyes shed tears.

yeh laakho.n gham, yeh tanhaayii
Thousands of sorrows and this solitiude
muhabbat kii yeh rusvaayii
are all part of love’s disgrace.
kaTii aisii kaii raate.n
I have spent several such nights
na tum aaye na maut aayii
where neither you came to me, nor my death.
yeh bi.ndiyaa kaa taaraa
The star of my beauty spot
jaise ho a.ngaaraa
burns brightly like an ember.
mahandii mere haatho.n kii udaas
Even the henna on my hands is sullen.

nainaa barse rimjhim rimjhim
My eyes shed tears, drop by drop,
piyaa tore aavan kii aas
in hopes of your return, my beloved.
nainaa barse, barse, barse
My eyes shed tears.

Manoj Kumar’s restrained and understated performance falls short in comparison to Sadhana’s dynamic portrayal of the leading character in Woh Kaun Thi? (1964).

Naina Barse Rimjhim Rimjhim (Version 2): Lyrics and Translation

nainaa barse rimjhim rimjhim
My eyes shed tears, drop by drop,
piyaa tore aavan kii aas
in hopes of your return, my beloved.
nainaa barse, barse, barse
My eyes shed tears.

adhuuraa huu.n mai.n afsaanaa
I am an incomplete story.
jo yaad aauu.n chale aanaa
When you remember me, come back to me.
meraa jo haal hai tujh bin
The state that I am in without you,
voh aa kar dekhte jaanaa
come to me and see it for yourself.
bhiigii bhiigii palke.n
My eyelashes are moist,
chham-chham aa.nsuu chhalke.n
as my tears drip, sounding like the jingle of an anklet.
khoyii khoyii aa.nkhe.n hai.n udaas
My eyes are lost and sullen.

nainaa barse rimjhim rimjhim
My eyes shed tears, drop by drop,
piyaa tore aavan kii aas
in hopes of your return, my beloved.
nainaa barse, barse, barse
My eyes shed tears.

Sadhana’s dashing beauty shines against the backdrop of Shimla in the Himalayas in Woh Kaun Thi? (1964)

Naina Barse Rimjhim Rimjhim (Version 3): Lyrics and Translation

nainaa barse rimjhim rimjhim
My eyes shed tears, drop by drop,
piyaa tore aavan kii aas
in hopes of your return, my beloved.
nainaa barse, barse, barse
My eyes shed tears.

voh din merii nigaaho.n me.n
Those days remain in my eyes.
voh yaade.n merii aaho.n me.n
Those memories remain in my sighs.
yeh dil ab tak bhaTaktaa hai
This heart still wanders
terii ulfat kii raaho.n me.n
along the paths of your love.
suunii suunii raahe.n, sahmii sahmii baahe.n
Along those empty paths, with my nervous arms,
aan.kho.n me.n hai barso.n kii pyaas
my eyes carry a thirst unslaked for years.

nazar tujh bin machaltii hai
My sight wavers without you.
muhabbat haath maltii hai
My love repents in desperation.
chalaa aa mere parvaane
Please come to me, my moth.
vafaa kii shamaa jaltii hai
The candle of faithfulness still burns brightly.
o mere hamraahii, phirtii huu.n ghabraayii
Oh, my soulmate! I wander about afraid.
jahaa.n bhii hai, aa jaa mere paas
Wherever you are, please come to me.

nainaa barse rimjhim rimjhim
My eyes shed tears, drop by drop,
piyaa tore aavan kii aas
in hopes of your return, my beloved.
nainaa barse, barse, barse
My eyes shed tears.

Glossary

nainaa: eyes; barasnaa: to rain; rimjhim: onomatopoeia for the dripping noise of rain; aavan: return, arrival; aas: hope; adhuuraa: incomplete; afsaanaa: story; haal: state, condition; palak: eyelid, eyelash; chham-chham: onomatopoeia for the jingling noise of an anklet; chhalaknaa: to drip; udaas: sullen, gloomy; tanhaayii: solitude; rusvaayii: disgrace; maut: death; bi.ndiyaa: beauty spot; angaaraa: cinder, ember; mahandii: henna, nigaah: eyes; aah: sigh; sahmaa: nervous; baras: year; pyaas: thirst; nazar: glance, sight; machalnaa: to waver; haath malnaa: to repent; parvaanaa: moth; vafaa: faithfulness; shamaa: candle; hamraahii: soulmate, companion; phirnaa: to wander about; ghabraayaa: afraid.

Those eyes!

Lag Ja Gale Lyrics and Translation: Let’s Learn Urdu-Hindi

Posted on September 28, 2012 by mrandmrs55

Maybe only a hardcore fanatic like me would know this, but today (September 28th) is Lata Mangeshkar’s birthday! Mrs 55 and I would like to wish our favorite melody queen many happy returns of the day as she turns 83 years young.

Lata Mangeshkar (1929- )

Given this special occasion, I have decided to share one of my all-time favorite songs sung by Lata Mangeshkar: lag jaa gale from Raj Khosla’s classic film noir Woh Kaun Thi? (1964). I am often asked to name my favorite Lata song, but I find this request to be challenging because there are simply too many gems to narrow it down to one choice. Instead, I feel compelled to produce a list and I can say that this song consistently makes my top ten compilation of personal favorites rendered by India’s beloved nightingale.

Sadhana displays an ethereal beauty in Woh Kaun Thi? (1964)

Penned by Raja Mehndi Ali Khan and composed by Madan Mohan, this song has been immortalized as a veritable gem of the Hindi film music industry. Through an expression of carpe diem philosophy, these lyrics encourage listeners to live in the moment and cherish their loved ones now before the opportunity escapes in the future. The beautiful simplicity of these lyrics is enhanced by a sublime melody crafted by Madan Mohan–one of his career’s finest. Lata Mangeshkar’s voice is also at its heavenly best here, and her flawless rendition takes this song to the next level. It is certainly no mystery why this song has survived the test of time as one of Bollywood’s most cherished musical numbers. As you follow along with our translation and glossary below, I hope that you enjoy this masterpiece whose beauty has brought joy to countless listeners (myself included!) over the years.

-Mr. 55

Lag Ja Gale: Lyrics and Translation

lag jaa gale ki phir yah hasii.n raat ho na ho
Embrace me, for this beautiful night may come no more.
shayad phir is janam me.n mulaaqaat ho na ho
Perhaps, in this life, we may never meet again.

ham ko milii hai.n aaj ye ghaDiyaa.n nasiib se
We are fortunate to share these moments today.
jii bhar ke dekh liijiye ham ko qariib se
Wholeheartedly take a look at me from up close,
phir aap ke nasiib me.n yah baat ho na ho
As your fate may never hold this opportunity again.
shayad phir is janam me.n mulaaqaat ho na ho
Perhaps, in this life, we may never meet again.

paas aaiye ki ham nahii.n aaye.nge baar baar
Come close to me, for I will not return again and again.
baahe.n gale me.n Daal ke ham ro le.n zaar-zaar
Wrapping my arms around your neck, I will continue to weep.
aa.nkho.n se phir yah pyaar kii barsaat ho na ho
My eyes may never shed such a storm of love again.
shayad phir is janam me.n mulaaqaat ho na ho
Perhaps, in this life, we may never meet again.

lag jaa gale ki phir yah hasii.n raat ho na ho
Embrace me, for this beautiful night may come no more.

Glossary

gale lag jaanaa: to embrace; hasii.n: beautiful; janam: birth, life; mulaaqaat: meeting; ghaDiyaa.n: moments; nasiib se: fortunately; nasiib: fate, destiny; jii bhar ke: wholeheartedly; qariib se: up close; baahe.n: arms; galaa: neck; zaar-zaar ro lenaa: to weep continuously; barsaat: storm.

Sadhana enchants Manoj Kumar with her mysterious allure in Woh Kaun Thi? (1964)

Defining Bollywood Film Noir

Posted on February 13, 2012 by mrandmrs55

Sadhana enters a graveyard as the femme fatale of Woh Kaun Thi? (1964)

In the U.S. historians and film theorists have debated for decades about the meaning of the elusive term: “film noir.” Although many of us conjure an image of a hard-boiled detective and a mystery made more mysterious by the femme fatale, few “film noirs” actually contain these elements. This so-called genre had its roots in German Expressionism with films like Fritz Lang’s M (1931) and in depression-era crime novels. But what does the term “film noir” mean as it applies to Hindi cinema? What are the hallmarks of this genre as it played out in Bollywood and how did it begin?

I will present five films that I propose to be in the genre of Indian film noir. This is no easy task. Just as the term is vague in the American lexicon, so too does it only hazily engulf a variety of Hindi films with low-key lighting. And so I shall begin with an illustrative example. We can debate the precise definition of the genre until the end of time, but I think I can safely say that whatever Indian film noir is, Woh Kaun Thi? (1964) is Indian film noir.

Woh Kaun Thi? has 4 main basic elements. The first is in its distinct cinematographic style and setting—low-key lighting throughout a mysterious mansion and slow unhurried shots with a somber film score to match. The film gives a sense of the world being trapped in a fatalistic dream, whether alone by a graveyard or in a crowd of dancing people.

The second is the film’s overall tone and pacing—there is an uncomfortable sense of being pursued, of an impending doom unless a mystery is solved in time by the hero. Unlike in American film noir, the hero is no cynic and there is no quick sardonic dialogue to off-set the dreary mood. The hero is instead a righteous and innocent man of affairs, an heir to a fortune who becomes a victim. Though mingled with occasional musical highs, the film spirals from a slow and deliberate set-up to a climax closer and closer to complete ruin.

An interesting element of many American film noirs is the flash-back structure, which takes on an interesting form in their Indian counterparts. Woh Kaun Thi? centers around a mysterious background that occurred in the protagonist’s past life. Because the audience of Hindi films was largely composed of practicing Hindus, the world of reincarnation narrative is able to begin on a new and creatively extremely fertile ground. The hero must revisit through song, hearsay, and secrets events that took place in a past life, but whose consequences (whether karma or otherwise) now haunt him. This is the third element.

Fourthly, the film does indeed revolve around the appearance and (mis)guidance of the femme fatale, who is heard singing alluring, tragic songs. The hero is never able to wholly communicate with her, but her intentions are clearly marked with a deadly undertone. The femme fatale remains an elusive character–sometimes he chases after her, sometimes she chases after him—when her story is fully told, only then can the mystery be solved.

The films below can be placed into the category of Indian film noir along with Who Kaun Thi?:

Mahal (1949): Perhaps the grandfather of this genre, Mahal tells of a man tortured and madly in love with an apparition who haunts his mansion and claims a connection from an earlier life. The film also features the haunting vocals of Lata Mangeshkar’s all-time hit Aayegaa Aanewaalaa.

Madhubala mesmerizes Ashok Kumar in Mahal (1949)

Madhumati (1958): This classic Vijayantimala-Dilip Kumar blockbuster is told in flashback to a previous lifetime of the murder of the woman the hero still loves. The gently alluring Aajaa Re Pardesi encompasses the film’s themes of love and debts spanning several lifetimes.

Vijayantimala is reincarnated to find her lover once more in Madhumati (1958)

Bees Saal Baad (1961): A rich man comes to live in his new mansion and must solve a tragedy and murder that occurred 20 years earlier. The film contains a brilliant surprise ending, and Lata Mangeshkar scores once again with the beautiful Kahin Deep Jale, Kahin Dil.

Biswajeet follows a mysterious voice in Bees Saal Baad (1961)

Kohra (1964): This twist on Hitchcock’s Rebecca is told through the eyes of a female protagonist, living in a large, unexplored mansion that is haunted by the apparition of her husband’s first wife. Waheeda Rehman must discover the true circumstances surrounding the first wife’s death before she is driven insane. The song of the femme fatale (Jhoom Jhoom Dhalti Raat) is an absolutely genius and rare example of symbolic imagery in montage to create a feeling of horror from the song.

Waheeda Rehman sees a ghostly vision atop her mansion roof in Kohra (1964)

There are some films that contain one or more of the above elements that I have not classified as Indian film noir. These include Mera Saaya, Gumnaam, and Karz, for different reasons–often overall tone or cinematographic style. Additionally, others might argue that these films should not be categorized at all as Indian film noir, but rather as Indian gothic horror films or other such genres. Watch some of these classics and let us know your take on this chapter in cinematic history!

– Mrs. 55