Khilte Hain Gul Yahan Lyrics & Translation: Let’s Learn Urdu-Hindi

Handsome Shashi Kapoor Sharmilee red turtleneck.png

Handsome Shashi Kapoor gestures romantically with a pink rose in Sharmilee (1971).

Today we showcase the lovely lyrics and English translation of “Khilte Hai Gul Yahaan” from Sharmilee (1971) in honor of beloved actor Shashi Kapoor’s passing this week. “Khilte Hai Gul Yahaan” exemplifies quintessential Bollywood Shashi Kapoor, although film-goers will also remember another very different and talented side of the actor who thrived in independent and cross-over cinema. Born and raised in Bollywood royalty, Shashi Kapoor was 79 years old at the time of his death and had a prolific career of nearly 150 films.

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Soft-lighting helps Rakhee glow in a glamour close-up from Sharmilee (1971).

Released in 1971, Sharmilee was a commercial and artistic success that launched both Shashi Kapoor and Rakhee’s star status in Bombay. Rakhee plays a dual role in the film–twin sisters, one shy and traditional and one outgoing and Westernized–who both fall for a handsome army officer played by Shashi Kapoor. Even at that time, Bollywood was no stranger to the cliche of the twin storyline–Shashi Kapoor himself had recently starred in his own twin-love-triangle-melodrama Haseena Maan Jayegi (1968). Can you guess which twin our hero ultimately ends up with? Is the name of the film not painfully obvious? I’ll give you another hint…in classic Bollywood, the traditional Indian way of life always wins!

Shashi Kapoor meets Rakhee (as vivacious twin) at a picturesque rest house in Kashmir on his way home from the army where she is traveling with a group of girl friends. Emboldened by Kishore Kumar’s confident vocals, Shashi Kapoor charms the party by crooning “Khilte Hai Gul Yahaan” and by his devastatingly gorgeous crooked smile. With music by S.D. Burman and the unparalleled Kashmiri countryside in the Winter, romance is all but inevitable. There’s also something undeniable about Bollywood actors in red turtlenecks that makes me feel all warm and fuzzy.

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Shashi Kapoor gazes outward at the ethereal Kashmiri snowstorm in Sharmilee (1971).

Follow along with us below in our English translation to the lyrics of “Khilte Hai Gul Yahan” from Sharmilee (1971). The video of the song is here! Lata Mangeshkar reprises the song later in the film, but unfortunately, her version is sadder and far less popular.

Khilte Hain Gul Yahan Lyrics & English Translation:

Khilte hai.N gul yahaa.N, khilke bikharane ko
Here roses bloom, but they bloom only to have their petals disperse
Milte hai.N dil yahaa.N, mil ke bichhaDane ko
Here hearts meet, but they meet only to become separated
Khilte hai.N gul yahaa.N…
Here roses bloom…

Kal rahe na rahe, mausam yeh pyaar kaa
Tomorrow this season of love may or may not remain
Kal ruke na ruke, Dolaa bahaar kaa…
Tomorrow the swing of Spring may or may not come to a stop
Chaar pal mile jo aaj, pyaar mei.N guzaar de
Let us pass these four moments we meet in love 
Khilte hai.N gul yahaa.N…
Here roses bloom…

Jhiilo.N ke honTho.N par, megho.N kaa raag hai
On the lips of the lakes is the melody of the clouds
Phuulo.N ke siine mei.N, ThanDii-ThanDii aag hai
In the hearts of the flowers is a cool flame
Dil ke aaiine.N mei.N tuu, yeh samaa utaar de
Let this atmosphere reflect upon the mirror of your heart
Khilte hai.N gul yahaa.N…
Here roses bloom…

Pyaasaa hai dil, sanam, pyaasii yeh raat hai
There is a yearning in my heart, my beloved, as is a yearning in the night
HonTho.N mei.N dabii-dabii koii miiThii baat hai
Sweet words lay silent on the lips
In lamho.N pe aaj tuu, har khushii nisaar de
Bestow every happiness on these moments today
Khilte hai.N gul yahaa.N…
Here roses bloom…

Glossary:

khilnaa: to bloom; gul: rose; yahaa.N: here; bikharanaa: to disperse; milnaa: to meet; dil: heart; bichhaDnaa: to become separated; kal: tomorrow (or yesterday, depending on context); mausam: season; pyaar: love; ruknaa: to stop; Dolaa: swing; bahaar: Spring; chaar: four; pal: moment; aaj: today; guzaarnaa: to pass; jhiilaa: lake, marsh; ho.NT: lips; meghaa: cloud; raagaa: melody, song; phuul: flowers; siinaa: chest, heart; ThanDii: cold; aag: flame; aaiinaa: mirror; samaa: atmosphere; utaarnaa: to alight, to descend; pyaasaa: thirsty, yearning; sanam: beloved; raat: night; dabii: hidden, silent; miiThii: sweet; baat: words, conversation; lamhaa: moment; har: every; khushii: happiness; nisaar: adornment, bestowment

Did you know that snow is actually extremely difficult to capture on film? Not only could filmmakers not wait around patiently for an actual snowstorm to get their shot, but snow is so fine and iridescent, that traditional film cameras could rarely pick it up. Yesteryear filmmakers often sprayed everything from marble dust, foamite (the fluffy stuff that comes out of fire extinguishers), to cornflakes painted white in order to recreate the magic of a snowstorm. You’ll see what I mean if you take a real close look when Shashi grabs some “snow” from the window sill to throw at the girls in the cabin!

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A snowy view of my parent’s backyard. It may not be Kashmir, but it ain’t bad! And no, that fluff in the air isn’t cornflakes.

This song translation was requested by fan Swami. Thank you for the excellent request!

If you can’t get enough of Shashi Kapoor this week (or in general), check out another romantic hit “Likhe Jo Khat Tujhe” from the film Kanyadaan (1968). It’s one of my personal favorite songs of all time!

– Mrs. 55

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The History of Kissing in Bollywood: Timeline of a Taboo

Satyam Shivan Sundaram kiss Shashi Kapoor Zeenat Aman

Shashi Kapoor and Zeenat Aman kiss each other and a damp dupatta in Satyam Shivan Sundaram (1977).

Kissing in Bollywood films has been a volatile subject, a heated source of international ridicule and shame, for almost 100 years.  This blog post is likely to horrify just as many readers as it intrigues. What many people do not know is that the taboo of kissing in Hindi films has evolved so dramatically since the birth of film. In its early days, intimacy on-screen was not the heretical offense it later became–in fact, an appropriate diegetic display of affection was once standard fare in Hindi film! But a carefully constructed web of symbolic cinematography and allegorical imagery soon replaced the film industry’s brief encounter with physical romance. Instead generations of Indians grew up in a world where pretty treetops and flowers were more passionate than any human interaction could ever become. We created scores of young men and women like myself who get so uncomfortable when kissing appears on-screen if Indian parents are present, that we actually have to leave the room to relieve tension. And when I first saw Shashi Kapoor sell his soul kissing in a Satyam Shivam Sundaram, I felt my world had come to an end.

Why is there such hype around kissing in Hindi films? After all, we’re all modern citizens of the world, and certainly Indians are some of the most romantic. Kissing in Bollywood films has jumped the spectrum from as liberal as the French in the 1920s to a wave of conservatism brought by the 1950s and again a shift back toward cinema’s early lip-locking roots by the 1990s. We at Mr. and Mrs. 55 hope our descriptive timeline of this fascinating cause célèbre sheds light on this controversial impulse of nature we were all led to believe pure Indian film stars did not possess!

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Director Biren Nag cleverly cuts from a threatened kissing scene in Kohra (1964) between Waheeda Rehman and Biswajeet to two fish finishing what the married couple started.

1896: The Lumiere Brothers bring cinema to India with a showing at the Watson Hotel in Bombay.

1918: Cinematographic Act is first passed by the country’s legislative council.

This addresses the licensing of cinema houses and the certification of films declared suitable for public exhibition. Boards of Censors would be established within 2 years in all major Indian cities, based on the guidelines of the British Board of Film Censors.

1921: Bilat Ferat, a Bengali silent film directed by Dhirendra Nath Gunguli, displays intimate scenes and kissing galore.

Based on Mahabharata, the film is about two kings who are vying for same hermit’s daughter.

1922: The film Pati Bhakti showcases Lalita Pawar in a serious kiss.

She would later become known for her stock roles in the 1950s and 1960s as the hard-hitting conservative mother figure.

1929: Silent film A Throw of Dice an exciting kiss between actors Seeta Devi and Charu Roy.

1933: Devika Rani locked lips with her real life husband Himanshu Rai on screen in Karma.

The famous lip-lock took 4 minutes and remains the longest onscreen kiss to date.

Devika Rani Karma

Shocking, right? Silent film star Devika Rani kisses her hero like a champ in Karma (1933). I know, I know. Despite myself, I can’t help but feel really, really uncomfortable.

1952: Cinematograph Act is established, ruling on-screen kissing to be indecent.

The Supreme Court of India claims: “Film censorship becomes necessary because a film motivates thought and action and assures a high degree of attention and retention as compared to the printed word. The combination of act and speech, sight and sound in semi darkness of the theatre with elimination of all distracting ideas will have a strong impact on the minds of the viewers and can affect emotions. Therefore, it has as much potential for evil as it has for good and has an equal potential to instill or cultivate violent or bad behaviour. It cannot be equated with other modes of communication.”

1954: 13,000 Indian women of Delhi collect a petition to Prime Minister Jawaharlal Nehru that urges him to address the cinema’s wild potential to encourage “precocious sex habits.”

My question is, where were all the Indian men of Delhi?

“Films have an essential part to play in the modern world,” Nehru responded. “At the same time it is true that any powerful medium like motion pictures has a good effect and a bad effect. We have to take care therefore that we emphasise the good aspect of it.”

Incidentally, the biographical movie “The Indian Summer” in production a few years ago featured the story of Prime Minister Nehru during independence. The irony? The Information and broadcasting ministry wanted a scene featuring the kiss between Nehru and Edwina, wife of Lord Mountbatten, to be deleted. The film was ultimately shelved.

1964: The film Kohra displays a super awkward scene between a newlywed couple flirting with each other as wife Waheeda Rehman attempts to wake up her husband Biswajeet in the morning.

Several kisses are creatively implied. While the scene is actually filmed in the couple’s bedroom, two twin beds are shown just in case there could be any confusion.

1969: The song “Roop Tera Mastana” from film Aradhana becomes arguably the steamiest scene ever to hit the Hindi film industry.

See our English translation of “Roop Tera Mastana” for more! The Khosla Committee is established to inquire into the working of the existing procedures for the certification of films for public exhibition and related matters, focusing on the representation of sexuality saying:

“If, in telling the story it is logical, relevant or necessary to depict a passionate kiss or a nude human figure, there should be no question of excluding the shot, provided the theme is handled with delicacy and feeling, aiming at aesthetic expression and avoiding all suggestion of prurience or lasciviousness.”

Yet, many continued to find this attitude “un-Indian,” as the nation grappled with its increasingly important role in the global forum.

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Rishi Kapoor unexpectedly smooches Dimple Kapadia in Bobby (1973).

1973: Dimple Kapadia dresses in fewer items of clothing than ever seen on-screen before and kisses Rishi Kapoor in the film Bobby.

From bikini scenes by a pool, to lounging around the house with her bare midriff and a miniskirt, Dimple Kapadia was careful to leave nothing to the imagination.

1978: The film Satyam Shivam Sundaram showcases Shashi Kapoor and Zeenat Aman locking lips in multiple scenes.

Shashi Kapoor eventually jumps off the kissing deep-end in Merchant-Ivory films becoming known as the Bollywood actor with no boundaries!

1988: Gulzar’s Libaas is banned by the Indian Censor Board and was not released in India until 2014.

The film starring Shabana Azmi and Naseerudin Shah centers on Indian couples having extra-marital relationships. The film was critically acclaimed around the world, but was not allowed a showing for almost 30 years in the country of its origin.

I’m sure the Censor Board’s decision to ban this film prevented tons of men and women from cheating on each other…umm, not.

1996: Raja Hindustani features an awkward minute-long kiss between Amir Khan and Karishma Kapoor.

I still recall the awkwardness of that scene when first seeing this film with my family. Oh, my scarred childhood.

2004: Sharmila Tagore becomes Chair of the Central Board of Film Certification (until 2011).

You might think that would tame things down again, but she subsequently allows all kinds of wildness:

“We see ourselves as more of a certification body than just censor board. We are not into moral policing; we follow a middle path. There are certain things we let go, as we have to be a little more tolerant and mature. Times are changing and we have to change with it.”

Under her watch, kissing in Hindi films hits the jackpot.

“I do believe in censorship and I do believe in freedom of expression, but at the same time there has to be a reasonable restriction. You really can’t go back; the change of being liberal is here to stay for a longer time,” she added.

2005: Rani Mukherjee and Amitabh Bachhan share a cross-generational kiss in the film Black

It’s as weird as you would imagine.

2008: A passionate kiss between Aishwarya Rai and Hrithik Roshan in the film Dhoom 2 was asked to be removed by Aishwarya’s father-in-law, Amitabh Bachhan.

After all, she was a married woman now, and that would just be the height of humiliation for her family, right???! Oh, the irony. Isn’t it 2008 already?

2010: Shah Rukh Khan who vowed never to kiss on-screen was “forced” to kiss Katrina Kaif in the film Jab Tak Hai Jaan.

Oh please, Shah Rukh. That didn’t exactly look like extortion to me.

2012: Bombay Talkies displays Bollywood’s first full-out gay kiss, and debuted at the Cannes Film Festival.

We totally love how this is finally making it to the mainstream and stereotypes are getting challenged in India! Thank you Karan Johar for having more guts than most Bollywood directors ever did.

Karan Johar gay kiss Bombay Talkies

Director Karan Johar featured a tender kiss between two men with lots of facial hair in his short segment in Bombay Talkies (2012).

My apologies in advance to all the aunties who were unable to finish their breakfasts because they stumbled across this post. Believe me, it hurts me as much as it hurts you.

One of the reasons we’ve been so out of touch the past few months is because of preparations for my wedding that took place 2 weeks ago! Mr. 55 gave a beautiful piano performance at the sangeet of “Lag Ja Gale” that would have you in tears. Many pictures are forthcoming, but you’ll be interested to note that in classic Bollywood tradition, not a single kiss was planned at the event! But we were tricked as soon after we stepped off the mandap by my husband’s groomsmen yelling in unison to “Kiss the bride!” It was a no-win situation! If we kissed, my Nani was right in the front row and would judge us so hard, but if we didn’t, our friends would think we had some kind of problem.

So we went for it. It was probably the most awkward thing I’ve ever done. Thank you old Bollywood films for making two otherwise completely normal Americans totally unprepared for a public display of affection at their own wedding.

And no, we won’t be posting any pictures of that special moment…for obvious reasons.

– Mrs. 55

 

Neela Aasman So Gaya Lyrics and Translation: Let’s Learn Urdu-Hindi

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Amitabh Bacchan plays a writer who falls for Rekha’s timeless beauty in Silsila (1981)

Directed and produced by Yash Chopra, Silsila (1981) sparked controversy even before it was released. Rumors regarding the film’s casting spread throughout the industry, as its portrayal of a love triangle between Amitabh Bacchan, his wife Jaya Bacchan, and his alleged mistress Rekha was said to mimic reality. Today, we present the lyrics and English translation of a classic romantic ballad from Silsilaniilaa aasmaa.n so gayaa.

This film depicts a passionate romance between Amit (played by Amitabh Bacchan) and Chandni (played by Rekha) that cannot culminate in marriage due to unfortunate circumstances. After his brother (played by Shashi Kapoor) is killed in the Indo-Pakistani War of 1971, Amit marries his brother’s pregnant fiancee in order to save her honor. Unable to pursue her love with Amit, Chandni marries Dr. Anand (played by Sanjeev Kumar). When Amit and Shobha are involved in a car accident (that causes Shobha to lose her baby), they are hospitalized and treated by Dr. Anand. Chandni sees Amit in the hospital, and this encounter triggers memories of their past love. Amit and Chandni give into their temptations and begin to rekindle their romance through clandestine meetings. The plot thickens when an evening rendezvous goes sour: Amit and Chandni must go to the police station after hitting a pedestrian while driving, and officer assigned to their case turns out to be Shobha’s cousin. How long can Amit and Chandni keep their adultery a secret? Will Amit and Chandni leave their spouses to be together? Silsila is worth a viewing to find out!

Although Silsila is not the first Bollywood film to depict extra-marital love, it is ground-breaking in its concrete portrayal of the consummation of adultery.  Indeed, this film compelled Indian audiences to think about extra-marital affairs and whether they can be cinematically romanticized in a way that appeals to the masses. Silsila offers some justification for the relationship between Amit and Chandni because they were a couple before Amit sacrificed his love to uphold his duty to his brother. However, the film portrays the tumultous decline of their extra-marital romance, eventually depicting Amit and Chandni as disloyal adulterers instead of righteous lovers. The uncomfortable subject matter is presumably the reason why this film failed to be a box office success. Regarding the audience’s reaction to Silsila, Yash Chopra has said:

 “The film had inherent tensions because of the casting coup. If I was confident of the project, it was because all the three artistes had individually assured me that there would be no problems at their end. And they kept their word. It was a film on extra-marital relationships and call it moral and societal pressures, but at the last minute, I developed cold-feet and thought that maybe the hero should come home to his wife. The original ended differently. When and why I changed the ending I don’t know, but I did so because I felt that the audience wasn’t ready. But the audience didn’t accept what we gave them either.”

Although audiences may not have reacted positively to its thematic content, the film has left a legacy of controversy that is still remembered today. The release of Silsila marked the end of the alleged affair between Rekha and Amitabh, but those associated with the Bollywood industry still discuss their love story more than 25 years later. At public events such as award functions, the media is unforgiving in keeping a close eye on how Amitabh, Jaya, and Rekha interact with each other!

Aside from its controversy, this film is also remembered for a number of special debuts. In Silsila, Yash Chopra introduced Shiv (santoor maestro Pt. Shivkumar Sharma) and Hari (flute maestro Pt. Hariprasad Chaurasia) for the first time as composers of Hindi film music. Moreover, Javed Akhtar penned his first lyrics for a Hindi film in Silsila. The soundtrack for Silsila has a number of popular hits such as dekhaa ek khvaab and rang barse, but “niilaa aasmaa.n so gayaa is especially noteworthy for its use of Amitabh Bacchan as a playback singer. Amitabh showcases his versatility as a performer by doing his own singing, which defied the conventions that had been established in the industry for years. Although he lacks the refinement of musical training, Mr. Bacchan can certainly hold a tune in his version of this ballad. A little bit past her prime, Lata Mangeshkar also offers a melancholic interpretation of the same song picturized on Rekha. Listen to both as you follow along with our translations, and let us know which version you prefer in the comments! Until next time…

-Mr. 55
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The first version of niilaa aasmaa.n showcases the passionate on-screen chemistry shared by Rekha and Amitabh Bacchan in Silsila (1981)

Neela Aasman So Gaya: Lyrics and Translation (Male)

niilaa aasmaa.n so gayaa
The blue sky has fallen into slumber.

os barse.n, raat bhiige, ho.nTh thharraaye.n
Dew falls, the night becomes drenched, and my lips quiver.
dhaDkane.n kuchh kahnaa chaahe.n, kah nahii.n paaye.n
Although my heartbeats desire to say something, they are unable to.
havaa kaa geet maddham hai
The breeze sings softly,
samay kii chaal bhii kam hai
while the time passes slowly.

merii baaho.n me.n sharmaate lajaate aise tum aaye
You came into my arms, shying away in embarassment, 
ki jaise baadalo.n me.n chaa.nd dhiire dhiire aa jaaye
like the Moon cautiously slipping into the clouds.
yah tanhaayii, yah mai.n aur tum
This solitude, you, and me. 
zamii.n bhii ho gayii gumsum
Even the Earth has fallen silent.

niilaa aasmaa.n so gayaa
The blue sky has fallen into slumber.

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Rekha wallows in sorrow during the second version of niilaa aasmaa.n after Amitabh tells her that they cannot marry each other in Silsila (1981).

Neela Aasman So Gaya: Lyrics and Translation (Female)

niilaa aasmaa.n so gayaa
The blue sky has fallen into slumber. 

aa.nsuuo.n me.n chaa.nd Duubaa, raat murjhaayii
In my tears, the Moon has set and the night has withered. 
zindagii me.n duur tak phailii hai tanhaayii
Solitude has spread far into my life. 
jo guzre ham pe vah kam hai
What has happened to me thus far is a small beginning,
tumhaare gham kaa mausam hai
for I have just entered the season of sorrow for you.

yaad kii vaadii me.n guu.nje biite afsaane
Tales of the past resonate in the valley of memories. 
hamsafar jo kal the ab Thahare ve begaane
Yesterday’s companion is now a stranger. 
muhabbat aaj pyaasii hai
My love remains unquenched today.
baDii gahrii udaasii hai
I am overcome by a very deep sorrow.

niilaa aasmaa.n so gayaa
The blue sky has fallen into slumber.

Glossary

niilaa: blue; aasmaa.n: sky; os: dew; bhiignaa: to become drenched; tharraanaa: to quiver; dhaDkan: heartbeat; havaa: wind, breeze; maddham: dim, soft; samay: time; chaal: movement, passing; sharmaanaa: to shy away; lajaanaa: to be embarrassed; baadal: cloud; dhiire dhiire: cautiously; tanhaayii: solitude; gumsum: silent; murjhaanaa: to wither; phailnaa: to spread; yaad: memories; vaadii: valley; guu.njnaa: to resonate; afsaanaa: tale, story; hamsafar: companion: begaanaa: stranger; pyaasii: unquenched; gahraa: deep; udaasii: sorrow.

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Amitabh Bacchan sacrifices his love for Rekha to marry his late brother’s pregnant fiance Jaya Bacchan in Silsila (1981).

 

Kabhi Kabhi Mere Dil Mein Lyrics and Translation: Let’s Learn Urdu-Hindi

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Shashi Kapoor and Rakhee celebrate their wedding night with song in Kabhi Kabhi (1976).

Happy Valentine’s Day! In honor of the occasion, we present the lyrics and full English translation to one of the great love poems of Hindi films: “Kabhi Kabhi Mere Dil Mein” from the 1976 star-studded mega-hit Kabhi Kabhi.

Penned by that evergreen poet Sahir Ludhianvi, “Kabhi Kabhi” remains on top of any list of Bollywood love songs. The lyrics are written from the heart in adoration of a woman on a couple’s wedding night. The song is reflective and gentle, but bursting with a beautiful excitement of what lies ahead. Kabhi Kabhi revolves around the love affairs of the protagonists and their effects on the next generation. The ageless devotion expressed in this song continues to evolve and evoke new meanings as the film progresses from one revelation to the next.

An interesting aspect of this song is that it is sung from a male perspective by a female heroine (after all, the song was dedicated to her in the first place by Amitabh Bachchan!) Lines like “Suhaag raat hai, ghunghaT uTaa rahaa hoo.N mai.N” evoke tragic irony as Rakhee feels her veil lifted by a man she does not love. Similarly, the final line “Mai.N jaantaa huu.N ki tuu gher hai, magar yuu.N hii” can be interpreted as both as an understanding that husband and wife still must get to know one another, but also as Amitabh Bachhan accepting that Rakhee now belongs to someone else. And just further to wring your heart, blind-to-reality Shashi Kapoor insists to her that if they ever meet the great poet who wrote these words, they must thank him for being with them on their wedding night. (Naturally, they all do meet up somehow–and it’s every bit a circus you can imagine!)

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Rakhee sings from the anthology of poems written by a former lover in Kabhi Kabhi (1976).

You don’t need to know or appreciate the background of this song to fall head over heels for its melody and blissful lyrics. So celebrate the love in your life and enjoy our English translation of “Kabhi Kabhi Mere Dil Mein” below!

Kabhi Kabhi Mere Dil Mein Lyrics and Translation:

Mukesh:

Kabhi kabhi mere dil mei.N khayaal aataa hai
Sometimes this thought enters my heart

Lata:

Kabhi kabhi mere dil mei.N khayaal aataa hai
Sometimes this thought enters my heart
Ki jaise tujhko banaayaa gaya hai mere liye
That you were created only for me
Tu ab se pehle sitaaro.n mei.N bas rahii thii kahii.N
Before now you lived somewhere among the stars
Tujhe zameen pe bulaayaa gayaa hai mere liye
You were called to earth only for me

Kabhi kabhi mere dil mei.N khayaal aataa hai
Sometimes this thought enters my heart
Ki yeh badan, yeh nigaahe.N merii amaanat hai.N
That this body and these eyes belong to me
Yeh gesuuo.N kii ghanii chaao.N hai.N merii khaatir
These dark shadows of your hair are for me alone
Yeh honTh aur yeh baahe.N meri amaanat hai.N
These lips and these arms belong to me

Kabhi kabhi mere dil mei.N khayaal aataa hai
Sometimes this thought enters my heart
Ki jaise bajatii hai shahanaaiiaa.N sii raaho.N mei.N
As if wedding music is being played in the streets

Mukesh:

Suhaag raat hai, ghunghaT uTaa rahaa huu.N mai.N
It is our wedding night, I am lifting your veil

Lata:

Suhaag raat hai, ghunghaT uTaa rahaa huu.N mai.N
It is our wedding night, I am lifting your veil
SimaT rahii hai tuu sharmaake apne baaho.N mei.N
You shyly blush as I wrap you in my arms

Kabhi kabhi mere dil mei.N khayaal aataa hai
Sometimes this thought enters my heart
Ki jaise tuu mujhe chaahegii umr bhar yuu.N hii
That you will love me forever like this
UThegii merii taraf pyaar kii nazar yuu.N hii
That you will always lift this loving gaze to me

Mukesh:

Mai.N jaantaa huu.N ki tuu gher hai magar yuu.N hii
I know you are still a stranger, however
Kabhi kabhi mere dil mei.N khayaal aataa hai
Sometimes this thought enters my heart

Glossary:

kabhi kabhi: sometimes, from time to time; khayaal: thought; sitaaraa: star; zameen: earth; badan: body; nigaahe.N: glances, eyes; amaanat: property; gesuu: hair; ghanii: dark; chaao.N: shadow; [kisii kii] khatir: [for someone’s] sake; honTh; lips; baahe.N: arms; amaanat: belonging; shahanaaii: a wind instrument usually played at weddings; raah: path, streets; suhaag raat: wedding night; ghunghaT: veil; sharmaanaa: to become shy; umr bhar: whole life; [kisii kii] taraf: [in someone’s] direction; gher: stranger

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By the end of “Kabhi Kabhi”, the already awkward suhaag raat scene inevitably becomes more awkward.

This special Valentine’s day post is dedicated to my fiancé! It’s been two years since we’ve been together and I’ve loved every moment. Thank you for putting up with my singing old Lata songs outside my range while you’re trying to study, and for finally appreciating the epicness that is Mughal-e-Azam!

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My adorable fiancé and I met at as undergrads at Harvard where he was in the class ahead of me. He proposed two years later, and now we’re busy planning the wedding!

– Mrs. 55

Phool Ahista Phenko Lyrics and Translation: Let’s Learn Urdu-Hindi

Mumtaz is at her sassy finest on screen during this blazing duet from Prem Kahani (1975)

Our next translation comes from Prem Kahani (1975), a hit film set during the peak of India’s struggle for freedom from British rule that stars Mumtaz, Rajesh Khanna, and Shashi Kapoor in  another take on the archetypal Bollywood love triangle. Rajesh Khanna plays the role of an apolitical poet with aspirations of teaching literature who becomes involved in a revolutionary freedom fighter movement to avenge his brother’s murder during a peace protest. He engages in a passionate romance with Mumtaz; however, when she boldly asks to marry him, he turns her down. The reason? Knowing the risks that he will face as a revolutionary, he does not want Mumtaz to be subjected to the cruelties of becoming widowed. Deeply hurt by this rejection,  Mumtaz agrees to marry the man of her father’s choosing. In the mean time, Rajesh kills his brother’s murderer and becomes a fugitive highly sought after by the police. One day, while visiting his sister-in-law’s house, he is shot by police who arrive to search the premises. In order to recover from his wound, Rajesh flees to seek refuge at his best friend Shashi Kapoor’s place. When Rajesh arrives, he finds that it is the day of Shashi’s wedding! Rajesh meets the new bride, and — you guessed it — it is none other than Mumtaz.

In this context, the meaning of the lyrics in “phuul aahistaa phe.nko” come truly alive. The tension at home between Mumtaz and Rajesh Khanna is painfully palpable, and in the midst of this mess, the clueless Shashi calls for the start of an informal mushaira (poetry recital).  If you’re interested in the poetry preceding this song, you can listen to the back-and-forth of the witty retorts between Rajesh and Mumtaz at this link here.  The poetry leads seamlessly into the introduction of this memorable Lata-Mukesh duet, which was composed by Laxmikant-Pyarelal and penned by Anand Bakshi. This gem is a perfect example of how songs in Bollywood films can be used  to express emotions that cannot be described as gracefully with dialogue alone.

Through these lyrics, Rajesh takes the opportunity to express his sorrow for letting Mumtaz go and playing with her heart. Mumtaz, with some sassy lines of her own, chides Rajesh for the way that he treated her. In order to fully understand these lyrics, it is important note that the thematic message of this song revolves around a key metaphor: the roses discussed here represent womankind. Like flowers, Indian women must grapple with a delicate and fragile fate as they endure the pain inflicted by the thorns of society’s constraining norms.  Thus, when Rajesh claims in the mukhDaa that roses must be plucked gently (phuul aahistaa phe.nko, phuul baDe naazuk hote hai.n), Mumtaz sarcastically questions the sincerity of his politesse during her antara (baDii khuubsuurat shikaayat hai yah, magar sochiye kyaa sharafat hai yah?). In her heart, she wishes Rajesh had not been overly concerned with her well-being so that their marriage could have occurred (in spite of her prospects of becoming widowed).  By channeling her emotions into anger, Mumtaz now hopes that the same kind of pain will ultimately afflict Rajesh so that he can understand the heartbreak she was forced to endure because of his decisions (jo rulaate hai.n logo.n ko ek din khud bhii rote hai.n).

As you can tell, this song is power-packed with emotional intensity and some beautifully crafted poetry–I highly recommend a listen if you have not received the opportunity to hear it yet. Follow along with our translation and glossary below, and as always, remember to send in your requests to themrandmrs55@gmail.com!

–Mr.55

Rajesh Khanna recites poetry that expresses deep regret for letting his beloved Mumtaz slip away in Prem Kahani (1975)

Phool Ahista Phenko: Lyrics and Translation

kahaa aap kaa yah bajaa hii sahii
What you have said is entirely correct: 
ki ham beqadar, bevafaa hii sahii
I am insensitive and unfaithful. 
bade shauq se jaaiye chhoD kar
With pleasure, you may leave me and go away.
magar sahan-e-gulshan se yuu.n toD kar
But, from the rose garden,

phuul aahistaa phe.nko, phuul baDe naazuk hote hai.n
Gently pluck the roses, for they are very delicate. 
vaise bhii to ye badqismatnok pe kaa.nto.n kii sote hai.n
Indeed, these ill-fated flowers must reside on the tips of thorns.

baDii khuubsuurat shikaayat hai yah
You have expressed quite a lovely grievance,
magar sochiye, kyaa sharaafat hai yah?
but please consider whether it is mere politesse.
jo auro.n kaa dil toDte rahte hai.n
Those who continue to break others’ hearts 
lage choT unko to yah kahte hai.n ki
say this when they become hurt themselves: 
phuul aahistaa phe.nko, phuul baDe naazuk hote hai.n
Gently pluck the roses, for they are very delicate. 
jo rulaate hai.n logo.n ko ek din khud bhii rote hai.n
Those who make others cry shed their own tears one day.

kisii shauk ko baagh kii sair me.n
During a stroll in the garden,
jo lag jaaye kaa.nTaa koii pair me.n
when a thorn pierces your foot,
khafaa husn phuulo.n se ho kis liye?
why do you become angry with the roses, oh beautiful one?
ye maasuum hai.n, bekhataa is liye
They are innocent and faultless.
phuul aahistaa phe.nko, phuul baDe naazuk hote hai.n
Gently pluck the roses, for they are delicate.
ye kare.nge kaise ghaayal? ye to khud ghaayal hote hai.n 

How can they hurt others? They are wounded themselves.

gulo.n ke baDe aap hamdard hai.n
You are quite sympathetic to the beauty of these roses.
bhalaa kyo.n na ho? aap bhii mard hai.n
And why not? You are also a man!
hazaaro.n savaalo.n kaa hai ek javaab
A thousand questions have this one answer.
fareb-e-nazar yah na ho, ai janaab
My dear, don’t let your eyes deceive you.
phuul aahistaa phe.nko, phuul baDe naazuk hote hai.n

Gently pluck the roses, for they are delicate.
sab jise kahte hai.n shabnam, phuul ke aa.nsuu hote hai.n
What people call dew drops are, in fact, the tears shed by roses

*Female lines sung by Lata Mangeshkar are denoted in red. Male lines sung by Mukesh are denoted in black.

Glossary

bajaa: correct; beqadar: insensitive; bevafaa: unfaithful; shauq se: with pleasure; sahan: courtyard; gulshan: rose garden; phe.nknaa: to pluck, throw; aahistaa: slowly, gently; naazuk: delicate; badqismat: ill-fated; nok: tip; shikaayat; grievance; sharaafat: politesse, decency; choT: injury, wound; shauk: thorn; baagh: garden; sair: promenade, stroll; khafaa: angry; maasuum: innocent; bekhataa: faultless; gul: rose; hamdard: sympathetic; fareb-e-nazar: delusion of sight; shabnam: dew drops.  

The handsome yet clueless Shashi Kapoor is unaware of the tumultuous history between his wife Mumtaz and best friend Rajesh Khanna in Prem Kahani (1975). 

Bekhudi Mein Sanam Lyrics and Translation: Let’s Learn Urdu-Hindi

Babita Haseena Maan Jaayegi

Whoa there, Babita. Are you sure a Santa hat is appropriate for this occasion?

Our next Hindi lyric translation is the classic Rafi-Lata duet “Bekhudi Mein Sanam” from the film Haseena Maan Jaayegi (1968). The movie soundtrack is probably the only reason you would ever want to watch this film. Sure, the plot description is intriguing: two men (who happen to both be Shashi Kapoor) fall in love with the same woman (the unbearable Babita). One Shashi Kapoor is soft-spoken and romantic, while the other is an aggressive jokester who is spurned by our heroine. But then! War with China! Both men are called to duty, and when only one returns, Babita can’t tell if he is truly the man she loves–or his rival!

So you’re lured in, egged on by a few other vaguely recognizable Rafi numbers (“O Dilbar Janiye,” anyone?), and think you’re getting yourself in for a long Hum Dono-esque genre twin film with a swinger bent.

Oh, but how wrong you’d be.

Babita and Shashi haseena maan jaayegi

Shashi Kapoor and Babita play two college students in love in Haseena Maan Jaayegi (1968).

Haseena Maan Jaayegi is a painful free-falling bucket of awkward sauce that is weighed down by Babita’s insufferably thick voice, static characters, and an unfocused plot that never quite pulls together it’s obvious loose ends. I mean, seriously Babita? We need to spend two hours watching you try to decide if there is nothing unique about the man you married? Furthermore, what the heck, Shashi? Couldn’t you have convinced the scriptwriter to at least throw in just one line explaining why you guys look so similar? At least turn out to legitimately be twins separated at birth! There’s no way God would just magically make two Shashi Kapoors in this world. A lot of Indian women would be a lot happier if so.

Shashi Kapoor is entranced by Babita’a teal Santa suit from “Bekhudi Mein Sanam.”

Really, nothing gets my goat more than a twin movie that doesn’t acknowledge that they’re supposed to actually be twins. Do yourself a favor by skipping this cheese-flavored package of dry histrionics, and just youtube the songs because they’re awesome. Of particular note in “Bekhudi Mei.N Sanam” is Babita’s puffy white fur Santa hat and teal blue jumpsuit. This is just in case any audience member had lost their mind and started to make the mistake of taking her seriously. Check out the youtube link for the song here and follow along with the lyrics and translation below to this this otherwise beautiful ode of love!

Bekhudi Mein Sanam Lyrics and Translation

Bekhudi mei.N sanam, uTh gaye jo qadam
Unaware of my self, as I started walking
Aa gaye, aa gaye
I arrived
Aa gaye paas hum, aa gaye paas hum
I arrived nearer to you

Aag yeh kaisii man mei.N lagii hai?
What kind of fire is aflame in my mind?
Man se badhii to tan mei.N lagii hai
Yet, even bigger than that in the mind, is the one burning my body
Aag nahii.N yeh dil ki lagii hai
This is not a fire, its the heart’s desire
Jitnii bujhaayii, utnii jalii hai
However much you try to put it out, it will keep burning

Dil ki lagi na ho to, kya zindagii hai?
Without this desire of the heart, what is life?
Saath hum jo chale miT gaye faasle
When we walk together, all that separates us disappears
Aa gaye, aa gaye
I arrived
Aa gaye paas hum, aa gaye paas hum
I arrived nearer to you

Khoyii nazar thii, soye nazaare
The vision was lost, and the sights were asleep
Dekhaa tumhe to jaage yeh saare
On seeing you, all of them were awakened
Dil ne kiye jo dil ko ishaare
As one heart signaled to the other
Milke chale hum saath tumhaare
We met and walked together

Aaj khushii se meraa dil yeh pukaare
Today my heart calls out with joy
Teraa daaman milaa, pyaar meraa khilaa
In finding your embrace, my love has blossomed
Aa gaye, aa gaye
I arrived
Aa gaye paas hum, aa gaye paas hum
I arrived nearer to you

Dil kii kahaanii pahunche zubaa.N tak
The story of my heart is on my tongue
Kisko khabar ab pahunche kahaa.N tak?
Now who knows where it will reach?
Pyaar ke raahii aaye yahaa.N tak
Travelers of love have arrived here
Jaaye.Nge dil ki had hai jahaa.N tak
They will go to the limits set by their hearts

Tum paas jo to chale hum aasmaan tak
With you at my side, we will reach the sky
Dil mein armaan liye laakh toofaan liye
With a heart full of desires and beset by storms

Aa gaye, aa gaye
I arrived
Aa gaye paas hum, aa gaye paas hum
I arrived nearer to you

Bekhudi mei.N sanam, uTh gaye jo qadam
Unaware of my self, as I started walking
Aa gaye, aa gaye
I arrived
Aa gaye paas hum, aa gaye paas hum
I arrived nearer to you

Glossary:

bekhudi: unaware of oneself, in a trance; qadam: footsteps; aag: fire; man: mind; tan: body; faasle: separation, distance; ishaaraa: signal; daaman: embrace; zubaa.N: tongue, language; khabar: news, knowledge; had: limit; aasmaan: sky; armaan: desire; toofaan: storm

I can’t really explain it, but I’ve always really liked with the way Shashi Kapoor starts his first line walking forward toward her with his hands folded behind his back. It’s bashful, the way Indian men in love were meant to be.

Shashi Kapoor Twins Haseena Maan Jaayegi

I know, I know. It’s almost irresistible–TWO Shashi Kapoors on ONE screen! Look at that handsome cricket jacket, those form-fitting white pants. But restrain, my friends. Haseena Maan Jaayegi will suck out your Shashi-gushing capacities and infect you instead with confusion and hatred of Babita.

This song translation was done by request from our reader “Beloved”! We hope you enjoyed, and if you’d like to see your name on our blog, send us an email with your burning Bollywood request or leave us a comment on our “Requests” page!

– Mrs. 55

Aage Bhi Jaane Na Tu Lyrics and Translation: Let’s Learn Urdu-Hindi

What a classy soiree!

I just spent three hours of my life watching Waqt (1965) instead of studying for the MCAT.  Therefore today we present the lyrics and English translation of “Aage Bhi Jane Na Tu.” Was it worth it? Totally.

This 1965 film directed by Yash Chopra features an all-star cast (Balraj Sahni, Achla Sachdev, Sadhana, Raaj Kumar, Sunil Dutt, Sharmila Tagore, Shashi Kapoor, Motilal, Rehman, Madan Puri, Leela Chitnis, and Shashikala, among others) along with a compelling storyline that defined the masala genre of Hindi cinema for years to come. The plot tells the story of a family of five who are tragically separated by a natural disaster. Years later, their lives become bizarrely connected through a series of complex entanglements involving romance, misunderstandings, illness, and of course–a murder. I don’t want to ruin the movie by giving away too many details, but its theme can be summarized by the powerful concluding statement made by Balraj Sahni’s character: “waqt hi banata hai aur waqt hi bigaDta hai” (Time creates all, and time destroys all).

Sadhana and Sunil Dutt have a moment in Waqt (1965)

The icing on the cake for this movie is its soundtrack composed by Ravi and penned by Sahir Ludhianvi. One popular song you may know from this film is Manna De’s “ai merii zohraa jabii.n,” but today, I have chosen to translate the soundtrack’s crown jewel: “aage bhii jaane na tu.” Unlike many songs in Bollywood movies that serve as fillers, this song is actually instrumental in advancing the plot. The song is played in the background at a soiree that is attended by many of the film’s major characters. During the course of the song, a lot of important things happen: Sadhana and Sunil Dutt get all romantic together, Rehman orders Raaj Kumar to steal Shashikala’s diamond necklace, Sharmila Tagore seeks Shashi Kapoor’s attention, and Shashi Kapoor is forced to leave the party early to take care of his sick mother. Most importantly, however, Raaj Kumar gets into a fight with a drunk Madan Puri because he makes a pass at Sadhana, and this fight is related to the murder that I eluded to above. I’ll leave it at that for now to keep things suspenseful…

Dashing Raaj Kumar attempts to steal Shashikala’s diamond necklace. Sneaky!

Sahir Ludhianvi is brilliant as always in his poetry, as he transforms a potentially mediocre party song into a beautifully expressed philosophical statement about life. Through his words, he urges listeners to adopt a carpe diem intellectual framework in which decisions should be based on the present instead of relying on the uncertainties of the future and the past. He illustrates that seizing the day is important by saying, “jo bhii hai, bas yahii ek pal hai” (What is here now is only this one moment), and these words are particularly apt for a movie whose title and theme revolve around time. Ravi’s exquisite tune and Asha Bhonsle’s passionate rendition do justice to the depth of Ludhianvi’s words, which all  have contributed to making this gem one of Bollywood’s most treasured songs from the Golden Era.

Shashi Kapoor leaves the party to take care of his ailing mother 😦

Do you recognize the woman on whom this song is picturized in the film? Her name is Erica Lal, but I couldn’t find much biographical information about her except that she was an American woman who married an Indian living in Mumbai at this time. In any case, she looks stunning on screen during this song and captures the spirit and style of the sophisticated ’60s crooner.

–Mr. 55

Erica Lal is the epitome of the stylish ’60s crooner in Waqt (1965)

Aage Bhi Jaane Na Tu Lyrics and Translation

aage bhii jaane na tu, piichhe bhii jaane na tu
You may not know what lies ahead of you, nor do you know what lies behind you.

jo bhii hai, bas yahii ek pal hai
What is here now is only this one moment.

anjaane saayo.n kaa raaho.n mein Deraa hai
Unknown shadows camp along the paths ahead,

andekhii baaho.n ne ham sab ko ghera hai
While unseen arms have embraced us all.

yeh pal ujaalaa hai, baaqii andhheraa hai
This moment is shining with light; everything else is darkness.

yeh pal gavaana na, yeh pal hii teraa hai
Do not waste this moment, as only this moment is yours.

jiinevaale, soch le yahii vaqt hai kar le purii aarzuu
Think fast, oh living soul: this is the time to fulfill all your desires.

is pal ke jalvo.n ne mahfil sa.nvaarii hai
The passion of this moment has graced this gathering,

is pal kii garmii ne dhaDkan ubhaarii hai
And the warmth of this moment has accelerated our heartbeats.

is pal ke hone se duniyaa hamaarii hai
The world is ours because of this moment’s existence.

yeh pal jo dekho to sadiyo.n pe bhaarii hai
Take a look at this moment, for its grandeur is to be remembered for centuries.

jiinevaale, soch le yahii vaqt hai kar le purii aarzuu
Think fast, oh living soul: this is the time to fulfill all your desires.

is pal ke saaye me.n apnaa Thikaanaa hai
One’s destination can be found in the shadows of this moment.

is pal ke aage hii har shay fasaanaa hai
Ahead of this moment, all objects become stories of fantasy.

kal kis ne dekhaa hai? kal kis ne jaanaa hai?
Who has seen tomorrow? Who has known tomorrow?
is pal se paayegaa jo tujh ko paanaa hai
From this moment, you shall receive all that you are due.

jiinevaale, soch le yahii vaqt hai kar le purii aarzuu
Think fast, oh living soul: this is the time to fulfill all your desires.

aage bhii jaane na tu, piichhe bhii jaane na tu
You may not know what lies ahead of you, nor do you know what lies behind you.

jo bhii hai, bas yahii ek pal hai
What is here now is only this one moment.

Glossary

pal: moment; anjaane: unknown; Deraa: stop, camp; andekhii: unseen; baahe.n: arms; ghernaa: to encircle, embrace; ujaalaa: light; andhheraa: darkness; jiinevaale: living soul;  aarzuu: desire; jalvaa: passion; mahfil: gathering; sa.nvaaranaa: to grace, adorn; ubhaarnaa: to intensify, accelerate; sadii: century; Thikaanaa: destination, address; shay: object;  fasaanaa: tale, story

Raaj Kumar beats up a salacious drunkard to protect Sadhana’s honor. With the right combination of handsome looks, sophisticated personality, and masculine brawn, he is a model example of the classic Bollywood stud.