Husnwale Tera Jawab Nahin Lyrics and Translation: Let’s Learn Urdu-Hindi

RajendraKumar_AshaParekh_Gharana

Rajendra Kumar serenades Asha Parekh in the Vrindavan Gardens of Mysore, India in Gharana (1961)

Today, we present the lyrics and English translation to “Husnwale Tera Jawab Nahin” from Gharana (1961).

Penned by Shakeel Badayuni and composed by Ravi, this song stands out as an eternal favorite in the genre of Bollywood courtship songs, which includes gems such as “Chaudavin Ka Chand Ho” and “Mere Mehboob Tujhe.” Here, Mohammed Rafi lends his silky vocals to Rajendra Kumar, a pairing that dominated the silver screen throughout the ’60s.

This song is filled with several common tropes found in Urdu poetry that are employed to describe a woman’s beauty. These include similes to the Moon, the flowers of springtime, and the intoxication of wine. Interestingly, while “black cloud” has a negative connotation in English, the phrase kaalii ghataa is used here and frequently in other Urdu-Hindi poems to admire the dark color of a woman’s tresses.

The grammar police out there may be wondering: why has the poet chosen to refer to the object of affection here using the male vocative husnvaale instead of the feminine husnvaalii? The answer to this question can be found by understanding the historical origins of the Urdu ghazal, a form that borrows heavily from the Persian tradition. Unlike Urdu-Hindi, the Persian language does not distinguish gender among pronouns/objects. In keeping with this tradition of gender neutrality, Urdu poetry often refers to female objects of affection using masculine pronouns, leaving it up to the reader to perceive gender using other contextual clues. Now you know!

-Mr. 55
RajendraKumar_AshaParekh_Gharana

Despite being a quintessential romantic here of the 1960s, Rajendra Kumar never received a Filmfare Award.

Husnwale Tera Jawab Nahin: Lyrics and English Translation

husnvaale teraa javaab nahii.n
Oh, beautiful one! There is no match for you. 
koii tujh-saa nahii.n hazaaro.n me.n
Among thousands, you are peerless.

tuu hai aisii kalii jo gulshan me.n
You are the flower bud that invites
saath apne bahaar laayii ho
the new Spring to the rose garden.
tuu hai aisii kiran jo raat Dhale
You are the ray of light that, upon nightfall,
chaa.ndnii me.n nahaa ke aayii ho
arrives bathed in the moonlight. 
yeh teraa nuur ye tere jalve
Your luster and resplendence shine
jis tarah chaa.nd ho sitaaro.n me.n
like the Moon among the stars.

terii aa.nkho.n me.n aisii mastii hai
Your eyes evoke a deep intoxication,
jaise chhalke hue ho paimaane
like a goblet overflowing with wine. 
tere ho.nTho.n me.n voh khamoshii hai
You lips contain the silence of
jaise bikhre hue ho afsaane
hidden tales scattered in the wind.
terii zulfo.n kii aisii rangat hai
The dark hue of your tresses is colored
jaise kaalii ghaTaa bahaaro.n me.n
like the black clouds of springtime.

terii surat jo dekh le shaayar
If a poet were to behold your face,
apne shero.n me.n taazgii bhar le
it would fill his couplets with new passion.
ek musavviir jo tujh ko paa jaaye
If a painter were to meet you,
apne khvaabo.n me.n zindagii bhar le
it would fill the creations of his dreams with new life.
naghmagar DhuunDh le agar tujh ko
If a songster were to find you,
dard bhar le voh dil ke taaro.n me.n
his tune of melancholy would pull at the heartstrings.

husnvaale teraa javaab nahii.n
Oh, beautiful one! There is no match for you. 

Glossary

husnvaale: beautiful one; javaab: match; tujh-saa: like you; kalii: flower bud; gulshan: rose garden; chaa.ndnii: moonlight; nahaanaa: to bathe; nuur: light, luster; jalvaa: passion, resplendence; chaa.nd: moon; sitaaraa: star; mastii: intoxication; chhalke hue: spilled, overflowing; paimaanaa: goblet; khamoshii: silence; bikhre hue: scattered; afsaanaa: tale; zulfe.n: tresses; rangat: color; ghaTaa: cloud; surat: face; shaayar: poet; sher: couplet; taazgii: freshness, passion; musavviir: painter; naghmagar: songster; dil ke taar: heartstrings.

RajendraKumar_AshaParekh_Gharana

Rajendra Kumar and Asha Parekh star in their first film together in Gharana (1961)

 

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

Biswajeet fedora bees saal baad

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

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

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

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

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

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

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

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

Waheeda Rehman Bees Saal Baad

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

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

Kahin Deep Jale Kahin Dil Lyrics & Translation:

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

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

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

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

Glossary:

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

Ghost Bees Saal Baad

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

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

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

– Mrs. 55

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.

The Top 30 Best Music Albums of Classic Bollywood

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

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

3. Mughal-e-Azam

Mughal-e-Azam

Naushad, 1960

4. Nagin

Nagin

Hemant Kumar, 1954

5. Aradhana

Aradhana

S.D. Burman, 1969

6. Teesri Manzil

Teesri Manzil

R.D. Burman, 1966

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

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

Beqarar Karke Humen Lyrics and Translation: Let’s Learn Urdu-Hindi

Waheeda Rehman Bees Saal Baad

Mysterious and beguiling, Waheeda Rehman catches the eye of Biswajeet, heir to a legacy of misfortune, in the film noir classic, Bees Saal Baad (1962)

Today we showcase the lyrics and English translation of Hemant Kumar’s “Beqarar Karke” from the film Bees Saal Baad (1962). We often talk about seductive songs and cabaret numbers in classic Hindi films, but invariably those songs are sung by bad girl Helen or a femme fatale who entices our hero down the wrong path. “Beqarar Karke” is different. Sung by that luscious and versatile vocal genius, Hemant Kumar, the song dangerously pulls our heroine into its spell of seduction in broad daylight. It’s not often that we get a song of temptation sung by a dude, and when we do, it’s heaven (no, literally, Hemant Kumar has the voice of God). The brilliance of Hemant Kumar’s composition are in its unexpected opening guitar chords. Set in the rural village of Chandanghat, the film’s atmosphere suddenly becomes infused with jazz and heart-pounding anticipation as Kumar’s voice dips through the first word of the song, leaving everyone as “beqarar” as he foretells. The surprising Western lilt marked Biswajeet as solid hero material! Bees Saal Baad was Biswajeet Bombay debut, and originally, it was Bengali superstar Uttam Kumar who had been the first choice as lead. Fortunately, singer-music director-producer Hemant Kumar lobbied for relative newcomer Biswajeet, and after working diligently to clean up his Bengali accent when speaking Hindi, launched his career!

Bees Saal Baad tells the eerie tale of a nobleman, played by the dashing Biswajeet, who returns to the village where his forefathers were mysteriously murdered. A staple of Bollywood film noir, Bees Saal Baad explores the darkness of the old feudal system with a satisfyingly sick twist ending. But no Indian film noir is complete without romance, and soon after arriving to his ancestral home, Biswajeet naturally falls for the coy village belle (acted superbly by Waheeda Rehman). Unused to his slick city ways, she falls hard for him when he surprises her with a flirtatious serenade in the countryside. With lyrics penned by Shakeel Badayuni, “Beqarar Karke” teases us with glimpses of innocent romance mingled with a fatalistic warning that defines the film. Biswajeet recalls:

I remember during the shooting of the song sequence, “Beqarar Karke Hame.N”, Biren Nag instructed me not to touch Waheeda Rehman, but ooze romance with my looks and smile. I followed him exactly and it was Waheeda Rehman’s regal and serene screen presence which lit up the silver screen during the shot.

Low Angle Shot Bees Saal Baad Bekarar Karke

Above: Director Biren Nag constructs a clever low angle shot of Waheeda Rehman teetering on the edge of a cliff as Hemant Kumar aptly croons, “Yuu.N qadam akele na aage baDhaaiye.” Below: Seconds later, Biswajeet smoothly slips in for the rescue hug, staring down at the viewers in triumph.

He sort of broke his rule there when he went in for the rescue hug, but we know you’re going to swoon over this song as much as Waheeda! Try to grab control of your beating heart and check out the video for “Beqarar Karke” here as you follow along with our English translation and lyrics below!

Beqarar Karke Humen Lyrics and Translation:

Beqaraar karke hame.N yuu.N na jaaiye
Please do not go away like this and make me restless
Aap ko hamaari qasam lauT aaiye
For my sake, please come back
Dekhiiye woh kaali kaali badaliyaa.N

Look at those small dark clouds above
Zulf kii ghaTaa churaa na le kahii.N
May they not steal away the clouds of your hair
Chorii chorii aake shokh bijliyaa.N
The mischievous lightening comes secretly
Aap kii adaa churaa na le kahii.N
May they not steal away your elegance
Yuu.N qadam akele na aage baDhaaiye
Do not walk forward alone like this
Aap ko hamaare qasam lauT aaiye
For my sake, please come back

Dekhiiye gulaab kii woh Daaliyaa.N
Look at those rose branches
BaDh ke chuum le na aap ke qadam
May they not come and kiss your feet as you walk
Khoye khoye bha.Nware bhii hai.N baagh mei.N
Bumblebees are also hidden in this garden
Koi aap ko banaa na le sanam
May one of them not make you their own
Bahakii bahakii nazaro.N se khud ko bachaaiiye
Save yourself from their roving gazes
Aap ko hamaare qasam lauT aaiye
For my sake, please come back

Zindagii ke raaste ajiib hai.N
The paths of life are strange
In mei.N is tarah chalaa na kiijiiye
Please do not walk across them like this
Khair hai isii mei.N, aap ki huzuur,
For your welfare, your majesty
Apnaa koi saathii DhoonDh liijiiye
Please find yourself a companion
Sun ke dil kii baat yuu.N na muskuraaiiye
Please do not smile upon hearing these words of my heart
Aap ko hamaare qasam lauT aaiye
For my sake, please come back

Beqaraar karke hame.N yuu.N na jaaiye
Please do not go away like this and make me restless
Aap ko hamaare qasam lauT aaiye
For my sake, come back

Glossary:

beqaraar: restless; yuu.N: like this, in this manner; [kisi ke] qasam: [for someone’s] sake; lauT aanaa: to come back; kaalii: dark; badalii: [small] cloud; zulf: hair; ghaTaa: cloud; churaanaa: to steal; chorii chorii: quietly, sneakily; shokh: mischievous; bijlii: lightening; adaa: elegance, style; qadam: footsteps; aage: forward; baDhaanaa: to advance; gulaab: rose; Daal: branch; chuum: kiss; khoyaa: lost; bha.Nwaraa: bumblebee; baagh: garden; bahakaa: flowing, roving; nazar: glance, gaze; khud: self; [kisii ko] bachaanaa: to save [someone]; zindagii: life; raastaa: path; ajiib: strange; is tarah: in this manner; khair: welfare, good; aap ki huzuur: my honor, your majesty; saathii: companion; DhoonDhnaa: to search; dil: heart; baat: words; muskuraanaa: to smile

A quick note for the Hindi-Urdu grammar aficionados: Did you know aap ki huzoor has the same significance as mere huzoor? Bizarre, right?! Both statements confer a title of respect and superiority, despite opposite possessive pronouns (similar to “your honor” versus “my lord”). Huzoor, deriving from the Arabic hudoor denoting royal presence and still written in Nasta’liq with a zuaad, is a formal address found in many Urdu lyrics of Bollywood’s golden age (remember “Huzoor-e-wala” from Yeh Raat Phir Na Aaayegi (1965)?).

Biswajeet Bees Saal Baad

Like a dark cloud in a black turtleneck, Biswajeet glistens against the sky in Bees Saal Baad (1962).

Big shout-out to fans Ravi Shankar and Sundar who requested this game-spitting winner! For another inspiring Hemant Kumar composition and solo masterpiece, don’t miss “Tum Pukar Lo” from Khamoshi (1969).

– Mrs. 55