Aaj Phir Jeene Ki Tamana Lyrics and Translation: Let’s Learn Urdu-Hindi

Waheeda Rehman Aaj Phir Jeene Guide

We are not worthy of Waheeda Rehman glistening in head-to-toe teal in “Aaj Phir Jeene Ki” from Guide (1965).

Today we present the English translation and lyrics to “Aaj Phir Jeene Ki” from the cult classic film Guide (1965). A stirring exploration of the Vedic transformation from materialism to freedom from worldly attachments, Guide is routinely listed among the greatest Bollywood films ever made. Based on the classic novel by R.K. Narayan “The Guide,” the film unearths profound depths beneath a glittery surface of a scandalous romance: Raju (played by Dev Anand) is a smooth-talking tour guide who is mesmerized by a vivacious young dancer, Rosy (played by Waheeda Rehman), the wife of an elderly archaeologist. Trapped in a loveless marriage of convenience, Rosy dreams of becoming a famous performer while masking her shame of being the daughter of a courtesan.  While her lofty ambitions and enchanting on-screen presence initially propel Rosy to the foreground of the narrative, Raju’s nuanced, reflective character is the real star of the film whose philosophical awakening bestows the film its larger-than-life greatness.

Dev Anand Waheeda Rehman hay cart Guide

Waheeda Rehman finds a renewed zeal to live with the support of Dev Anand in Guide (1965).

Raju observes with quiet fascination Rosy’s marital discord as he leads her and her husband on a tour of historical caves. His curiosity quickly blossoms into something more as her despair leads to attempted suicide as Rosy’s husband carries on an affair with a local villager. Raju finds himself assuming the role of her protector, whisking Rosy to the city where she purchases a set of ghungroos (dancing bells) from a street stall. The bells transform her instantly into capricious, joyful young woman who realizes how much she has to life for. As she prances back to the countryside, swirling through the Rani Padmini Palace and Chittorgh Fort in Rajasthan along the way, Waheeda Rehman’s “Aaj Phir Jeene Ki” (sung by Lata Mangeshkar) is a song of rebirth.

Guide is a landmark for its ceiling-smashing plot and careful, stunning cinematography that keep pace with its stellar soundtrack composed by S. D. Burman. Follow along with the video here to see how director Vijay Anand cuts between high-angle and low-angle shots that brilliantly mirror the unpredictable oscillations of Rosy’s mood.

Aaj Phir Jeene Ki Tamana Lyrics and Translation:

Kaa.Nto.N se khee.Nch ke yeh aa.Nchal
I pulled my saari away from thorns
ToD ke bandhan baandhe paayal
I broke my shackles when I tied these anklets
Koii na roko dil ki udaa.N ko
Let know no one stop the soaring of my heart
Dil woh chalaa aa aa aa aa aa…
There goes my heart…
Aaj phir jeene ki tamannaa hai
Today I have the desire to live again
Aaj phir marne ka iraadaa hai
Today I intend to die again

Apne hii bas mei.N nahii.N mai.N
I have no control over myself
Dil hai kahii.N to huu.N kahii.N mai.N
My heart is somewhere and I am somewhere else
Ho jaane kya paa ke merii zindagii ne ha.Ns kar kahaa
Who knows what my life gained as it said laughing
Ha ha ha ha ha ha ha…

Aaj phir jeene ki tamannaa hai
Today I have the desire to live again
Aaj phir marne ka iraadaa hai
Today I intend to die again

Mai.N huu.N huubaar yaa tuufaa.N huu.N?
Am I intoxicated or a rainstorm?
Koii bataaye mai.N kahaa.n huu.N
Someone tell me where I am
Ho Dar hai safar mei.N kahii.N kho na jaauu.N mai.N rastaa nayaa
I fear that I may get lost somewhere in this journey upon a new path
Aa aa aa aa aa…

Aaj phir jeene ki tamannaa hai
Today I have the desire to live again
Aaj phir marne ka iraadaa hai
Today I intend to die again

Kal ke andhero.N se nikal ke
I emerged from the darkness of yesterday
Dekha hai aankhe.N malte malte
I rub my eyes and finally see
Ho phuul hi phuul zindagii bahaar hai, tay kar liyaa
Flowers are everywhere and life is like Spring, I have decided
Aa aa aa aa…

Aaj phir jeene ki tamannaa hai
Today I have the desire to live again
Aaj phir marne ka iraadaa hai
Today I intend to die again

Glossary

kaa.Ntaa: thorn; khee.Nchnaa: to pull; aa.Nchal: end of a saari; toDnaa: to break; bandhan: shackle; paayal: anklet; koii: someone; roknaa: to stop; dil: heart; udaa.N: soaring, flight; aaj: today; phir: again; jeenaa: to live; tamannaa: desire; marnaa: to die; iraadaa: intention; bas mei.N: self-control; kahii.N: somewhere; jaane kyaa: who knows what, wonder what; paanaa: to gain; zindagii: life; ha.Nsnaa: to laugh; huubaar: intoxicated; tuufaa.N: storm; bataanaa: to tell; Dar: fear; safar: journey: kho jaanaa: to become lost; rastaa: path; nayaa: new; andheraa: darkness; nikalnaa: to emerge; malnaa: to rub; phuul: flower; bahaar: Spring; tay karnaa: to decide

Waheeda Rehman Rani Padmini palace Rajasthan

The depth of field in the shot allows the viewer to appreciate Dev Anand lagging behind in the background of the Rani Padmini palace in Rajasthan, India where “Aaj Phir Jeene Ki” was filmed on location.

This lovely Lata Mangeshkar solo was requested by fan Yahya. Did you know there was an English-language version of Guide that was even more daring and true to the novel, but never made it to large audiences? More on its fascinating back-story and how American Nobel laureate Pearl S. Buck and Dev Anand became unlikely co-producers in a future post!

Waheeda Rehman and Dev Anand reunited five years later for the film Prem Pujari (1970) that also boasted a gorgeous soundtrack, including the hit love duet “Shokhiyon Mein Ghola.” However, the film failed to capture the magic of their earlier hits and flopped at the box office. Dev Anand would go on to say in many interviews that working on Guide remained the highlight of his career.

-Mrs. 55

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Mere Naina Sawan Bhado: Let’s Learn Urdu-Hindi

Rajesh Khanna rainy guitar mere naina sawan bhado

Rajesh Khanna soaks his blue bell bottoms as he croons to Hema Malini in the rain in Mehbooba (1976).

Today we highlight the lyrics and English translation of “Mere Naina Sawan Bhado” from Mehbooba (1976). Starring Hema Malini and Rajesh Khanna, Mehbooba is a dramatic reincarnation (punar-janam) love story that can only exist in Bollywood. When contemporary pop singer (played by Rajesh Khanna) is gifted an antique sitar for his birthday, he begins to unravel the mysteries of his past life and search for the woman whose musical talent once mesmerized him (played by the lovely Hema Malini). Mehbooba journeys from hip city life of 1970s Bombay to a countryside royal court of the 1800s where a court musician and dancer fall in love despite the misgivings of society.

First sung by Hema Malini in their past life when she believes Rajesh Khanna has deceived her, the female version of “Mere Naina Sawan Bhado” is a tragic rendition, bursting with lovely alaaps that befit the classical nature of that period’s music. “Mere Naina Sawan Bhado” is reprised later in the film in the modern day as Rajesh Khanna seeks to remind Hema Malini (now reincarnated as a local village belle) of their former bond. The male version is…well, steamier, in one sense of the word.

One of Mehbooba‘s most iconic scenes occurs when Rajesh Khanna begins to sing “Mere Naina Sawan Bhado” in the middle of a raging stormy night, luring Hema Malini from her sleep to discover the mysterious voice filling the air. Lightening flashes menacingly, everyone’s hair is blowing wildly, and still the guitar plays on (check out more on Bollywood rain songs here!). While the male version sung by Kishore Kumar is arguably more popular (Kumar himself ranked this song in his top ten personal favorites!), the female version sung by Lata Mangeshkar is as hauntingly beautiful and enhances our understanding of the former.

Hema Malini Mere Naina Sawan Bhado Mehbooba

Hema Malini’s memories of a past life are stirred when she hears “Mere Naina Sawan Bhado” from Mehbooba (1976).

Mehbooba was written by Gulshan Nanda who also wrote the screenplay of Neel Kamal (1968)–a film about a woman who visits an old palace where she discovers she was a court dancer in her previous life and that her former lover is still searching for her. Sound kind of familiar? We all see what you did there, Gulshan. Mehbooba will also literally carry a sense of deja-vu for to anyone who has seen Kudrat (1981), conveniently also starring Rajesh Khanna and Hema Malini caught in a punar-janam love tangle. However, Kudrat is a darker film with flashes of expressionist inspiration that elevate the entire genre and likely contributed to its greater commercial success.

With music by R.D. Burman and lyrics by Anand Bakshi, “Mere Naina Sawan Bhado” is a passionate tribute to old memories. We hope you appreciate the lyrics and learn from our English translation of both versions of “Mere Naina Sawan Bhado” below!

Mere Naina Sawan Bhado Lyrics and English Translation:

Male version:

Mere nainaa saawan-bhaado.N
My eyes are like the monsoons
Phir bhii meraa man pyaasaa
Yet still my mind remains thirsty

Aye dil diiwaane, khel yeh kyaa jaane?
Oh crazy heart, what does it know of this game?
Dard bharaa yeh giit kahaa.N se
From where does this pain-filled song
In ho.NTho.N pe aaye? duur kahii.N le jaaye
come to these lips? Take me far away
Bhuul gayaa kyaa? bhuulke bhii hai
What have I forgotten? Even though I forget
Mujhko yaad zaraa saa, phir bhii meraa man pyaasaa
I remember a little, yet still my mind is thirsty

Baat puraanii hai, ek kahaanii hai
This is an old conversation, this is a story
Ab sochuu.N tumhe.N, yaad nahii.N hai
Now I think you do not remember
Ab sochuu.N nahii.N bhuule woh saawan ke jhuule
Now I think you could not forget those swing sets of the rainy season
Rut aaye, rut jaaye deke
I saw the seasons come and go
JhuuThaa ek dilaasaa, phir bhii meraa man pyaasaa
This lie is a consolation, yet still my mind is thirsty

Baraso.N biit gaye, hamko mile bichhaDe
Ages have passed since we met and were separated
Bijurii bankar, gagan pe chhamke
We were like lightening that sparkled in the sky
Biite samay kii rekhaa, mai.N ne tumko dekhaa
But that line of time has passed since I saw you
Man sang aa.Nkh-michaulii khele
Playing hide and seek with my mind
Aashaa aur niraashaa, phir bhii meraa man pyaasaa
(were) hope and despair, yet still my mind is thirsty

Female version:

Mere nainaa saawan-bhaado.N
My eyes are like the monsoons
Phir bhii meraa man pyaasaa
Yet still my mind remains thirsty

Ghungharuu kii chham-chham, ban gayii dil kaa gham
The sound of the dancing bells become the sadness of my heart
Duub gayaa dil, yaado.N mei.N
My heart drowned in memories of you
Ubharii berang lakiire.N, dekho yeh tasviire.N
Only to emerge as colorless sketches, look at these portraits
Suune mahal mei.N naach rahii hai
In a lonely palace, still dancing
Ab tak ek rakkaasaa, phir bhii meraa man pyaasaa
Even now is a performer, yet still my mind is thirsty

Glossary:

nainaa: eyes; saawan-bhaado.N: the 5th and 6th months of the Panjabi (Nanakshahi) calendar that comprise the monsoon season; man: mind; pyaasaa: thirsty; dil: heart; diiwaanaa: crazy; khel: game; dard: pain; bharaa: filled; giit: song; kahaa.N: where; ho.NTh: lips; duur: far; bhuulnaa: to forget; yaad: memory; puraanii: old; kahaanii: story, legend; sochnaa: to think; bhuulnaa: to forget; jhuulaa: swing set; rut: season; jhuuThaa: lie; dilaasaa: consolation; baras: age, years; biitnaa: to pass; milnaa: to meet; bichhaDnaa: to be separated; bijuri: lightening; gagan: sky; chhamaknaa: to sparkle; samay: time; rekhaa: line; aa.nkh-michaulii: hide-and-seek; aashaa: hope; niraashaa: despair; gham: sadness; Duubnaa: to drown; ubharii: raised; berang: without color; lakiraaa: line; tasviir: picture; suunaa: lonely, mahal: palace; naachnaa: to dance; tak: until; rakkaasaa: dancer

Rajesh Khanna Mehbooba guitar mere naina sawan

Smooth-operator Rajesh Khanna executes his devastating wink mid-guitar pluck, completely obliterating anyone’s initial repulsion at his haircut.

Did you know Rajesh Khanna actually sings the first antra of the song in a separate scene that takes place in broad daylight? He opens with his famous wink that still manages to induce swoons despite his distractingly dated ‘do! Think I’m the only one obsessed with the hair and outfits in these films? This week our local independent movie theatre happened to be doing a Bollywood series (obviously, I soaked up every moment), including a special screening of Om Shanti Om (2007). During the song “Main Agar Kahoon,” something felt eerily familiar…check out Shah Rukh Khan’s outfit below to see what I mean! It’s one of the many subtle meta classic film references that make Om Shanti Om such a brilliant work!

Shah Rukh Khan imitates Rajesh Khanna's unforgettable blue ensemble with a rainbow top in Om Shanti Om (2008).

Shah Rukh Khan imitates Rajesh Khanna’s scarring unforgettable blue bell bottom ensemble with a rainbow top in Om Shanti Om (2007).

– Mrs. 55

Ek Ladki Bheegi Bhaagi Si Lyrics and Translation: Let’s Learn Urdu-Hindi

Madhubala car window Ek ladki bheegi bhagi si

Madhubala peers at Kishore Kumar through a car window in “Ek Ladki Bheegi Bhagi Si” from Chalti Ka Naam Gaadi (1958).

Today we bring you the lyrics and English translation of the delightful “Ek Ladki Bheegi Bhaagi Si” from Chalti Ka Naam Gaadi (1958). A meandering slapstick comedy, Chalti Ka Naam Gaadi stars the three fun-loving Kumar brothers: Ashok Kumar, Kishore Kumar, and Anoop Kumar. While Ashok often played more serious roles on the silver-screen (think serious man of affairs), this film was a chance for him to showcase another side of his personality brought out by the most eccentric of the siblings, Kishore.

In Chalti Ka Naam Gaadi, Kishore Kumar plays a hapless car mechanic who fixes the broken vehicle of a young lady, Madhubala, who both mesmerizes him and vexes him by not paying for the repairs. “Ek Ladki Bheegi Bhaagi Si” is arguably the most iconic song from the film and bears a Guru Dutt-esque quality of flowing seamlessly from the dialogue to the opening bars. Composed by S.D. Burman and written by Majrooh Sultanpuri, the song exudes the charm of a Broadway showtune that transforms every twist of a wrench and glance through an open car window into a romantic overture, easily one of the most inspiring songs of the monsoon season.

Kishore Kumar Ek Ladki Bheegi Bhaagi Si

Kishore Kumar plays an entertaining car mechanic desperately in love with Madhubala in the hit comedy “Chalti Ka Naam Gaadi” (1958).

Kishore Kumar proves downright hilarious, even now almost 60 years later. One of my favorite moments is when Kishore Kumar ascends the stairs after the second antra. You know that noise that comes out of your mouth that sounds sort of like a dying cat when you’re jamming out to your favorite song alone in the safety of your own home and you don’t really know the words? That’s precisely what Kishore Kumar does too. Except in his case, he jams out as if extemporaneously to his own song smack dab in the middle of the opening performance. You gotta love a guy who enjoys his own tunes this much. Throughout the song, he engages the audience by appearing to break the fourth wall, inviting us to share in his intrigue about the mysterious woman who has entered his shop.

The adorable chemistry between Kishore Kumar and Madhubala is palpable. You can see what each loved about each other that was shared in their real-life romance. Sadly, Madhubala died prematurely at the age of 38, leaving him heartbroken only 3 years after their marriage. Join us below as we navigate the lyrics and English translation of “Ek Ladki Bheegi Bhaagi Si.” Follow along with the video here, and I dare you to try to get through the whole song without smiling!

Ek Ladki Bheegi Bhaagi Si Lyrics and Translation:

Ek laDki bhiigi bhaagi sii
A girl who appears rather wet
Sotii raaton mei.N jaagi sii
And seems awake in a sleepy night
Milii ek ajnabii se
She met a stranger
Koii aage na piichhe
No one preceded or followed her
Tum hii kaho yeh koii baat hai!

You tell me if this is appropriate!

Hmm…

Dil hii dil mei.N jalii jaatii hai.N
In her heart of hearts, she is burning
BigaDii bigaDii chalii aatii hai.N…
In a bad mood, she approaches
Jhunjhalaatii hui, balkhaatii huii
Sulking, swaying
Saawan ki sunii raat mei.N
In this quiet monsoon night

Milii ek ajnabii se
She met a stranger
Koii aage na piichhe
No one preceded or followed her
Tum hii kaho yeh koii baat hai!

You tell me if this is appropriate!

Dagmag Dagmag, lehakii lehakii
Wobbling, wavering
Bhuulii bhaT kii behakii behakii
With lost steps, she wanders
Machalii machalii, ghar se nikalii
Restless, she left her home
Paglii sii kalii raat mei.N
Acting a bit crazy in this black night

Tan bhiigaa hai, sar giilaa hai
Her body is drenched, her head is wet
Uskaa koii pech bhii Dhiila hai!
One of her screws must also be loose!
Tanatii, jhuktii, chaltii, rukhtii
Strutting, cowering, moving, then pausing
Nikalii andherii raat mei.N
She emerged into this dark night

Milii ek ajnabii se
She met a stranger
Koii aage na piichhe
No one preceded or followed her
Tum hii kaho yeh koii baat hai!

You tell me if this is appropriate!

Hmm…

Glossary:

ladkii: girl; bheegii-bhaagii: wet, drenched; sonaa: to sleep; raat: night; jaagii: awake; milnaa: to meet; ajnabii: stranger; koi: someone; aage: ahead; peechhe: behind; baat: issue, matter; dil: heart; jalnaa: to burn; bigaDnaa: to deteriorate, to become in a bad mood; jhunjhalaanaa: to scoff, to sulk; balkaanaa: to sway, to move in a circle; sawaan: the rainy season; sunii: lonely, quiet; Dagmag: wobbly; lehakii: wavering; bhuulii: lost, forgotten; bhaT: steps; behakii: wandering; machalnaa: to become restless; ghar: home; nikalnaa: to emerge, to come out; tan: body; sar: head; giilaa: wet; pech Dheela: loose screw; tanatnaa: to strut; to appear confident; jhuknaa: to bow; chalnaa: to go; rukhnaa: to stop; andheraa: dark

Kishore Kumar bashful ek ladki bheegi bhagi si

Kishore Kumar’s genius comedic timing remains timeless in “Ek Ladki Bheegi Bhaagi Si” from Chalti Ka Naam Gaadi (1958).

A quick note about the term “baat” of “koi baat hai/kya baat hai” fame. I translated the phrase above roughly as “something appropriate” but the meaning of the word is far more nuanced. “baat” alone can mean words or conversation, as in the verb “baat karnaa,” meaning “to speak.” You can say “kya baat hai?” to ask “what is the matter?” or you can exclaim “kya baat hai!” as a way of demonstrating awe. A translation that gets more to the heart of how the phrase “tum hii kaho yeh koii baat hai” is being used here is perhaps “you tell me if this is something worth talking about,” but to me that felt too cumbersome to write poetically above.

And while I have a captive audience, let’s also examine the grammar of “bheegii/bhaagii sii.” Tacking on the “sii” (feminine) or “saa” (masculine) to any adjective in Hindi softens the descriptor (somewhat like the way in English we sometimes add “ish” to the end of adjectives) or indicates “a little”–as in, she is “a little” wet. A common example you’ll hear is “chhoTaa saa/chhoTii sii” as in the classic Bollywood heroine’s wish to have nothing more than “ek chhoTaa sa ghar” with her faithful husband. But we digress.

– Mrs. 55

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

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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.

Jadugar Saiyan Lyrics and Translation: Let’s Learn Urdu-Hindi

Vijayantimala in Nagin (1954)

Vijayantimala gazes at her snake-charmer lover in Nagin (1954)

Today we highlight the lyrics and English translation of the sweet Lata Mangeshkar solo “Jadugar Saiyan” from the hit film Nagin (1954). A lively mandolin solo fades in as a handsome young couple daydream in a jungle grove . There are many reasons why this song is one of Bollywood’s favorites. For me, I think it is because “Jadugar Saiyan” captures that beautiful age of innocence we like believe once existed in Indian romance. This song hearkens us back to a fabricated time when just holding hands could give a man heart palpitations, and all the women sung amazingly just like Lata Mangeshkar.

Mala, played by Vijayantimala, and Sanatan, played by Pradeep Kumar, come from rival spear-throwing adivasi clans whose eclectic livelihood involves capturing live snakes. The feisty, blood-thirsty daughter of the clan chief, Mala, is the definition of bada$$, complete with an intimidating ‘do and a bow-and-arrow ensemble. After hearing the enchanting been melody Sanatan is playing to lure a family of cobras, she falls for him harder than any snake ever had. The feeling is mutual, for even when she later attempts to kill him (he is from a rival family, after all), he’s too hooked to let a minor thing like disregard for human life get between them.

While the lyrics of the song are from the point of view a girl who claims to desperately wish to go home because it’s past her curfew, the tone is completely flirtatious. Throughout the entire song, he does literally nothing to stop her from leaving (unless you count the occasional flex of his bare pectoralis majors), while Mala dances circles around him, initiates impromptu games of tag, and bats her eyelids ferociously. This endearing, almost comical, tension between the girl’s actions and words underscore the wholesome nature of their love affair. I mean, there are probably more scintillating things you could say to entice the man you love other than how your all your besties are going to tease you for being embarrassed later. Mala embodies that purity of intention with just a dash of spice that makes her the quintessential Bollywood heroine.

Vijayantimala pleads with Pradeep Kumar in Jadugar Saiyan from Nagin

Vijayantimala pretends to plead with a shirtless Pradeep Kumar in “Jadugar Saiyan” from Nagin (1954).

At the end of the song, Mala’s father arrives to break up the party, spelling utter disaster for our star-crossed couple. Welcome to 1950s Bollywood, people. Sanatan might be able to kill a poisonous cobra with his bare hands, but there can be no worse fate for our hero than to suffer disapproval from his would-be father-in-law.

With lyrics by Rajinder Krishan and music by Hemant Kumar, the soundtrack from Nagin is one of Bollywood’s all-time best. Be sure to check out Vijantimala’s extra special dance moves in the music video, and we hope you love the lyrics and English translation of this delightful song from Nagin as much as we do!

Jadugar Saiyan Lyrics and English Translation:

jaaduugar, saiyaa.N, chhoDo more bai.Nyaa
Magician, beloved, let go of my wrists
ho gayii aadhii raat, ab ghar jaane do
It is midnight, let me go home

jaane de, O rasiiyaa, mere man basiiyaa
Let me leave, O sweet one, for you reside in my mind
gaao.N meraa baDii duur hai
My village is very far away
terii nagariiyaa.N ruk na sakuu.N mai.N
I cannot stop in your town
pyaar meraa majbuur hai
My love is helpless
zanjiir paDii mere haath, ab ghar jaane do
My hands are shackled, now let me go home

jaaduugar, saiyaa.N, chhoDo more bai.Nyaa
Magician, beloved, let go of my wrist
ho gayii aadhii raat, ab ghar jaane do
It is midnight, let me go home

jhukii jhukii a.Nkhiiyaa.N dekhe.Nge saaDii sakhiiyaa.N
All my friends will see my lowered eyes
de.Nge taanaa tere naam kaa
They will tease me with your name
aise mei.N, mat rok, bedardii
Do not stop me like this, unfeeling one
le vachan kal shaam ka
Accept a promise of tomorrow evening
kal ho.Nge phir ham saath, ab ghar jaane do
Tomorrow we will be together again, now let me go home

jaaduugar, saiyaa.N, chhoDo more bai.Nyaa
Magician, beloved, let go of my wrist
ho gayii aadhii raat, ab ghar jaane do
It is midnight, let me go home

Glossary:

jaaduugar: magician; saiyaa.N: beloved; chhoDnaa: to let go; moraa: Braj bhasha term for meraa, my; baiyaa.N: wrists; aadhii raat: midnight; ghar: home; jaane denaa: to allow to go; rasiiyaa: sweet one; man basiyaa: one who resides in the mind; gaao.N: village; baDii: very; duur: far; nagariiyaa.N: town; ruknaa: to stop; pyaar: love; majbuur: helpless, weak; zanjiir: chains, shackles; haath: hands; jhuknaa: to lower, to bow; a.Nkhiiyaa.N: eyes; saaDii: all; sakhiiyaa.N: a girl’s other female friends; taanaa: taunt; naam: name; aise: like this; mat; do not [do something] roknaa: to stop [someone/something]; bedardii: unfeeling one, cruel one; vachan: promise; kal: yesterday/tomorrow; shaam: evening; phir: again, then; saath: together

Vijyantimala in Jadugar Saiyan from Nagin 1954

Vijyantimala plays the fearless daughter of an adivasi chief in Nagin (1954).

Will Mala and Sanatan ultimately have a happy snake-charmed life together? Even without the plot, the film is well-worth watching for the songs and an introduction to the fascinating way classic Bollywood portrays India’s tribal communities (which is a whole other discussion). For a glimpse of another famous shirtless actor from the 1950s, check out our translation of “Yeh Raat Yeh Chandni” from Jaal (1952)! You can thank me later.

This song translation was requested by fan Pankaj. Keep these great requests coming!

-Mrs. 55

The Top 30 Best Classic Bollywood Soundtracks of All Time

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

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

  • Din Dhal Jaaye – Mohammed Rafi
  • Aaj Phir Jeene Ki – Lata Mangeshkar
  • Piya Tose – Lata Mangeshkar
  • Tere Mere Sapne – Mohammed Rafi
  • Gaata Rahe Mera Dil – Lata Mangeshkar and Mohammed Rafi
  • Kya Se Kya Ho Gaya – Mohammed Rafi
  • Saiyan Beiman – Lata Mangeshkar

3. Mughal-e-Azam

Mughal-e-Azam

Naushad, 1960

  • Teri Mehfil Mein Qismat – Lata Mangeshkar and Shamshad Begum
  • Pyar Kiya To Darna Kya – Lata Mangeshkar
  • Mohe Pangat Pe – Lata Mangeshkar
  • Mohabbat Ki Jhooti Kahani – Lata Mangeshkar
  • Aye Mohabbat Zindabad – Mohammed Rafi
  • Prem Jogan Ban Ke – Ustad Bade Ghulam Ali Khan
  • Yeh Dil Ki Lagi – Lata Mangeshkar
  • Title Music

4. Nagin

Nagin

Hemant Kumar, 1954

  • Man Dole Mera – Lata Mangeshkar
  • Jadugar Saiyan – Lata Mangeshkar
  • Tere Dwar Khada Ek Jogi – Hemant Kumar
  • Mera Dil Yeh Pukare Aaja – Lata Mangeshkar
  • Sun Ri Sakhi – Lata Mangeshkar
  • Yaad Rakhna Pyar Ki Nishani – Asha Bhonsle and Hemant Kumar

5. Aradhana

Aradhana

S.D. Burman, 1969

  • Roop Tera Mastana – Kishore Kumar
  • Mere Sapnon Ki Rani – Kishore Kumar
  • Kora Kaagaz Tha – Lata Mangeshkar and Kishore Kumar
  • Gunguna Rahe Hai Bhanware – Asha Bhonsle and Mohammed Rafi
  • Baghon Mein Bahar Hai – Mohammed Rafi and Lata Mangeshkar
  • Saphal Hogi Teri Aradhana – S.D. Burman

6. Teesri Manzil

Teesri Manzil

R.D. Burman, 1966

  • Aaja Aaja – Asha Bhonsle and Mohammed Rafi
  • Deewana Mujhsa Nahin – Mohammed Rafi
  • O Haseena Zulfonwali – Asha Bhonsle and Mohammed Rafi
  • O Mere Sona Re – Asha Bhonsle and Mohammed Rafi
  • Tumne Mujhe Dekha – Mohammed Rafi

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

  • Honton Pe Aisi Baat – Lata Mangeshkar
  • Aasman Ke Neeche – Lata Mangeshkar and Kishore Kumar
  • Dil Pukare – Lata Mangeshkar and Mohammed Rafi
  • Rulake Gaya Sapna – Lata Mangeshkar
  • Yeh Dil Na Hota – Kishore Kumar
  • Title Music

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

Awaaz Deke Humen Tum Bulaao Lyrics and Translation: Let’s Learn Urdu-Hindi

Shammi Kapoor awaaz deke professor

Collar fully popped with emotion, Shammi Kapoor hears his lover’s voice echo to him through the mountains in “Awaz Deke” from Professor (1962).

Today we present the haunting duet “Awaaz Deke” from the crowd-pleasing dramedy Professor (1962), starring Shammi Kapoor, Kalpana Mohan, and Lalita Pawar. There is a charm to this film, enhanced by the scenic woods of Darjeeling, that surmounts its kitsch basis and the sprinklings of Tuntun as comic relief. Shammi Kapoor plays a young educated man in desperate search of a job as a teacher when his mother is diagnosed with the dreaded…wait for it…tuberculosis! [cue: sad violin solo and unnecessarily exuberant coughing spell]. You were expecting lymphosarcoma of the intestine, no? In order to pay for her treatment at a sanitorium, Shammi accepts a post as a professor to four orphaned children living with their domineering aunt. However, because the aunt (played in her usual court martial fashion by Lalita Pawar) mistrusts men and specifically requested a professor older than 50, Shammi cleverly dons a goatee and spectacles and attempts to pass as an elderly scholar. The comedy of errors that ensues forms the basis of a delightful, albeit sometimes face-palm-inducing, two and a half hours of singing and prancing around the picturesque Darjeeling countryside.

“Awaaz Deke” is among my favorite Lata-Rafi pairings, boasting a soul-stirring melody that rises above the rest of the film. I remember when I was younger hearing this song before ever seeing the movie, and being struck by the song’s unusual saxophone theme. I love the juxtaposition of the traditional Indian percussion that gives the song its sense of urgency with the beauty of the jazz staple, played in a way I had never experienced a saxophone before: haunting and pure. Composed by Shankar-Jaikishen in one of their favorites ragas, Shivaranjani, “Awaaz Deke” is a diamond of the Professor album that won the 1963 Filmfare Award for best music direction. That stunning high F5 that Lata nails in the antra, while not her highest note on record, will make you wonder how there can exist people in the world who have never known the majesty of Hindi film music.

Kalpana Mohan awaaz deke professor

Kalpana Mohan searches for her estranged lover in a cute fur coat “Awaz Deke” from Professor (1962).

As pleasant a face as our leading lady possesses, director Lekh Tandon had harsh words for Kalpana Mohan when filming his directorial debut Professor. Because of her inexperience before a camera, he was forced to shoot multiple takes before achieving the performance he wanted–a costly endeavor in the days before digital film! A Kashmiri native, Kalpana was trained in Kathak dancing before she received her first break in Bollywood as the playful heroine of Professor. She virtually disappeared from the film industry following her marriage shortly after her successful role in Teen Devian (1965), and died tragically of cancer almost 3 years ago. She is remembered today by fans for the mesmerizing twinkle in her eyes you can see in all her films.

We hope you enjoy the English translation and lyrics to “Awaz Deke” below. This would be a perfect song to burst into the next time you and your significant other are having a lover’s tiff, right? I can think of no better way to break the tension. You can follow along with the video on youtube here!

Awaaz Deke Hamen Tum Bulaao Lyrics and Translation:

LATA: aawaaz deke hame.N tum bulaao
Lend me your voice and call out to me
Mohabbat mei.N itnaa na hamko sataao
Do not torture me so much in our love

LATA: Abhii to merii zindagii hai pareshaa.N
Now my life is filled with worry
Kahii.N mar ke ho khaak bhii na pareshaa.N
If I die somewhere, may my ashes be not so distraught
Diye kii tarah se na hamko jalaao
Do not light me on fire like a candle
Mohabbat mei.N itnaa na hamko sataao
Do not torture me so much in our love

RAFI: aawaaz deke hame.N tum bulaao
Lend me your voice and call out to me
Mohabbat mei.N itnaa na hamko sataao
Do not torture me so much in our love

RAFI: Mai.n saa.Nso.N ke har taar mei.N chhup rahaa huu.N
I am hidden in every chord of your breath
Mai.N dhaDkan ke har raag mei.N bas rahaa huu.N
I inhabit every melody of your heartbeat
Zaraa dil kii jaanib nigaahe.N jhukaao
Just lower your gaze toward your heart
Mohabbat mei.N itnaa na hamko sataao
Do not torture me so much in our love

LATA: na ho.nge agar ham to rote rahoge
If I was not here, then you would cry forever
Sadaa dil kaa daaman bhigote rahoge
You would forever drench the fabric of your heart
Jo tum par miTaa ho use na miTaao
Do not destroy the person who is already destroyed for you
Mohabbat mei.N itnaa na hamko sataao
Do not torture me so much in our love

RAFI: aawaaz deke hame.N tum bulaao
Lend me your voice and call out to me
Mohabbat mei.N itnaa na hamko sataao
Do not torture me this much in our love

Glossary:

awaaz: voice; [kisi ko] bulaanaa: to call out [to someone]; mohabbat: love; sataanaa: to torture; abhii: now; zindagii: life; pareshaa.N: worried, distraught; kahii.N: somewhere; marnaa: to die; khaak: ashes; diyaa: candle; [kisi] ki tarah se: in the manner [of something], like [something]; jalaanaa: to light on fire; saa.Ns: breath; taar: chord, string (of an instrument); chhup: silent, hidden; dhaDkan: heartbeat; raag: melody (in Hindustani classical music, a strict set of notes upon which a melody is based); basnaa: to settle, to inhabit; zaraa: a little; dil: heart; [kisii kii] jaanib: toward [something]; nigaahe.N: gaze; jhuknaa: to bow, to lower; ronaa: to cry; sadaa: always, forever; damaan: the end of a saari or skirt; bhigonaa: to drench; miTnaa: to disappear: miTaanaa: to erase, to make disappear

As a side note, this song is another great and tragic example of how the legacy of Hindi film music has been distorted by the constraints of the LP–you probably have been listening to an abbreviated version that removes the first line repetition of each stanza! It’s a small detail, but critical if you’re as obsessed with soaking in every drop of this masterpiece as I am. Two other great songs from this film, “Aye Gulbadan” and “Khuli Palak Mein,” suffered the loss of an entire stanza each when facing the LP cutting board! I can’t even handle this travesty.

Shammi Kapoor Professor outfit glasses hat

Shammi Kapoor pretends to be an elderly professor complete with round spectacles and a dubious goatee in Professor (1962).

This translation was requested by fan Jayawanth Bharadwaj! Thanks for reading and giving us a chance to translate such a beautiful duet!

– Mrs. 55