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

Posted on June 19, 2016 by mrandmrs55

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

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

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

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

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

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

After all, we cannot forget that love is love.

-Mr. ’55

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

Pyar Kiya To Darna Kya: Lyrics and English Translation

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

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

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

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

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

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

Glossary

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

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

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

Posted on June 29, 2014 by mrandmrs55

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

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

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

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

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

-Mr. 55

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

Bekas Pe Karam Kijiye: Lyrics and Translation

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

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

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

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

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

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

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

Glossary

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

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

What is Eastmancolor?

Posted on September 18, 2012 by mrandmrs55

Amar Akbar Anthony in blinding Eastmancolor!

No, really, what the heck is Eastmancolor? When you look closely at title screen of each of your favorite classic Bollywood films, you find the simple, but bold little phrase, “EASTMANCOLOR” conspicuously splashed across the screen. It’s gnawed quietly at the back of your mind for years. Is “Eastmancolor” part of the name of the film? Is someone making a not-so-clever reference to Indians themselves (“Who is this MAN from the EAST, anyway?”)!? But the words quickly dissolve, the film begins, and in the excitement and messiness of the resulting masala, why “Eastmancolor” deserves a holy spot right in the title screen remains forever an unsolved mystery. Luckily for you, that’s about to change.

Aradhana in mind-blowing Eastmancolor!

Let’s back ourselves up and unravel this riddle from the start. When the first monopack colour film stocks hit Hollywood in the 1930s, India was eager to catch up and bring colour to Bollywood. But the process was not easy. Apart from being significantly more expensive than traditional black-and-white (silver halide photographic emulsion), coloured film stock brought with it a new set of artistic problems: development of the negative taking both luminosity and color into account.

Mere Huzoor in death-defying Eastmancolor!

The first colour film made entirely in India was Kisan Kanya (1937), produced by Ardeshir Irani who had also pioneered the first talkie of Hindi cinema 6 years earlier. However, poor box-office returns and difficulties and expenses in garnering rights to the American Cinecolor stock development process kept coloured film largely out of range for many years following. Guru Dutt, not surprisingly, was among the later auteurs who help revive its popularity. He experimented with the new colour cinematography in his timeless beauty “Chaudhvin Ka Chand”(1961) that highlights the effect of (fake) moonlight and colour ranges at night. The opportunity to use colour arrived mid-production, and although Dutt had wanted to reshoot the entire film with the new technology, budget and time-constraints forced him to film only this and one other song in colour before the release. Around the same time, K. Asif too experimented with the range of this new technology, incorporating the dazzling colour song “Pyar Kiya To Darna Kya” into his magnum opus Mughal-e-Azam (1961) as a stunning and vivid tribute to the full glamour of the Mughal Empire.

Junglee in dazzling Eastmancolor!

India’s full-length color feature, Mother India (1957), was a landmark film for many reasons, but notably for demonstrating that coloured film stock was the wave of the future—garnering a nomination for Best Foreign Film at the Academy Awards the year of its release. After the overwhelming success of Mother India, Bollywood began shifting its norm to predominantly coloured film, eventually using black-and-white sparingly for stylistic reasons (as in the film noirs or Teen Devian).

Caravan in jaw-dropping Eastmancolor!

Prior to this era, colourizing film had been a technical and artistic nightmare—as far back as the 1910s and 1920s, filmmakers had been painting each frame of a film by hand, bleaching the film stock and adding color dye, or most popularly, using the expensive Technicolor multi-strip subtractive method. These options had little ground in the competitive, movie-a-minute atmosphere of India, and the hassle of processing such film stock (which often needed to be shipped abroad for the purpose), left India for many years colourless.

Teesri Manzil in heart-stopping Eastmancolor!

Eastmancolor, introduced in 1950 by Kodak was a novel and economic technology that used a single-strip 33mm negative-positive process incorporated into one strip of film. While a popular rival to expensive Technicolor, it unfortunately is also the stock most prone to fading over the years. The Eastmancolor emulsions are made of cyan, yellow, and magenta layers. The cyan is the first to fade—in films you see what were originally blue skies now turned white—then eventually all you have left are the sun-washed reddish hues. This gives us a classic image of badly preserved Bollywood films with faded colours and a warm tint. Contrast this with most beautifully vivid Technicolor processed films you can watch today (think MGM Judy Garland musicals), and you can see a big difference in how the colours have survived.

Safar in gut-wrenching Eastmancolor!

By the time DVDs rolled around, many of the films we know and love in Bollywood had suffered destruction in their original film stocks that no one bothered to repair before a DVD transfer. However, just to give you a hint of what we’ve lost, I’ve personally adjusted the color (albeit imperfectly), to a few stills below from some classic Bollywood films as they would have looked had they been printed on extremely saturated Technicolor. See how subtle thing like this can actually make a HUGE overall difference?! That faded look is merely a tragic artifact of time and neglect.

Pradeep Kumar and Bina Rai in Taj Mahal (1963).
Left: Eastmancolor. Right: Technicolor.

Sunil Dutt and Sadhana in Waqt (1965).
Left: Eastmancolor. Right: Technicolor.

Waheeda Rehman in Guide (1965).
Left: Eastmancolor. Right: Technicolor.

Shammi Kapoor and Asha Parekh in Teesri Manzil (1966).
Left: Eastmancolor. Right: Technicolor.

Aruna Irani in Caravan (1971).
Left: Eastmancolor. Right: Technicolor.

Rajesh Khanna and Sharmila Tagore in Aradhana (1969).
Left: Eastmancolor. Right: Technicolor.

Zeenat Aman and Dev Anand in Hare Rama Hare Krishna (1971).
Left: Eastmancolor. Right: Technicolor.

We often think that Eastmancolor was used only in Bollywood, but it truly started in America as a cheaper rival to Technicolor. In fact, with the advent of Cinemascope (a new widescreen format that once again changed the dynamic of filmmaking), Eastmancolor became THE industry standard—however, in America and unlike in India, the Eastmancolor stock was actually processed still by Technicolor using their sturdier dye-transfer printing. Therefore many films in America billed as “Technicolor” actually have an Eastmancolor base, but would retain their colour fidelity over the years. This is also true of the climax of Mughal-e-Azam which was also shot in and processed by Technicolor and has therefore remained brilliant over the years (helped, of course, also by the recent restoration project). The colours of that film look far different than the colours of classic Eastmancolor Bollywood films like Caravan (1978), Amar Akbar Anthony (1977), or Jewel Thief (1967). Sigh. A little investment would have gone a long way.

Madhubala glitters in K. Asif’s true Technicolor masterpiece Mughal-e-Azam (1961). Now THAT’s colour, people.

Satisfied? More information than you really wanted? I hope everyone’s burning curiosity has been slaked at last. The next time you and your hip friends watch an Eastmancolor film, you’ll be the cool cat who knows the full story. Impress the crowd with your knowledge, and poo-poo those provincial fools who think Eastmancolor simply meant Indian men making films! Fun fact: Eastman is actually the name of George Eastman who founded Kodak Photography in 1889!

This Bollywood Mystery request was submitted by faithful fan Pankaj. As always, shoot us an email and keep those requests coming!

-Mrs. 55

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

Posted on May 2, 2012 by mrandmrs55

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

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

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

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

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

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

-Mr. 55

Teri Mehfil Mein Qismat Aazmaakar Lyrics and Translation:

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

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

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

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

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

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

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

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

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

Glossary

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