A Definitive Ranking of Men’s Facial Hair in Classic Bollywood Films

Raj Kapoor in a promotional photograph for Dil Hi To Hai sporting an 'm' mustache.
Raj Kapoor in a promotional photograph for Dil Hi To Hai (1963) sporting a suave ‘m’ mustache.

Happy Movember! This lovely time of year is a month when men around the world grow out their mustaches to change the face of men’s healthcare–such as through raising awareness for prostate and testicular cancer. Read more about the Movember Foundation here!

Inspired by this movement, today we present a definitive ranking of men’s facial hair in classic Bollywood films, a photographic indulgence of every important mustache and beard that hit the silver screens of Bombay and then bounced straight into our souls. And God knows we needed something this in our lives after that f*$&ing insane apocalypse difficult election week. But be forewarned, some of these manes can bite–and others might make you suddenly feel itchy. Most of all, that fluttering sensation in your chest like a fluffy mustache tickling your heart–that’s called love.

A Definitive Ranking of Men’s Facial Hair in Classic Bollywood Films

15. Kishore Kumar’s waxed perfection in Padosan (1968)

kishore-kumar-padosan-mustache
His mustache is basically a pair of angel wings.

14. Shashi Kapoor’s deadly combo in Chor Sipahee (1979)

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Shashi shines in a shaggy beard and a full-bodied mustache with just a hint of delicate curl. Looking bad never looked so good.

13. Amitabh Bachhan’s full coverage in Do Anjaane (1976)

Amitabh Bachhan beard Do Anjaane.jpg
Amitabh goes incognito behind a blanket of his generous wool.

12. Pradeep Kumar’s Mughal-style beard in Taj Mahal (1963)

Pradeep Kumar beard taj mahal.jpg
The Mughals were champions of many things including the artistry of a man’s face. Note the paintbrush side-burns that complete this regal look.

11. Rishi Kapoor’s bad boy scruff in Laila Manju (1979)

Rishi Kapoor scruff Laila Majnu.jpg
Rishi may be dying of thirst, but his scruff is on fleek right now.

10. Pran’s proud Pathan mane in Zanjeer (1973)

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Pran is a class act as a Pathan sporting a well-tamed auburn fur coating.

9. Vinod Khanna’s caterpillar mustache in Amar, Akbar, Anthony (1977)

Vinod Khanna Amar Akbar Anthony mustache.jpg
Something alive might actually be crawling on his face. Something beautiful and shimmering.

8. Shammi Kapoor’s fluffy goatee in Professor (1962)

Shammi Kapoor Professor goatee.jpg
While this look should never be tried at home, Shammi’s iconic goatee made men of boys.

7. Jeetendra’s provocative chevron mustache in Parichay (1972)

Jeetendra Parichay.jpg
The only thing fuzzier than the tuft of fur nestled in the dimple of Jeetendra’s upper lip is his vision through those thick hipster lenses.

6. Dev Anand’s curly mustache in Hum Dono (1961)

Dev Anand Hum Dono mustache.jpg
Thoughtful, courteous, and deadly–the curly mustache of Dev Anand is nothing short of a war hero.

5. Manoj Kumar’s patriotic handlebar in Shaheed (1965)

Manoj Kumar Shaheed.jpg
Because nothing quite says “Inquilab Zindabad” like a well-trimmed mustache.

4. Raj Kapoor’s pyramidal mustache in Awaara (1951)

Raj Kapoor Awaara mustache.jpg
Once a classic, always a classic. The Egyptians building Giza had no idea what they were inspiring.

3. Rajesh Khanna’s hipster beard in Do Raaste (1969)

Rajesh Khanna Do raaste beard.jpg
Be still my beating heart. I bet there’s a dozen plaid shirts in his closet, and that he listens to actual CDs on his walkman because he just wants to be authentic.

2. Guru Dutt’s emotional mustache in Pyaasa (1957)

Guru Dutt pyaasa mustache.jpg
The only thing quivering more than Guru Dutt’s voice is the 4 mm diameter patch of heaven resting on his upper lip

1. WINNER: Rajkumar’s devastating pencil mustache in Pakeezah (1972)

rajkumar-pencil-mustache-pakeezah
I DIE THE SWEET DEATH BY LOVE OF A MUSTACHE. There are few things in life greater than this show-stealing masterpiece of men’s grooming.

Men, time to take a hard look in the mirror and evaluate if you’re really bringing your full potential to the world. And remember, just because we all love to see a little facial hair in November, it is NEVER OK to flash your chest hair in public in broad daylight à la Amitabh Bachhan, even if it’s just an unsightly tuft from your too-many-buttons-unbuttoned polo shirt. The 70s are over. These things are not equivalent. I just felt like that had to be said.

You’re welcome.

– Mrs. 55

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Aap Ke Haseen Rukh Pe Lyrics and Translation: Let’s Learn Urdu-Hindi

two shot sisters Mala Sinha and Tanuja
Tanuja and Mala Sinha play sisters with opposite personalities who love with the same man in Baharen Phir Bhi Aayengi (1966).

Today we highlight the lyrics and English translation of the gorgeous “Aap Ke Haseen Rukh Pe” from Baharen Phir Bhi Aayengi (1966). The breathtakingly evocative cinematography of this song steals the show–and that’s a difficult feat with Urdu lyrics dripping with this much beauty. Eminent director Guru Dutt tragically died while directing this film, and it was later finished by Shaheed Latif. As a result, Baharen Phir Bhi Aayengi seems to have all the elements of a great work of poetic realism, but lacks all the magic. Dutt’s starring role was eventually replaced by Dharmendra, who is easy on the eyes, but never quite commands the scene like his predecessor.

Dharmendra plays an upright investigative journalist employed by a newspaper company owned by Mala Sinha, a pragmatic entrepreneur fighting for her beliefs in a male-dominated world. Her personal sacrifices have allowed for her younger sister (played by Tanuja) to be raised in a lifestyle of ease and self-indulgence. Mala Sinha begins to fall in love with Dharmendra as his caring manner and flattering attentions opens up the possibility for the romantic fulfillment she had long denied herself. Meanwhile, Tanuja’s girlishly flirtacious advances toward Dharmendra appear not unwanted, completing the dramatic love triangle. Neither sister knows of the other’s intentions, and the audience anxiously awaits the moment when one will discover the truth. Whom will Dharmendra ultimately choose?

At least for the audience, that answer comes during one of the most romantic Mohammed Rafi songs of Bollywood: “Aap Ke Haseen Rukh Pe.” The cinematography of the film is by K.G. Prabhakar (whose strong legacy includes working as assistant camera in Guru Dutt masterpieces Sahib Bibi Aur Ghulam, Kaagaz Ke Phool and Pyaasa). The first thing you might notice about Baharen Phir Bhi Aayengi is the (lack of) colour. By 1966, Eastmancolor was by far the norm in Bollywood. Shooting this film in black-and-white stock therefore was a deliberate choice. Guru Dutt never filmed a movie in color (with the exception of a rare scene here and there, eg. “Chaudhvin Ka Chand“), and his films carry a haunting charm. Prabhakar uses creative camera angles and perfectly choreographed movements to convey the message of true love. The exquisite cinematography coupled with a combination of Anjaan’s ornate balladry, the dreamlike piano solo, and Mohammed Rafi’s hypnotically romantic vocals make this song a vision of what film should be.

Tanuja and Mala Sinha eyes
Shots of the two sisters mimic one another throughout “Aap Ke Haseen Rukh Pe,” heightening the dramatic irony. Here, both sisters shyly glance up toward Dharmendra as they each believe lines from his song are sung exclusively for them. Even their cat-eyeliner and penciled eyebrows are in fierce competition.

Early in the song, the camera choices are critical to casting doubt about to whom Dharmendra is truly singing. Prabhakar shoots the siblings’ reactions and movements in parallel, with each sister’s gazes mimicking the other such that even the audience grows uncomfortable, knowing one of them must be mistaken.

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This master shot creates a literal love triangle in the mis-en-scene and defines both their spatial and emotional relationships.

By the middle of the song, both sisters approach Dharmendra so that all three can be captured in the same shot, creating a fascinating opportunity for the cinematographer. In the master shot pictured above, the camera is placed behind Dharmendra’s shoulder, creating a visual triangle formed by the lid of the grand piano to underscore the romantic triangle blossoming before our eyes. This angle also allows a gorgeous moment of symbolism within the mis-en-scene through the placement of the main characters. Tanuja, whose love is confident and eager, leans toward Dharmendra into the light source, while Mala Sinha, whose love is more careful and protected, stands further away in the shadows, avoiding his direct gaze. Sinha is framed by the piano lid at the pinnacle of the triangle, literally surrounded by the music that has changed how she views the world.

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From a profile shot of Dharmendra to a medium reaction shot of Mala Sinha, the eyelines are ambiguous. Is he singing to Tanuja or to Mala Sinha?

Next, the audience is cleverly teased by the camera with a series of shots that heighten the romantic ambiguity. Prabhakar films a profile shot of Dharmendra singing, so that from the viewer’s perspective, he is just as likely to be making eye contact with Mala Sinha as with Tanuja. He brings the camera into Dharmendra’s seat for Mala Sinha’s reaction so that what we see is as if from Dharmendra’s own perspective. Tension mounts! A reverse shot from Mala Sinha’s position of Dharmendra would close the communicative loop, and we would finally have our answer that the two are definitely looking at one another, and both know it. Alas! Baharen Phir Bhi Aayengi is not so simple.

shot reverse shot compiled
The classic over-the-shoulder shot-reverse shot sequence ultimately seals Tanuja as the object of Dharmendra’s affection.

Finally, the camera gives its long-held secret away. At the end of the ballad, two consecutive shots with matching eyelines betray Tanuja and Dharmendra as the primary romantic couple of the film. The camera cuts from an over-the-shoulder shot of Tanuja to a reverse over-the-shoulder shot of Dharmendra. His gaze is now clearly directed at only one sister. Meanwhile, Mala Sinha appears tragically oblivious, wandering to the window to daydream of what we now know is impossible.

We hope you fall in love with the lyrics and our English translation of “Aap Ke Haseen Rukh Pe” below. When words like chuur-chuur and kashish are tossed around lightly in a Bollywood song, you know you’re in for some solidly gorgeous poetry! Follow along with the cinematography of the film here and let us know which sister you were rooting for in the comments!

Aap Ke Haseen Rukh Pe Lyrics and Translation:

aap ke hasee.N rukh pe aaj nayaa nuur hai
Upon your beautiful face today is a new light
meraa dil machal gayaa, to meraa kyaa qusuur hai?
If my heart trembled, what fault is it of mine?
aap kii nigaah ne kahaa to kuch zaruur hai
Your glance said something surely
meraa dil machal gayaa to meraa kyaa qusuur hai?
If my heart trembled, what fault is it of mine?

khulii laTo.N ki chhaao.N mei.N, khilaa khilaa yeh ruup hai
In the shade of your open tresses, this beauty bloomed
ghaTaa se jaise chhan rahii, subaah subaah kii dhuup hai
As if morning sunlight is streaming through a cloud
jidhar nazar muDii ,udhar suruur hii suruur hai
In whichever direction my gaze turns, there is only pleasure upon pleasure
meraa dil machal gayaa to meraa kyaa qusuur hai?
If my heart trembled, what fault is it of mine?

jhukii jhukii nigaah mei.N bhii hai.N balaa ki shokhiyaa.N
In your shy lowered gaze is also a calamity of mischief
Dabii Dabii ha.Nsii mei.N bhii, taDap rahii hai.N bijliiyaa.N
Even in your suppressed laughter, lightening is pulsing
shabaab aap kaa nashe mei.N khud hii chuur-chuur hai
Your youthfulness dissolves itself in intoxication
meraa dil machal gayaa to meraa kyaa qusuur hai?
If my heart trembled, what fault is it of mine?

jahaa.N jahaa.N paDe qaDam, wahaa.N fizaa badal gayii
Wherever your foot falls, there the wind changes
ki jaise sar-basar bahaar aap hii mei.N Dhal gayii
As if the whole of Spring descended into you
kisi mei.N yeh kashish kahaa.N jo aap mei.N huzuur hai?
Where is this allure in anyone that is present in you?
meraa dil machal gayaa to meraa kyaa qusuur hai?
If my heart trembled, what fault is it of mine?

aapke haseen rukh pe aaj naya noor hai
Upon your beautiful face today is a new light
meraa dil machal gayaa to meraa kyaa qusuur hai?
If my heart trembled, what fault is it of mine?

aap kii nigaahon ne kahaa to kuch zaruur hai
Your glances said something surely
meraa dil machal gayaa to meraa kyaa qusuur hai?
If my heart trembled, what fault is it of mine?

Hmm hmm hmm…hmm hmm hmm

Glossary:

hasee.N: beautiful; rukh: face; aaj: today; nayaa: new; nuur: light; dil: heart; machalnaa: to quiver, to tremble; qusuur: fault; nigaah: glance; zaruur: surely, of course; khulaa: open; laT: tresses; chhaao.N: shadow, shade; khilnaa: to bloom; ruup: beauty; ghaTaa: cloud; chhannaa: to stream; subaah: morning; dhuup: sunlight; jidhar; in whichever direction; nazar: gaze, eyes; muDnaa: to turn around; udhar: in that direction; suruur: pleasure, addiction; jhuknaa: to bow, to lower; balaa: calamity, misfortune; shokhii: mischief; Dabnaa: to suppress; ha.Nsii: laughter; taDapnaa: to flutter; bijlii: lightening; shabaab: youth; nashaa: intoxication; khud: self; chuur-chuur: pulverized, dissolved; jahaa.N: where; paDnaa: to step; qadam: footstep; wahaa.N: there; fizaa: wind, atmosphere; badalnaa: to change; jaise: like, as if; sar-basaar: entire, whole; bahaar: Spring; Dhalnaa: to set, to descend; kisii mei.N: in someone; kashish: allure, charm; huzuur: present

A brief word on the nuances between English and Urdu-Hindi. I struggled to translate bijliiyaan and shokhiyaan, plurals of the feminine nouns bijlii and shokii respectively. In English, the word lightening does not necessarily imply the number of bolts (singular versus plural), however bijliyaan clear indicates multiple bolts of lightening. Similarly, shokhii, meaning mischief in English, becomes a series of mischievous activities in the plural shokhiiyaan–however there is no simple plural of the word mischief in English (although in and of itself, the word mischief in English can imply plurality, but not necessarily). I also find that when used in Urdu-Hindi, especially romantic songs, shokhii has a much more playful connotation than the potentially negative associations of mischief in English. Isn’t language a wonderful thing?

Mala Sinha window
A stunning dolly shot of Mala Sinha from outside the window represents her emotional imprisonment from which Dharmendra offers a chance at escape.
“Aap Ke Haseen Rukh Pe” was requested by loyal fan Arun. Thank you for reading this  epic essay that came out of your request! For more analysis of great moments in Bollywood cinematography check out our translations of  “Tum Pukar Lo” (Khamoshi 1969) and “Kar Chale Hum Fida” (Haqeeqat 1964).
– Mrs. 55

50 Best Film Shots That Will Make You Believe in the Magic of Classic Bollywood

 

We’ve compiled a montage of the best film shots from classic Bollywood movies that we feel exemplify the splendor, allure, and excitement of Hindi movies from the Golden Age. Consider these 50 beautiful film shots a glimpse through a keyhole into a much grander world of cinematographic sublimity: behold the magic of classic Bollywood.

This project was kindled in part by my reaction to everyone who’s ever told me, “I love Bollywood!” I get that a lot. Being a film production major who’s worked in the Hindi movie industry, I hear the phrase, “I love Bollywood!” several times a month—from classmates, friends, and random people at parties. Bollywood has become a trend all over the globe—every hipster worth their organic sea salt is familiar with the term, and many have even seen a Hindi film or two themselves. Except I don’t really ever know what to say in reply. It’s not because loving Bollywood isn’t exactly what I look for in new friends (because believe me, it is), but because I don’t understand what that phrase even means.

Let me put this in perspective. To me, this can be the equivalent of someone in rural Punjab who’s seen the Bourne trilogy saying, “I love Hollywood!”

Think about that. What does it mean to love “Hollywood”? Are you saying you love American filmmaking and its history? Celebrity gossip? Or do you really mean to say, “I love action flicks and Matt Damon?” Because Hollywood is not just big-budget androcentric action flicks (although they are a cool part of a big genre). Ryan Gosling kissing Rachel McAdams in the rain is Hollywood. Orsen Welles fighting a smear campaign for governor is Hollywood. Judy Garland singing over a rainbow is Hollywood. And Jack Nicholas running amok in an insane asylum is Hollywood. It’s rare to find someone who knows and loves it all.

So when you say, “I love Bollywood!” to me, as a true lover of all things Bollywood, I don’t know what you’re really referring to. Often people who haven’t had much exposure tend to generalize that elusive term Bollywood to mean “pretty costumes!” or “crazy dancing!” This perception applies just as much to Indians from India as to non-Indians anywhere else. Because Bollywood is not just the melodramatic musical with half-naked women and a loose masala plot that is often stereotyped. Bollywood is Guru Dutt searching the streets of urban decay for a glimmer of humanity. Bollywood is Meena Kumari dancing kathak upon shattered glass in sorrow. Bollywood is Amitabh Bachhan’s fist meeting the jaws of his twenty adversaries with a satisfying smack. And yes, Bollywood is Aishwarya Rai and Shah Rukh Khan in glittery costumes declaring love in the moonlight. I often yearn to somehow share all the magic of classic Hindi cinema that comes to my mind when I think of Bollywood, because it is a well-hidden treasure for so many of my generation.

Now before someone throws a fit, I get it. Not everyone has the time or interest to become heavily familiarized with Bombay’s film output since the 1930s. Nor should they. All I’m saying is, I wish more people were aware of what Bollywood truly encompasses. When you exclaim, “I love Bollywood!” there is a reason why I can’t bring myself to reply, “OMG, totes!” but instead want to fill your ear with my reverence of the cinematography in Kaagaz Ke Phool (1959). Simply tell me you loved the movie Kuch Kuch Hota Hai (1998) (because, seriously, who didn’t?), or that you thought Deepika Padukone’s outfits were beautiful in that one rom-com. Otherwise, we’ll both end up feeling awkward after I start on my spiel. Yes, I probably overthink this. Yes, most people probably don’t care one way or another. But I can’t imagine living a world without the enchantment of classic Bollywood films, and maybe there are people out there who would want in, if they only knew what they’re missing.

So this montage is the reply I wish I could give everyone, but I cannot articulate–a reply that must be seen to be believed. Because when I respond, “Really? I love Bollywood too!” this is what comes to my mind. This montage is why I love Bollywood. I hope that by watching these shots, you can get a peek into that hypnotizing world yourself, and that you’ll crave more. I hope that this might be a chance to understand that Bollywood is far richer, far more complex, and far more evocative than can be summed up by mere words or by viewing a single film.

Therefore, don’t just take my word for it. Watch the 50 Film Shots That Will Make You Believe in the Magic of Classic Bollywood, and I’ll bet that somewhere deep inside your heart, something faintly stirs in a way you never knew possible. And afterwards, I recommend starting with any of the movies that made our list of the Top 30 Greatest Classic Bollywood Films of All Time. I’ll get off my soap box now. Back to translating obscure old songs where I belong. But send us a comment if this montage resonates with you, and share it with anyone who may have never experienced the wonder of the films to which it pays homage.

Just don’t even get me started on Slumdog Millionaire.

– Mrs. 55

Final Shot from Mother India Nargis
An aged Nargis remembers the trials of her youth in the final shot of the Academy Award-nominated film Mother India (1957).

As a reference, the corresponding films to our 50 selected shots are below. The music playing during the montage is the “Title Music” from Pakeezah (1972).

50 Shots’ Film Names (in order of appearance):

  1. Bandini (1963)
  2. Kaagaz Ke Phool (1959)
  3. Pakeezah (1972)
  4. Aradhana (1969)
  5. Bombai Ka Babu (1960)
  6. Kohra (1964)
  7. Mother India (1957)
  8. Guide (1965)
  9. Shree 420 (1955)
  10. Sangam (1964)
  11. Mughal-e-Azam (1960)
  12. Chinatown (1962)
  13. Caravan (1971)
  14. Shree 420 (1955)
  15. Shree 420 (1955)
  16. Sholay (1975)
  17. Kaagaz Ke Phool (1959)
  18. Pakeezah (1972)
  19. Pakeezah (1972)
  20. Pyaasa (1957)
  21. Bombai Ka Babu (1960)
  22. Umrao Jaan (1981)
  23. Woh Kaun Thi? (1964)
  24. Mehboob Ki Mehndi (1971)
  25. Jab Jab Phool Khile (1965)
  26. Aradhana (1969)
  27. Khamoshi (1970)
  28. Mughal-e-Azam (1960)
  29. Mughal-e-Azam (1960)
  30. Woh Kaun Thi? (1964)
  31. Mother India (1957)
  32. Kaagaz Ke Phool (1959)
  33. Guide (1965)
  34. Andaz (1949)
  35. Mughal-e-Azam (1960)
  36. Aradhana (1969)
  37. Pakeezah (1972)
  38. Jewel Thief (1967)
  39. Aan Milo Sajna (1970)
  40. Anand (1971)
  41. Kaagaz Ke Phool (1959)
  42. Awaara (1951)
  43. Amar, Akbar, Anthony (1977)
  44. Do Raaste (1969)
  45. Kaagaz Ke Phool (1959)
  46. Awaara (1951)
  47. Sholay (1975)
  48. Baazi (1951)
  49. Woh Kaun Thi? (1964)
  50. Mother India (1957)

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

Sadhana
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
MK
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.

MK
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
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.

Sadhana
     Those eyes! 

Thandi Hawa Kali Ghata Lyrics and Translation: Let’s Learn Urdu-Hindi

Madhubala in Mr. and Mrs. 55 (1955)
The epitome of modernity, feisty Madhubala croons poolside in Mr. and Mrs. ’55 (1955).

Today we present the lyrics and English translation of “Thandi Hawa Kali Gata” from our very own namesake Mr. and Mrs. ’55 (1955). The film follows an unlikely young couple, Madhubala and Guru Dutt, who are forced together by circumstance and end up challenging their own social mores, maturing, and finding love to essentially become an ideal match—a figurative “couple of the year.”

People tend to have strong feelings one way or another for this film. The music is hands-down fantastic, but the plot tends to be divisive, depending on how you view Guru Dutt’s stance on female emancipation in the 1950s. I tend to argue that the film is empowering—his narrative is social criticism of the flaws in patriarchal society, as well as an exploration of non-traditional female roles. While Madhubala’s character does indeed discover many virtues of a conventional Indian housewife, her realization that she would prefer marriage to divorce comes with a refreshing sense of maturity and self-discovery that in no way shackles her independence. Unlike many great heroines of the era, in Mr. and Mrs. ’55, Madhubala is feisty and does exactly what she wants, when she wants! I like that about a woman.

Madhubala in Mr. and Mrs. 55 Thandi Hawa
In the coming-of-age classic “Thandi Hawa Kali Ghata,” Madhubala blushes in Mr. and Mrs. 55.

Now let’s take this moment to talk about the ridiculous ribbons and pigtails flying around the set in this song. Don’t be shy, you know precisely what I’m talking about. Mr. and Mrs. 55‘ was not the first film (and certainly not the last) to idealize fully-grown women who did their hair like 5-year old girls. Every actress of Bollywood’s yesteryear from class-act Meena Kumari to joke-a-minute Asha Parekh has played the romantic lead with a hairdo that awkwardly imitates the elementary school kids. Yes, chew on that for a moment. There’s an entire slightly uncomfortable social theory behind the craze. Contrast this lunchbox look to Madhubala’s long flowing locks in the sweet duet “Udhar Tum Haseen Ho” toward the end of the film as she begins to accept her marriage to Guru Dutt. Symbolic, no?

But enough about my beef with pigtails. Sung by Guru Dutt’s own wife Geeta Dutt, there’s plenty to love in this uplifting jingle! Follow along with the video here and enjoy our English translation and lyrics to “Thandi Hawa Kali Ghata” below!

Thandi Hawa Kali Ghata Lyrics and Translation:

ThanDii hawaa, kaalii ghaTaa, aa hii gayii jhoom ke
A cold wind and black clouds have come with ebullience
Pyaar liiye, Dole, ha.Nsii, naache jiiyaa ghoom ke
Carrying love, laughter swayed, and my heart danced in swirls

baiThii thii chhup-chhaap yuu.N hii, dil kii kalii chhum ke mai.N
I was sitting quietly, caressing the flower of my heart
dil ne yeh kyaa baat kahii, rah na sakii sun ke mai.N
What my heart said, I could not stay there to listen
mai.N jo chalii dil ne kahaa aur zaraa jhoom ke
As I left, my heart spoke with even more exuberance
Pyaar liiye, Dole, ha.Nsii, naache jiiyaa ghoom ke
Carrying love, laughter swayed, and my heart danced in swirls

Aaj to mai.N apnii chhabii dekh ke sharam aa gayii
Today I became shy upon seeing my own reflection
Jaane yeh kyaa soch rahii thii ki ha.Nsii aa gayii
I do not know what I was thinking, but I suddenly laughed
LauT gayii zulf mere honTh meraa chhuum ke
My hair flew back and touched my lips
Pyaar liiye, Dole ha.Nsii, naache jiiyaa ghoom ke
Carrying love, laughter swayed, and my heart danced in swirls

dil kaa haar iktaar hilaa, chhiDne lagii raginii
The necklace of my heart struck a chord on the iktaar, and it began teasing out a melody
kajraa bhare nain liye, ban ke chaluu.N kaaminii
With kajra-lined eyes, I became a beautiful woman and set out
Keh do koii aaj ghaTaa barse zaraa dhoom se
Someone tell the clouds to rain thunderously today
Pyaar liiye, Dole, ha.Nsii, naache jiiyaa ghoom ke
Carrying love, laughter swayed, and my heart danced in swirls

ThanDii hawaa, kaalii ghaTaa, aa hii gayii jhoom ke
A cold wind and black clouds have come with ebullience
Pyaar liiye, Dole, ha.Nsii, naache jiiyaa ghoom ke
Carrying love, laughter swayed, and my heart danced in swirls

Glossary:

ThanDii: cold, hawaa: wind; kaalii: dark; ghaTaa: cloud; jhoom: ebullience, exuberance; Dolna: to sway; ha.Nsii: laughter; naachnaa: to dance; jiiyaa: soul, heart; laughter; ghoomnaa: to swirl; chhup-chhaap: absolutely quietly; chhabii: reflection, image; sharam aanaa: to become embarrassed, to become shy; zulf: hair; honTh: lips; haar: necklace; iktaar: a traditional Hindustani one-stringed instrument, raginii: a small song, kajraa: traditional Indian  eyeliner; nain; eyes; kaaminii: a beautiful, desirable woman; koii: someone; barasnaa: to rain; dhoom se: with noise

Madhubala and friends in Mr. and Mrs. 55 (1955).
Madhubala and her girlfriends join hands in a chorus of pigtails and parasols in Mr. and Mrs. ’55 (1955).

Don’t you love how this film is just bursting with the tension of modernization? Like many typical “coming-of-age” songs, lyricist Majrooh Sultanpuri employs nature-based allegories to describe a girl’s maturation to womanhood and the development of romantic inclinations. However, the song is unexpectedly filmed at the uber urban hangout of Mahatma Gandhi swimming pool in Bombay’s Shivaji Park! Gotta love those modern girls. Producer-director Nasreen Munni Kabir describes Guru Dutt’s cinematographic decision-making process while filming this song in her must-see documentary “In Search of Guru Dutt“!

This brilliant Geeta Dutt hit was requested by loyal fan Sonia! We know we’ve been taking longer than usual to get around to requests, but with Mr. 55 getting swamped in medical school and me getting down to the wire for wedding planning, we’re doing our best! Stay tuned–we love hearing from our fans!

– Mrs. 55