Mala Sinha | Mr. & Mrs. 55 – Classic Bollywood Revisited!

Although Asha Bhonsle is perhaps most well-known for her seductive and playful songs (see our translation of “raat akelii hai” here), she was a truly versatile artist who had an excellent command over a range of styles and emotions. When she is in a serious mood, Asha can really tug at your heartstrings with her sad singing. Think “ab ke baras bhej bhaiyya ko babul” from Bandini (1963), “yeh kyaa jagah hai dosto” from Umrao Jaan (1981), or “meraa kuch saamaan” from Ijaazat (1987). Here, I’ve translated a short yet painfully beautiful Asha solo from Baharein Phir Bhi Aayengi (1966) called “woh hanske mile humse.”

Baharein Phir Bhi Aayengi was released posthumuously under Guru Dutt’s film banner after Guru Dutt’s demise in 1964. The film was not even complete half-way before Guru Dutt’s death, so the film was shot again with a new director Shahid Lateef and new hero Dharmendra. Although the movie itself lacks the magic found in older Guru Dutt films, O.P. Nayyar’s soundtrack for the movie is still remembered today, most notably the Rafi number “aap ke hasiin rukh pe aaj nayaa nur hai.”

Mala Sinha in a melancholic mood in Baharen Phir Bhi Aayengi (1966)

The movie’s plot focuses on a love triangle: handsome young news reporter Jitendra (played by Dharmendra) falls in love with the bubbly Sunita (played by Tanuja) while Sunita’s older sister and head of the newspaper Amita (played by Mala Sinha) eventually becomes smitten by Jitendra. Before Amita decides to reveal her feelings to him, she finds out that Jitendra is actually in love with Sunita. Although she is devastated by this news, she decides to back away for the sake of her sister’s happiness. Here’s where the song I’ve translated comes in. Backed by Asha’s painstricken vocals and S.H Bihari’s simply crafted lyrics, Amita laments how she misinterpreted Jitendra’s actions to think that he was in love with her when that was not the case (“bekaar hii ulfat kaa izhaar samajh baiThe”). Sigh…

I think this song will strike a chord with those of you who have suffered through a romantic misunderstanding–it certainly did with me.

-Mr. 55

Woh Hanske Mile Humse Lyrics and Translation

woh ha.nske mile ham se, ham pyaar samajh baiThe
He smiled at me when we met, so I thought that he loved me.
bekaar hii ulfat kaa izhaar samajh baiThe
I interpreted it, in vain, as a declaration of love.

aisii to na thii qismat apnaa bhii koii hotaa
It was not in my fate to call someone my own.
kyo.n khud ko muhabbat kaa haqdaar samajh baiThe?
Why did I consider myself entitled to his love?

roye.n to bhalaa kaise, khole.n to zabaa.n kyo.n kar?
How shall I cry, why should I speak?
Darte hai.n ki jaane kyaa sansaar samajh baiThe.
I fear what society has perceived of this.

woh ha.nske mile ham se, ham pyaar samajh baiThe
He smiled at me when we met, so I thought that he loved me.

Glossary

bekaar: useless, in vain; ulfat: love; izhaar: declaration; qismat: fate, destiny; haqdaar: entitled; zabaa.n kholna: to speak; sansaar: society

Sunil Dutt sings about the pain of heartbreak at the piano in Gumraah (1963)

In my opinion, I think one of the best parts about being a fan of old Hindi music is that it gives you a fun opportunity to brush up on your Urdu-Hindi language skills. From time to time, Mrs. 55 and I have decided that we will share some of our favorite song lyrics here and provide a glossary and translation so that everyone can follow along!

Our first song is “chalo ek baar phir se,” which is an absolute gem from the 1963 film Gumraah directed by B.R. Chopra. Arguably the best song of his career, this composition was rendered by Mahendra Kapoor, an excellent singer who ultimately carved a niche for himself in the industry after emerging from his initial fame as a Mohammed Rafi clone. The real star here, though, is Sahir Ludhianvi, who was truly one of the most gifted poets that has ever written for Hindi cinema. Known for his cynicism and disillusionment with society, Sahir Ludhianvi wrote lyrics that reflect a great deal of emotional complexity and maturity. In contrast to his contemporaries, Ludhianvi chose to remain unhindered by the constraints set by the prototypical Bollywood love song; many of his songs are refreshing to hear for their expression of biting political satire, heartfelt grief, or outspoken anger.

Sahir Ludhianvi, poet (1921-1980)

In “chalo ek baar phir se” Ludhianvi writes about a situation in which unfortunate societal circumstances prevent two lovers from fulfilling their romantic desires and building a life together. Supposedly, Ludhianvi was inspired to write this song when he encountered an ex-lover of his at a party with her new husband. The encounter must have been incredibly painful for him because these lyrics are devoid of the typical romanticizations of pyar and muhabbat that are often found in songs from this period. Instead of praising love as an ideal, the protagonist of the song suggests that he and his lover should return to becoming strangers because the emotional separation will make it easier for both of them to heal from their pain. The last stanza of the song is especially powerful: the protagonist posits that it is counter-productive to invest energy into doomed romantic relationships when they have become a burden. Ludhianvi’s words here suggest that it is sometimes in everyone’s best interests to put an early end to the love stories that simply cannot have happy conclusions. His eloquence and nuanced use of language to express the pain of unfulfilled love is sublime, and this type of poetic talent is sorely missed in the Bollywood industry today. For those of you who haven’t heard this song yet, it’s definitely worth a listen. If you follow along with the glossary below, I’m sure you’ll learn a couple new words that will impress ALL your Urdu-speaking friends (yes, all 2 of them).

Sunil Dutt masks his internal anguish with a coy smile in Gumraah (1963)

Chalo Ek Baar Phir Se Lyrics and Translation:

chalo ek baar phir se, ajnabii ban jaaye.n ham dono.n
Come, let us become strangers once again.

na mai.n tumse koii ummiid rakhuu.n dilnavaazii kii
I shall no longer maintain hopes of compassion from you
na tum merii taraf dekho ghalat andaaz nazaro.n se
Nor shall you gaze at me with your deceptive glances.
na mere dil ki dhaDkan laDkhaDaaye merii baato.n me.n
My heart shall no longer tremble when I speak,
na zaahir ho tumhaari kashm-kash ka raaz nazaro.n se
Nor shall your glances reveal the secret of your torment.

tumhe.n bhii koii uljhan roktii hai pesh-qadmii se
Complications prevent you from advancing further,
mujhe bhii log kahte hai.n ki yeh jalve paraaye hai.n
I too am told that I wear disguises.
mere hamraah bhi rusvaayiaa.n hai.n mere maazii kii
The disgraces of my past are now my companions,
tumhaare saath bhii guzrii huii raato.n ke saaye hai.n
while the shadows of bygone nights are with you too.

taarruf rog ho jaaye to usko bhuulnaa bahtar
Should knowing one another become a disease, then it is best to forget it.
taalluq bojh ban jaaye to usko toDnaa achhaa
Should a relationship become a burden, then it is best to end it.
voh afsaana jise anjaam tak laanaa na ho mumkin
For that tale which cannot culminate in a conclusion,
use ek khuubsuurat moD de kar chhoDna achhaa
it is best to give it a beautiful turn and leave it be.

chalo ek baar phir se, ajnabii ban jaaye.n ham dono.n
Come, let us become strangers once again.

Glossary:

ajnabii: stranger; ummiid: hope; dilnavaazii: compassion; ghalat andaaz nazar: deceptive glance; laDkhaDaanaa: to tremble; zaahir: noticeable; kashm-kash: torment, struggle; uljhan: complication; pesh-qadmii karna: to advance; paraayaa jalva: disguise; hamraah: companion; rusvaa: disgrace; maazii: the past; taarruf: mutual acquaintance, knowledge of one another; rog: disease, afflication; taalluq: relationship; afsaanaa: tale; anjaam: conclusion; mumkin: possible; khuubsuurat: beautiful; moD; turn.