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23 October 2013

My Favourites: Bewafaai Songs

A long, long time ago, probably back in my pichle janam,  I made a list of songs of heartbreak. Not much to my surprise, all my songs (except one) were sung by women. And of course, I was accused of being unfair to men by a couple of my male readers who posted songs of male angst. Which just proved (once again) that men only sing of heartbreak when their significant others die. 

I was promptly pounced upon by one reader who told me I wasn't looking hard enough. Men do suffer from heartbreak. So, yes, while it took almost two years, I did look. And yes, these are all songs of heartbreak. All sung by males (sorry, one woman sneaked in!) - but you know what? While the women usually mourned the loss of their love in private, singing tearfully of their broken hearts, the men seemed to think that it was a good idea to sing in public, at social events, at the engagement parties of their erstwhile lovers, sometimes even in the presence of the new husbands. Hmm...  

Not only that, while the women cried bitter tears and were totally bereft at being deserted, the men, who are all equally heartbroken (or supposedly so), were angry/cynical/furious (in one instance) and sang of how unfaithful their women were. Yup, all bewafas. Every single one of them.

Flippancy aside, yes, betrayal can hurt. A lot. Heartbreak is worse when you think you have been played for a fool. It is the pain of losing your love combined with the humiliation of knowing (or thinking) that your lover has made you a laughing stock. I suppose anger is a justifiable emotion, then? Or is it?

But. Let's leave the motivations of the men behind, shall we? They are all equal opportunity offenders, and even my favourite Dev and Dilip are guilty. These are some lovely songs and here, in no particular order...

1. Kya se kya ho gaya  
Guide (1965)
Singer: Mohammed Rafi 
Music: SD Burman 
Lyrics: Shailendra
The betrayed: Dev Anand. The Betrayer? Waheeda Rehman. 

That he forged her name to cheques is no big matter. That she left him in hurt and anger, is huge. But of course, she is the one at fault for placing him behind bars for forgery and embezzlement. 
Chalo suhana bharam toh toota, 
Jaana ke husn kya hai
Kehti hai jisko pyar duniya, 
Kya cheez kya bala hain
Dil ne kya na saha, Bewafa tere pyar mein

It is his love for her that has brought him to this sorry pass. (Of course it is!)  

Gumrah (1963)
Singer: Mahendra Kapoor 
Music: Ravi 
Lyrics: Sahir Ludhianvi
The betrayed? Sunil Dutt. The Betrayer? Mala Sinha. 

Now, this is prime example number one of what I was talking about in the introduction to this post. Yes, he has a right to feel aggrieved. He goes away for a while, and comes back to find his love married off to her sister's widower without so much as a by-your-leave. But does he ask what happened or why? Nope. When he is invited home by the new spouse of his erstwhile lover, he immediately breaks into Chalo ik baar phir se ajnabi ban jaaye hum dono. To which emotion, I'm sure, (after her hours of martyrish weeping) she must have heartily subscribed to... But does he stop there? Nope. He recites his way through 
Mere humraah bhi rusvaiyaan hai meri maazi ki
Tumhare saath bhi guzri hue raaton ke saaye hain...

Poor woman. Her only crime (then) was pusillanimity. 

3. Guzre hain aaj ishq mein  
Dil Diya Dard Liya (1966)
Singer: Mohammed Rafi
Music: Naushad
Lyrics: Shakeel Badayuni

The betrayed? Dilip Kumar. The Betrayer? Waheeda Rehman. 

It's one of my guilty pleasures, this song. Because this goes a few steps beyond accusing the woman of infidelity. It actually wishes her the same hurt and pain. All because the 'hero' comes back rich and (he thinks) 'acceptable' to find that his beloved's brother dislikes him even now and has fixed his sister's marriage to someone else. What is the woman's fault? Who knows? The film, a rather painful 'adaptation' of Wuthering Heights, is avoidable. The songs are a mixed bag, and as I said, this is a guilty pleasure. I mean, what else can it be with lyrics like:

Oh bewafaa, teri bhi yun hi toot jaaye dil
Tu bhi tadap-tadap ke pukare haaye dil
Tere bhi saamna ho kabhi
Gham ki shaam se...

4. Meri bheegi bheegi si  
Anamika (1973)
Singer: Kishore Kumar 
Music: RD Burman
Lyrics: Majrooh Sultanpuri
The betrayed: Sanjeev Kumar. The Betrayer? Jaya Bhaduri

The hero does have some reason to be angry here. First, he rescues a young girl, tied and gagged and unconscious, and takes her home. When she regains consciousness, she seems to have lost her memory, and insists he is her husband. Forced to play along, he calls her 'Anamika' (the nameless one) and begins to fall in love with her, when she does the disappearing act. When he meets her again, she is Archana, a married woman, who refuses to admit she had met him before. She has her reasons for her actions, and so does he - but, seriously? At a party? And he thought it was a good idea? Especially when he walks around singing:

Aag se naata, naari se rishta, 
Kaahe man samajh na paaya
Mujhe kya hua tha ek bewafaa pe, 
Hai mujhe kyon pyaar aaya
Teri bewafaai pe hanse jag saara, 
Gali gali guzre jidhar se...

...as if this is not going to make him a bigger laughing stock!

5. Koi mujhse pooche ke tum mere kya ho  
Ye Raste Hain Pyar Ke (1963) 
Singer: Mohammed Rafi 
Music: Ravi
Lyrics: Rajinder Krishen
The betrayed? Sunil Dutt. The Betrayer? Leela Naidu.

In a cinematic representation of the celebrated Nanavati case, Sunil Dutt plays the cuckolded husband who comes home to find his wife has been seduced by his playboy friend played by Rehman. So he does have a reason to call her unfaithful and to sing:

Tere rukhsaar mein garmi ka kahin naam nahin
Teri aankhon mein wafa ka koi paigham nahin
Koi mujh se pooche ke tum mere kya ho
Wafa jisne looti wohi bewafa ho

The debut production of the fledgling Ajanta Arts, Sunil Dutt's production house, the film veered away from the reality of showing the 'fallen woman' live out her life. While Commander Nanavati moved to Canada with his wife and family, the film had Leela Naidu's repentant character die in her husband's arms. (But, of course... how could she live?) The video clip has both versions of the song. The song the post is referring to begins at 5.07. 

6. Yeh dard bhara afsana 
Shreeman Funtoosh (1965) 
Singer: Kishore Kumar
Music: Laxmikant-Pyarelal
Lyrics: Anand Bakshi
The betrayed? Kishore Kumar. The Betrayer? Kum Kum. 

Question: What would any man do if he saw the girl he loved dancing with another man? If we are to belive Hindi film tropes, then he will promptly burst into a song that accuses her of infidelity, of course! There isn't even a question of talking to her to find out what the hell is happening; that is, if dancing with someone is a crime - which it is not. So, Kishore, seeing his girl in Anoop Kumar's arms bursts into:    

Koi bhi vaada yaad na aaya koi kasam bhi yaad na aayi
Meri duhaayi sun le khudaai mere sanam ne ki bewafai


7. Mere dushman tu meri  
Aaya Din Bahaar Ke (1966)
Singer: Mohammed Rafi
Music: Laxmikant-Pyarelal
Lyrics: Anand Bakshi
The betrayed? Dharmendra. The Betrayer? Asha Parekh.

Here I offer namoona no: 2 where the hero not only accuses her of being unfaithful but actually wishes her ill. Since no one in Hindi films believed in actually talking to each other, or they deliberately lied in the most painful martyred fashion for the silliest of reasons (else, how would we have a film?) one cannot actually blame the man for being furious at what he considers his beloved's deception. But to actually sing a song like this in public takes serious chutzpah. And after he sings these lines:

Tu phool bane patjhad ka, tujh pe bahaar na aaye kabhi
Meri hi tarah tu tadpe tujhko qaraar na aaye kabhi
Jiye tu is tarah ke zindagi ko tarse
Mere dushman tu meri dosti ko tarse

- I wonder why he thinks she would thirst for his friendship?    

8. Dost dost na raha  
Sangam (1964) 
Singer: Mukesh 
Music: Shankar-Jaikishen
Lyrics: Shailendra
The betrayed? Raj Kapoor. The Betrayer? Vyjayanthimala.

For a change, the hero, Raj, is not accusing the heroine of being unfaithful. Not yet, anyway. He is narrating the story of a colleague in the army, who went back home to find his beloved married to his best friend to whom he had entrusted her care. Raj is full of scorn for the faithless woman and the unfaithful friend and he sings the song that his friend and colleague used to sing when he learnt of the betrayal... 

Amaanatein main pyar ki gaya tha jisko saunpkar
Woh mere dost tum hi thhe, tumhi to thhe
Gale lagi seham seham bhare gale se bolti
Woh tum na thhi to kaun thi, tumhi to thhi

The issue here is, of course, that Raj could as well be talking of his friend and his beloved. Only, she has never loved him though he assumed she did. Which of course, leads him to be a complete idiot when he accuses her over and over again of having 'a past', even while she pleads  O mere sanam, o mere sanam, ye dharti hai insaano ki, Kuch aur nahin insaan hain hum...

9. Kya hua tera vaada 
Hum Kisise Kam Nahin (1977)
Singer: Mohammed Rafi 
Music: RD Burman
Lyrics: Majrooh Sultanpuri
The betrayed? Tariq. The Betrayer? Kaajal Kiron. 

Way outside the purview of my blog usually, since the film released in 1977. But with regard to the post, I could hardly ignore this - the quintessential 'Let's make the girl feel really, really, really guilty' song. 

Yaad hai mujhko tune kaha tha
Tumse nahin roothenge kabhi
Dil ki tarah se aaja mile hain
Kaise bhala chhootenge kabhi
Teri baahon mein beeti har shaam
Bewafaa ye bhi tujhe yaad nahin

Doesn't matter that she doesn't know that he is her childhood sweetheart. Never mind that he pretended to be a rich man and fooled her, so when she finds out the truth, she is naturally disinclined to believe anything else he says. She is bewafa because she doesn't magically know some x years later that the scrawny kid she tagged along with is this strapping young man in front of her. And Teri baahon mein beeti har shaam? When he has never seen her since she was a kid?!

But the song, oh, the song! Touted as Rafi's 'comeback' song, it won him a National Award and lent impetus to his sagging career.    

10. Ik bewafa se pyar kiya  
Awara (1951)
Singer: Lata Mangeshkar
Music: Shankar-Jaikishen
Lyrics: Shailendra

The betrayed? Nargis. The Betrayer? Raj Kapoor. 

The shoe is on the other foot here. Raj, pretending to be a rich business man, 'gifts' his Rita a beautiful necklace, quite forgetting to mention to her that he had stolen it from her foster father. But when Raj gifts her a necklace without a case, and her foster father gifts her a case without a necklace in it, she is intelligent enough to put two and two together. Raj leaves without a word of explanation and Rita is left to face the music. 

This sole female song is served up as a contrast to all the other songs that have gone before. Betrayed in love, the heroine's emotions mirror the song being sung by the dancer (Honey O'Brien) at her birthday party. But there the similarities end. a) It is her party. b) She is not the one singing the song. c) While the song refers to her lover as bewafa (unfaithful), she is not calling him that in public. Instead, the song bemoans her fate at having fallen in love with someone so fickle. She blames herself for having fallen for the blue eyes and the smooth charm. What have I done?

De gayi dhokha hamein neeli neeli aankhen
Sooni hai dil ki mehfil bheegi bheegi aankhen
Hoy humne aitbaar kiya, Ulfat ka ikraar kiyaa
Haay re hamne ye kyaa kiya, Ik bewafaa se pyaar kiyaa
Us se nazar ko chaar kiyaa, Haay re hamne ye kya kiya 

The women grieve, the men get furious.  I rest my case. :)


  1. Excellent topic for a post, Anu, and case well stated! Yes, I have often wondered how these men dared to sing these songs in such a public manner, and why they never even cared to find out the reason why the girl got married/had to leave him, etc., Chalo ek baar phir se ... and Mere dushman tu mere ... being prime examples. Mere dushman tu mere ... is a song literally dripping with anger, and one wonders how the guy is justifying his song, I mean, has he never heard the saying, Words once spoken and eggs once broken are impossible to repair? How will the woman ever forgive him in the future? Of course, our heroines being the true Hindi heroines, would never dream of doing otherwise, but in real life, would this happen?
    I love all the songs, will try to come up with some ideas, but Harvey and Pacifist and others are better at this, so I will leave it to them, and come back here to read their posts. In the meantime, I will just listen to these songs and marvel at the temerity of these guys. Thanks, Anu!

  2. Here's one song, sung by a voice in the background, for the woman -


    What she says is true - chhotisi bhool jawani ki, woh tumko yaad na aayegi ...dukh deke hamein jeevan bhar ka, woh sukh ki sej saja baithe ... The rules in India are different for the men and for the women. Actually, this is one song which should have been sung aloud, in the presence of all the baraatis.

  3. Agreed, Lalitha. What is worse in the case of Mera dushman tu mere, is the whole patronage that is explicit in mere dosti ko tarse. Like hell, I would! Of course, as you point out, our heroines are so doormat-ish that they will happily find justifications for such anger.

    I have often wondered what the men (and women) in the beloved's household are made of, to stand around silently while the hero drips sarcasm, grief, and/or anger at one of their family members. I also wonder when this trope first made its appearance. I mean, back in the 50s or so, when men were jilted (or thought they were), they went off quietly into some desolate place and sang their angst out. So when did this 'shame your beloved in public' come to be? I wonder if some of our resident film historians will know?

  4. I think the rules anywhere are different for men and women! Besides, your song just exemplifies my post - when the woman is jilted/heartbroken, she is either mourning silently or shedding tears in private. It would have served the chap right if she had walked in on his wedding singing this, no?

  5. I really admire the way all you veteran bloggers come up with these
    themes for your song compilations. The bewafaai songs
    were actually quite commmon in the sixties. You know what we used to
    often make fun of these cliched song situations where the hero would be
    sad and since he was sad he used to often behave seen with a shawl
    draped over his kurta, for some reason he would dispense with the the
    shirt and trousers. Though none of the songs you have selected has the
    hero in such a situation but believe me it was not uncommon. Here is a
    song from the Meena Kumari- Sunil Dutt starrer Ghazal


  6. Just 'coz I love to play devil's advocate (no disagreement with your hypothesis!), here goes...

    Exhibit #1 - angry Hema accuses shamefaced Randhir of bewafayi - Tu kya jaane wafa o bewafa in Haath Ki Safayi. If I remember correctly, she has ample cause for her anger - he pretended to love her and then sold her off to the highest bidder. Naturally, he atones for it later...

    Exhibit #2 - angry (and probably drunk) Waheeda accuses Dev of bewafayi, though her accusations are milder. Rangeela re tere rang mein from Prem Pujari.

    Maine to seenchi re teri hi rahein
    baahon mein tere kyon auron ki baahein

    I haven't seen the film, so no idea whether her suspicions are justified, though going by Dev's expressions, he expects to explain it all away to his satisfaction.

    Exhibit #3 - sad Shashi realises Sharmila loves him not, so he skulks around in the forest, singing a sad song of heartbreak - Saari khushiyaan hain mohabbat ki in Suhana Safar.

  7. This generally fits into the 'why on earth would he go and sing sad songs at her wedding?' category (I can see another post in the making!) but at least he is not calling her bewafa!

    Rang aur noor ki baarat is one of my favourite songs. I love the pathos in Rafi's voice and Sunil Dutt emoted rather well in this instance. Thanks for the link.

  8. I was expecting this from my male readers, but... Et tu, Brute; then fall Caesar *grin*

    Your first two songs definitely fit this category; the last, since he is only bemoaning his last love would more properly fit into my Songs of Heartbreak post. :) He does look rather dishy, doesn't he?

  9. Excellent post, Anu. I particularly like they way you have highlighted the most significant parts of the lyrics.
    I do, however, feel that we are missing something here. One result of 'bewafaai' is heartbreak, which is covered very well in this post as also in your earlier one. But there is also the appeal of the bewafaa - the charm of the rogue. AK had done a post, partly on my suggestion, on the appeal that dunces seem to have for women. Similarly, if film songs are a guide, some women seem to be attracted to rogues, even if they know what's in store for them. A large part of Krishna's romantic appeal in our traditional literature - with the 'Bhanwra' being used as a common metaphor - comes from knowing that he will never settle down with one woman. Bewafa, zulmi, bedardi, harjaai, dagabaaz become terms of endearment rather than rebuke in our songs. For some reason men don't seem to sing songs about being attracted to unfaithful women. It would be an interesting idea to explore this theme - how is it that a clearly negative quality becomes attractive in a man.
    One of the most famous French songs, which even has a page to itself in the French Wikipedia, is all about the appeal of the insincere male. 'Mon amant de saint jean' originally sung by Lucienne Delyle has some telling lines on part of a woman who lost her heart to one such rogue - 'Each time he lied, I knew it but I loved him', '...a promise is nothing but a lure'. So the appeal of the rogue seems to be universal!

  10. Chalo ek baar phir se (Gumrah / 1963 / Mohammed Rafi / Ravi / Sahir Ludhianvi)

    Again I had to do it. Please do the needful.

  11. When I saw the title of your post, the first song that came to my mind was Mere dushman, and sure enough, it was there (how could it not? Soul sisters and all that!) I really enjoyed this post, Anu, not just because the songs were so good, but because you'd written up the descriptions so well. Thank goodness I'd finished breakfast long before I read this, or I'd have been spewing my keyboard with crumbs when I came across " She is bewafa
    because she doesn't magically know some x years later that the scrawny
    kid she tagged along with is this strapping young man in front of her.
    And Teri baahon mein beeti har shaam? When he has never seen her since she was a kid?!
    " :-D

    Love the observation about men seeming to sing about their broken hearts in public. I'd never thought of that, but it does seem to be the norm. Here's one, though, that I think is slightly different. In Woh tere pyaar ka gham, Shashi Kapoor is singing to himself, even though there are other people around.


    But here's one that fits the norm. Party + lady love + angst = song about bewafai. Sanjeev Kumar sings to Leena Chandavarkar:


  12. Anu, this post of your's is enlightening. Not just from the discovery of how men are the fallen species and women are mostly the once indicted of crime unfairly; but more importantly your ability to make one laugh. The piece dripped sarcasm, reminding one of Devyani Chaubal in Filmfare of yore. You should do more of this.

    As about my take on the subject in the post, I laughed a lot reading through and that is good enough ;)

  13. Lovely post on one of my favorite topics! :) . Nearly all of the songs you have mentioned above are my favorites. I remember a few songs on this theme---

    Dushman Na Kare- Aakhir Kyon? (1985)


    Hum Ne Jafa Na Seekhi- Zindagi (1964)


    Jo Pyar Tune Mujhko Diya Tha - Dulha Dulhan (1964)


  14. For some reason men don't seem to sing songs about being attracted to unfaithful women.

    Double standards? Or the difference between men and women? I didn't get into this aspect (of the attraction of women towards rogues) because I wanted to narrow the premise of bewafai to the classic one of infidelity. The more I listen to Hindi songs, the more I find that while women mourn their heartbreak, the men seem to want to apportion blame. (Wild generalisation here, as bollyviewer, playing Devil's Advocate, pointed out, but the vast majority of songs that sing of wafa and bewafai are men. The women, when they do mention their lovers are unfaithful, seem to tend to blame themselves for loving them. *shaking head in despair*.

    Yes, the appeal of the rogue seems to mirror conventional wisdom that women prefer bad boys. I wonder who came up with that maxim. The women who fell in love with bad boys or the bad boys themselves? :)

    Thanks for the digression, and the compliment, Subodh.

  15. Thanks, Madhu. :) Really, don't these people talk to each other? What sort of trust do they have that they jump to the worst possible conclusions right at the start?

    At least Shashi is only heartbroken and he is not accusing her of anything. But oh, the Sanjeev Kumar song is the perfect example of this theme... it really looks like these chaps need a crash course in party songs. Perhaps we should send them the links to our posts on party songs?

  16. Thanks, Boby. It's good to make people laugh. And believe me, I had my tongue stuck firmly in my cheek when I was writing this. Lest you (or any other reader) think I'm this man-hating harpy.

    But in the first case, Sanjeev Kumar had already made his beloved feel so guilty by accusing her of this, that and the other, that she throws herself off the terrace in front of his eyes (serves the idjit right!) and he loses his mental balance. (In my opinion, he had already lost it when he decided it was a good idea to sing such a song - at her wedding reception, too.)

    The Parikshit Sahni song fits well into my Songs of Heartbreak post. :)

    And hey, I don't think all males are neanderthals. (Of course there are some who are...) I do, however, think that the male in Hindi cinema (who, you must agree, is a dog of a completely different colour) is still stuck in the neanderthal age. You have only to see their antics on screen - whether it is in black and white, or in colour.

  17. Thanks, coolone. :)
    You are giving me another example to counter my argument that the women mourn in private. :)

    And luckily, both men, even while they are bemoaning how unfaithful their beloveds are, are at least doing it away from humanity. :) :)

  18. Two songs both unfortunately not in an Indian language and maybe not completely on topic, ( though one could argue on the Indian-ness as Manjula Padmanabhan once said "As far as I am concerned I speak an Indian language called English"... )

    Subodh's statement on women liking rogues was interesting. One song not really on topic describing a flighty woman or all woman as flighty so as to assuage Subodh's pain by the real womanizer in the opera is rather oxymoronic...Originally a play by Victor Hugo made into an opera by Verdi. A song that never comes back to rest on the tonic note so giving this feeling of incompleteness.


    Pavarotti's act could be done by a wild eyed Kishore Kumar.

    The other one i I heard all the time growing up and the lyrics though sparse are full of despair and dark thoughts of retribution and pleas. Even the music is fitting especially the point where the guitar and banjo stop and there is only the percussion and brush on the drums perhaps mimicking the footsteps walking away.


  19. I like the caption on the second one. :) But Kenny Rogers?)

    I also like Pavarotti's comparison to Kishore Kumar, though I wonder how fans of either will react. *grin*

  20. In all fairness, I would only take cudgels on one issue - the hero or heroine gamefully vent their feelings in the public, we the audience of the films understand every direct or nuanced reference, but the 'invited guests' play dumb, some times even dance or drink, while the bewafai saga rolls on. Do they have no gossips the 'film' society?

    Assuming that the family members or other directly involved persons are embarrassed enough to feign 'going on with the party' how can the society tails never wag?

    Most of our films being love stories where there is always a villain or vamp or a traingle, there will be as many numbers of heart breaks, which can be easily misconstrued to be bewafai.as in Na Aadmi Ka Koi Bahrosa (http://youtu.be/cOB9SL3BSPA). Milna and Bichchadana are the fodder that has kept us all - raving fans of HFM- going.
    But when all is said done, Anuji needs to be complemented for doing full wafa to the bewafai! Does it matter who played the bewafai?

  21. Ashokji you raise a very pertinent point. Perhaps the guests are also too embarrassed, too polite or both - so they pretend everything is as usual? :) I have often wondered how the girl's family just stands there while she is being accused/humiliated... why don't they just throw the hero out? But, of course, how would we have a song then?

    Anuji needs to be complemented for doing full wafa to the bewafai!

    Kya baat hai! There is an irony in that statement somewhere, but I will leave it be... *grin* Thank you, Ashokji.

  22. LOL! Great post, Anu. I think you've argued your case persuasively yet fairly.:-) As it happens, I heartily dislike all the songs in your list save the last one. As the lady shows, it is possible to express hurt and disappointment with dignity and sans whining. :-)

    Listen to this self-deperacating lady, who even sings "jafa tumane ki aur mujhe sharm aaii"

    And when women do get angry (justifiably, may I say) and accuse, at least they do it privately (and in the dead of the night):

    Heck, men don't even spare each other when decrying bewafaii


  23. Thanks, Shalini. :) As I was saying earlier, I had my tongue firmly stuck in my cheek when I wrote this. :) :)

    You don't like any of the songs? Not even Chalo ek baar phir hum? Ouch!

    I hadn't heard Ye kaisi adayein before. Thanks for introducing me to that song.

    Love, love, love Sharmila in Jab bhi jee chahe. She does a good job of blending bitterness, grief, anger, disgust - the way the emotions play across her face... but oh, the film! It was definitely a man's vision of the ultimate relationship lottery, no?

    Laughing at the last one! It's amazing, no? I wonder that someone somewhere with more time on his/her hands than I do, hasn't written a Ph.D. thesis on the suggestions of home-eroticism in our films!! I mean, they hold hands, hug each other, vow eternal friendship, and heck, even accuse one another of being unfaithful! AB really plays the betrayed friend very well, doesn't he?

  24. What would you womenfolk know of the boy's buddy code. Yup, we hug, hold hands, share a bed, razor, kacchhe, everything, even the maa but never ever the girl friend - that is how wafadaar we are. And if poor AB is distraught, he has a reason and quite valid. As such it is such a pain to land a girl, that too one who is from your boyhood and then your best buddy shotgun steals her?! What did you say, Homo-eroticism, eeeesh! This is called betrayal of the highest tallest order. Aakhir, tum kya jaano!

  25. It is interesting to note that there is always a mitigating factor, an explanation for bewafaai in Hindi films, more so of the lady, if only could the hero have the patience or intelligence to go into the real truth. So it is almost invariably a case of misunderstanding, rather than betrayal. But how else do you stretch the movie to three hours, and how do you fit in 'sad' songs?

    When I read the title of your post the first film that came to my mind was Deedaar. No matter how much Dilip Kumar sings Bachpan ke din bhula na dena, it makes Nargis restless, but does not jolt her memory enough to recall their childhood love. So what does Dilip Kumar do? He sings Meri kahani bhoolne wale tera jahan aabaad rahe.


    Subodh's point is interesting. Why do women (at least some) have fatal attraction for dark characters? I used to be puzzled when some perfectly nice girls went crazy about Charles Sobhraj. Now I find internet has a great body of scientific work on this theme.

  26. No,no,no,you got it all wrong. AB, in this case, wins the hand of the fair maiden, but Shotgun leaves AB over the girl. You see, he is not quite with it - the idea of sharing, I mean. So Shotgun is the bewafa here...

    And I didn't call it homo-eroticism. People who have a lot of time on their hands analyse these scenes, and parse every dialogue and come up with it. I was only the messenger - don't shoot me!!

  27. Yeah, at least Dilip has the grace to wish her well, even if it is through such contrived means. I honestly do not understand how this childhood sweetheart thingy works, especially when you haven't seen each other for ages. It doesn't occur to the hero (or the heroine) that the 'beloved' might have changed and grown while they were away? As might they?

    But honestly, where would we bloggers be without these tropes, and contrivances, and plot conflicts?!!

    Thanks for that link, SoY.. I must confess that I find Dilip Kumar rather dishy so am willing to tolerate this from him more than I would from someone else....

  28. The 'west' bollywood fans or non fans, find it very funny. In fact leave alone films but Greek stories and literature using the word 'love' is also construed as that. (I know Greece is western - but not so much).
    I feel sorry that such simple but emotional friendships as shown in the earlier films are not shown anymore because of the phobia. I remember Rangan wrote an article (or just a part of an article about this).

    I'll write my comment about the post too :-)
    I was going through the comments and felt the need to answer this promptly. :-D

  29. Enjoyed reading this Anu. I too woner when this started. Most probably in the mid/late 60s. I'm not deeply fond of any song here, and that's not because of the lyrics, but the tune. :-/

    In some/most of the songs, the heroine gets married (or is supposedly married) without giving any explanation to the hero so I think anger is understandable.

    The Gumrah example;
    >He goes away for a while, and comes back to find his love married off to her sister's widower without so much as a by-your-leave. But does he ask what happened or why?

    It's a vicious circle IMO.
    She doesn't tell him (she should have) ----- he doesn't ask her ---- should he? She didn't think it was important enough to tell him .......she doesn't tell him....... he's not important enough to be told.....he doesn't ask her....LOL!!!!

    But of course all that public display of anger (PDA) is as funny as the PDA (Public display of affection ;-) )

    Here's a song where a man is grieving because the woman is married off to another man while he was abroad studying. She does tell him though - only to have the husband eavesdropping (accidentally), and feeling guilty.
    I know this isn't exactly 'man cursing woman for bewafai' but it fits the situation - and a man behaving differentlyand - quite doormattish I'd say.
    BTW I'm looking forward to the 'Doormat song' list :-D


  30. I think we grew up with it, and don't find it out of the norm. Guys with their arms around other guys was their usual way of standing. In fact, I often thought they would fall without the support. :) It is also, I think, because everything is looked through the lens of your sexual orientation. Most men here would be slightly wary of hugging a child not their own, because of the accusations of paedophilia that would be flung around. They would hesitate to compliment a female colleague for fear of accusations of sexual harassment. Same sex friendships become 'tainted' with the charge of being 'gay'. (Especially among the men.) It's weird. And as you say, sad.

  31. You too? :( Not even Chalo ik baar phir se?

    My point about the above song is, okay she didn't tell him. How could she, anyway? This was pre-Internet, pre-cellphone days, remember? And if I remember right, she didn't have much time between being told she has to marry BIL and the marriage itself. (Of course, why she couldn't tell her folks she was in love with someone entirely different, I don't know! Women!) But in any case, the deed is done, and he does know why she did what she did and he still insists on singing Teri saath bhi guzre hue raaton ke saaye hain in front of hubby. I mean, what??

    Agree with you about PDA. Both types. *Grin*

    Also agree with you about the Dil ek Mandir song. But then they had to go make that film a contrived tragedy!

  32. >You too? :( Not even Chalo ik baar phir se?

    :-( Must be because of Mahender Kapoor.

    Perhaps these type of songs were never were set to tunes that I prefer. In the 60s the style that I enjoyed was different. Such songs suited the style of 50s.
    In the mother of all "dejected lover - heroine marries/will be married to another man" films Devdas, once again the situation is suitable enough, but I'm not sure whether he's blaming the woman or just his situation. There aren't many words -

    mitwa, mitwa laagi re, yeh kaisi anbujh aag,
    vyakul jiyara vyakul naina
    ik ik chup mein sau sau baina
    reh gaye aansoo lut gayee raat

    And of course sung in a very depressingly heart-breaking voice by Talat for a Dilip Kumar with a very apt look in his eyes and face. :-(


  33. Pacifist, he spent that entire film blaming someone or something! It was either fate, or his parents, or his girl - who was responsible for his woes. So I'm pretty sure it will fit. (But, ah, Dilip - he did the tragic lover so well!) *grin*

  34. Not only does troglodyte Sanjeev K. drive his beloved to suicide (on her wedding day no less) with "Kush rahe tu sada," he has the unbelievable gall to sing "khilona jaan kar tum to" to Mumtaz right after he has RAPED her!!! Needless to say I Hate "Khilona" (song and movie)? :-(

  35. No, I genuinely don't like any of the songs. The other aspects of the songs just cannot overcome my distaste for the sentiments expressed. It's interesting, I even dislike the singing in the songs even though I generally love Rafi, Kishore and Mukesh.

  36. Did he? Rape her, I mean? That's probably why I have completely wiped Khilona off from my mind.

    I did think 'troglodyte' was the right word to describe the character when he sings that song at the wedding reception and causes his ex-lover to jump off the terrace. :)

  37. I know what you mean, Shalini. I have the same visceral reaction to what I refer to as 'the doormat songs'. :( I must confess to liking some of the songs on my list, though. Chalo ik baar phir se, for instance. If I don't watch the film (which makes me want to throw up, kill some, commit suicide - any or all at any given time), it is a pleasant enough song without too many undercurrents. In fact, until I saw the film, I thought it was more a resigned sadness than anything else.

  38. Chitrapat Sangeet29 October 2013 at 22:00

    Very nice idea Anu! I sincerely liked it. One of my favourite bewafai songs is - "Rehte they kabhi unke dil me". The song tells the story of bewafai without using the word itself in the entire song.Majrooh at his best.

  39. I want to add my analysis to ---

    Tumhare saath bhi guzri hue raaton ke saaye hain...

    After carefully analyzing all the facts, I have come to the conclusion that it was OK for him to sing that; since no "hanky-panky" happened :)

    This I deduce due to ---

    Mala Sinha did NOT get pregnant & did NOT deliver a child out-of-wedlock. We all know from Bollywood logic that this is what happens when the leading pair indulge in pre-marital ***.

    The only minor controversy can be what exactly were they doing all night, and I believe it could be either ---

    1) playing cards

    2) playing antakshri

    3) actually sleeping

    4) A combination of all or some of the above.

    ROFL on this post, and I do like a few songs.

    Allow me to add to the list of crybaby-males :)

    I found two pre-70's songs that had ben overlooked :)



    And a disco-twist-pop-rock (whatever) 70's take


  40. Thank you, Karthik. :) Long time, no hear. When is your next post?

  41. Laughing at your analysis - you make a good argument. :)

    Dil jo na keh saka - he leaves no leaf unturned to make sure that everyone knows his angst.
    Patthar ke Sanam - haven't these guys heard about being the strong, silent types??
    I love the Tujhko aaj bataana hoga (not!) - he found only this occasion to ask her? Aaaargh!

    Just goes to show that my post is just the tip of the iceberg. Someone should point out that no one likes whiny men (or women!)

  42. hi anu I was .just was trolling and came across yr blog and yr post . just adding my two penny bit .


    this has music by salil chowdhury and was composed at around the same time as the other song from pariwar .jhim jhim badarwa barse .

    in malayalam there is also the song from azhakiya ravanan


    also this song from film sarita


  43. here are a few greats of salil chowdhury multiple versions of the same song

    http://www.youtube.com/watch?v=GBPaayw1uQQ from bengali fim pasher bari

    http://www.youtube.com/watch?v=KeEY23hT_KM from parivaar

    http://www.youtube.com/watch?v=KvGDAYFUzVI from tangewali

    http://www.youtube.com/watch?v=P8de2DUB6BI from malyalam film puthiya velicham

  44. Welcome to my blog, Krishnadas. Yes, I have heard the other version of Jhir jhir jhir jhir badarwa barse; a few of us were discussing the different versions of that tune in various languages the other day.

    Yes, Malayalam has quite a few rain songs, as it should, what with Kerala getting two monsoons - or one merging into the other, as it seems to be happening this year. :) Thanks for the links.

  45. Yes, I know of the different versions. :) The Puthiya Velicham version is one that must be heard and not seen, no? :)

  46. Awesome list Anudi... How are you?? Interacting with you after a long long time.. Anyways, Manna Dey is one of my fav singers and in my opinion the greatest Indian singer ever with Rafisaab & Kishoreda. I myself love all these songs especially the Poocho Na, Kaun aaya mere ( you rightly pointed out that this is a chaala tough song to sing) & Maanasa number from Cheemeen. By the way if you are interested in hearing Manna Dey's wonderful film numbers in his native tongue of Bangla, then you can have a look at this link below


    From Raunak..

  47. Awesome list Anudi... How are you??
    Interacting with you after a long long time.. Anyways, Manna Dey is one of my
    fav singers and in my opinion the greatest Indian singer ever with Rafisaab
    & Kishoreda. I myself love all these songs especially the Poocho Na, Kaun
    aaya mere ( you rightly pointed out that this is a chaala tough song to sing)
    & Maanasa number from Cheemeen. By the way if you are interested in hearing
    Manna Dey's wonderful film numbers in his native tongue of Bangla, then
    you can have a look at this link below


    From Raunak

  48. Hi, Raunak! Long time, no see. Glad to see all is well. I'm glad you enjoyed this list. I noticed you had mentioned writing a tribute to Manna Da on Dustedoff's site. I'm glad you did. *scurrying off to take a look*

  49. Ya went through bad times actually but now all is well. And it's good to see you all again. It's always a pleasure to interact with like minded people who are so passionate & Knowledgeable about what they do. Cheers.

  50. seema patwardhan7 November 2013 at 23:21

    A nice piece on Nutan.I think you could have included Main Tulsi(role)not the film out of the weepy and regressive lot.she looks stunning and a performance worth watching.she should have stopped acting after 70's and switched over to direction.But didnt have the time to shoulder the responsiblities of a director.she would have liked to do a film on 'generation gap'!Having tried her hand at direction for Chabili and soorat aur Seerat(she directed Dharmendra.the film was directed by husband Rajnish Behl)We missed out on Nutan the director,the lyricist,the music composer.She had written all the songs for the film Mayuri and sang them as well.(but they are not good,coz the voice trembles.)The songs written and sung by her from Chabili are quite interesting.The ones with Sudha Malhotra,Geeta Dutt and Mahendra Kapoor.Two of her films Kasturi and Mayuri never got released.And of course the two famous songs'Lehron pe lehar with hemant Kumar and 'Ai mere humsafar rok apnee nazar'.You were talking about Nutan the actor but I was tempted to add this facet ofhers as well.

  51. Just wondering..Nutan's career may have been affected to some extent after slapping a case on her Mom(1963) and then slapping Sanjeev Kumar(1970)...may be some camps in the industry chose to keep away and then the southern weepy lot proved useful...to keep her career going..this is just a guess.If Sanjeev Kumar episode never took place then we may have been treated to a mature Sanjeev Nutan jodi ka acting.I always think what a lovely pair they would have made Guru Dutt and Nutan..

  52. I don't know if there were 'camps' then. I think Nutan ran up against the industry diktat of 'married heroine'. Besides, she aged rather drastically at one time, so heroes her age looked a dashed sight younger than she did. Perhaps that was the reason why.

    As for Nutan-Sanjeev Kumar, or even the case against Shobhana Samarth, it was a bit of of a 'he said, she said' in the first, and a dashed lot of washing dirty linen in the other. :(

  53. Odd. For some reason, this was stuck in the moderation queue. Your other comments made it through though.

    I didn't really like Main Tulsi Tere Aangan Ki - I found it too regressive, Asha was never one of my favourites, and Nutan irritated me beyond belief. I'm rather confused at what you write - Kasturi wasn't released, but she got the National Award anyway? That seems weird.

    Thanks for the additional info on Nutan.

  54. hi Anu
    all these are my favourite ones too. i love salilda songs. when 2 days i found salilda.com by chance i was overjoyed & keep visiting it for different versions of known malayalam tunes. am happy to find someone with similar likes

  55. Hi Geetha, welcome to my blog. Yes, salilda.com is such a wonderful resource for Salilda fans.

  56. Dhooratthu Idi Muzhakkam a 70s Vijayakanth starrer right? Yo have a great knowledge on such films too :)

  57. The song "Poovannam" was a lovely number. Didn't know that it was lifted from his Malayalam song. Does it start with the word "Poomaanam" in Malayalam too. Available in Youtube?

  58. Nalini Ikkandath9 July 2014 at 11:34

    Glad that you did include Rim Jhim Ghire Saawan, I was just beginning to think that you had forgotten it. One of my favourites too. And here is a question for you. In the male version, that is at the little party (how nice those little get-togethers feel), there is a very pretty girl who speaks with Maushumi and later on goes to sit beside AB. Any idea who she is?

  59. Nalni, I couldn't have forgotten Rhim jhim gire saawan - the Kishore version is one of my all-time-favourites. And I love the Lata version for the visuals of Bombay and the rains, and did I mention Bombay?

    Re: your question - no, I have no idea. Should do some digging. She is pretty, isn't she?

  60. The very same. :) As for Tamil films, we always joked that my father was actually a Tamilian in disguise. (He was brought up in Madras.) I watched a lot of Tamil films from him. I hadn't watched this film though - by the 80s, I had given up on Tamil films except for a select few. In the late 80s, when I'd just begun college, friends of mine who loved music made me listen to it. But I love films, full stop. I honestly do not care which language they are made in. :)

    (I do so hope you see this response. :( I honestly do not know how I missed these.And I hope you keep visiting, and reading, and commenting.

  61. Anu, this very old guest is none other than myself! I dunno how I became a guest :)

  62. It's me again:) Whatta composition! I haven't heard any old Malayalam songs barring a few ones composed by Ilaiyaraaja. This one really stands out! The song is slightly better than the Tamil version, but the latter scores well in picturization! Many people believe that music for Azhiyatha Kolangal was scored by Ilaiyaraaja. In fact, some of IR's tunes especially during the late 70s closely resemble Salilda's.

  63. Venkatesh, not to take anything away from Ilayaraja, who I think is a brilliant composer, but he played the guitar for many of Salilda's compositions in Malayalam, and he would be the first to acknowledge Salilda's influence on his music. Azhiyatha Kolangal also released way after Etho Oru Swapnam so I don't even know how anyone can claim that Ilayaraja composed the score - unless they also want to claim that Ilayaraja plagiarised Salilda's tune. That statement is an insult to both men, no?

  64. Ah, I see. Well, I don't know how you became guest either, but I'm glad the mystery is solved. :)

  65. //Azhiyatha Kolangal also released way after Etho Oru Swapnam// AK was released exactly one year after this one, which I think came out in '78. And by that time when AK came out, IR would have scored music for some 70-80 films (Moodupani was his 100th and Balu's next directorial venture after AK). I only said "resemblance", and there is no question of plagiarization. "Influence" is the right word!

  66. There is no question of plagiarism, or indeed, influence, where Azhiyatha Kolangal was concerned, because Salilda composed the music for it, and not Ilayaraja. As for Ilayaraja's scores in his earlier films, he definitely would have had Salilda's influence since he worked so closely with the latter in his Malayalam films.

    My point was that if people want to claim that Ilayaraja composed the score for Azhiyatha Kolangal then they would also have to admit that he plagiarised Salilda's tune of Poomanam. An insult to Ilayaraja, I think you would agree?

    Anyway, the question is moot. Salilda was the composer.

  67. I saw some comments in youtube where it was evident that people were under the impression that IR was the composer of AK. I think the influence of Salilda's music in Raaja's earlier films prompted them to think that way. As for "Poovannam pola nenjam", am not sure how many of them would be aware that it was a re-used tune.

  68. Venkatesh, people often have no clue about music when they comment. Or sometimes they comment just to stoke controversy. Feh. I'm sure most of them haven't even heard of Poomanam. Never take YouTube comments as the final arbiter. :) (It's a lesson I learnt very early on in my blogging days.)

  69. Ha, you must be a hard-core fan of Mr. Salil Choudhary. :)

  70. Yes, I'm. But I also like Ilayaraja. And SD. And ARR. And Devarajan. And Madan Mohan. And.... :)

    What I do not like is when people continually harp on one being better than the other, or in popularising an erroneous statement because it fits in with their idea of what things must be. Set the record straight, that is all. Someone says, oh, Ilyaraja composed the score for Azhiyatha Kolangal and then someone else runs with it, and before you know it, it becomes 'the truth'.

  71. I was taken by surprise after seeing ARR in the list!

  72. Why? He has some fantastic music out there. I don't think anyone can deny the man is immensely talented. Now is he the greatest? Nope. Don't think so. (And I do wish he hadn't screwed up Bande Mataram. *grin*)

    But I'm happy with 'very good'. :)

  73. //Now is he the greatest? Nope// Infact, I was expecting this from you. :)

    I know old Bollywood fans won't like him much. :) Kids who grew up in the 90s would probably be more addicted to his music! If you ask me, I'd day his best period was between 1992 and early 2000s.

    Indian cinema has produced some of the greatest musicians in its 100 year old history. But we'll have to admit the fact that Ilayaraaja and ARR are the best amongst all! Again, oldies can agree to disagree :)

  74. Venakatesh, I grew up listening to Tamil songs just as much as I listened to Hindi. So don't patronise me with 'old bollywood fans'. And I listened to MSV long before Ilayaraja came on the scene. ARR is good, but best? a) 'Best' is subjective. It can be an opinion, and you are entititled to yours, but it cannot be 'fact'. Especially when you say yourself that ARR's 'best' period was 8-10 years. And then you compare him to, say, SD, whose career encompassed *decades* (40s-70s)? And his last score was equally good?

    And that is not to take away from ARR's immense talent at all. Funnily enough, if you ask ARR, he would be the first to pooh-pooh the idea that he is the best of all. And that humility is what makes him great.

    But we'll have to admit the fact that Ilayaraaja and ARR are the best amongst all!
    No, we don't have to admit anything of the sort, because it is not true. But I wonder at you - do you do this just to get a rise out of me? Then, please cease. It is not funny.

  75. IR and ARR being the best amongst all may not be a fact as you say, but a widely accepted belief, isn't it? When I say ARR's best during 1992 - 2000, it doesn't necessarily mean that he has come down post 2000. In fact, it was after this period he got universal acclaim. And, one cannot compare the legacy of someone like SD, Naushad or even IR with ARR. But he has achieved much more than others at a very young age! So going by that logic, one cannot deny that there is something special about this man. :)

    //do you do this just to get a rise out of me// Oh seriously no. :)

  76. IR and ARR being the best amongst all may not be a fact as you say, but a widely accepted belief, isn't it?

    Whose belief? Their fans? That is like the fight between the Mohd.Rafi and Kishore Kumar fans about who is 'best'. Or RDB's fans who insist he was a better music director than his father. And I often wonder why one person can't be just as good as the other. Where is this need to prove that he is 'better' or the 'greatest' or the 'best'?

    And it reminds me of when I was 8, insisting that AB was 'the best actor' in the world. He isn't. (I will give a pass to eight-year-olds who insist ARR is the best.)

    I take nothing away from ARR - his talent is amazing. He is a good human being. And he has achieved much. I hope he goes on to achieve a lot more. I'm, in fact, going to see him get his honorary doctorate, and students from Berkeley College of Music will perform his songs. I can do all that, and still not think he is the greatest thing that has happened to music. There are others, unsung perhaps, not so well-known perhaps, who are doing equally good work.

  77. Awww, this is turning out to be a ARR vs others fight. So let's stop here. :)

  78. But I'm not *against* ARR. Not at all. I don't see how you got that from what I wrote. I enjoy his music. But yes, don't pull me into ARR vs. the others, and how he is the best. (Or insert anyone else's name for that matter. SDB? Nope. Salilda? Nope. Ilayaraja? Nope. Madan Mohan? Nope. S-J? Nope.)They have all, every blessed single one of them, made their places in the firmament of film music. And deservedly so. Why not just enjoy the fruits of their labour?

  79. Perfectly agreed! But I never said you are against ARR.

  80. The song "Agar bewafa tujhko pehchaan jaate" (Film: Raat Ke Andhere Me) would have been a good fit here.

  81. "Chalo ek baar phir se" was NOT sung by Mohd. Rafi; it was sung by Mahendra Kapoor.

  82. Thank you, Kaushik. It is interesting to find out how many 'themed' songs there are in Hindi films.

  83. Shyam was correcting me; I had made the mistake of attributing it to Rafi, initially.

  84. Enjoyed the post and comments. Most of these movies I have watched only half way through and some just a quarter maybe all because could not take the illogic of the stories. The above song reminded me of another, similar tune in mukhada "Jo dil mein Khushi ban kar aaye" sung by street singers in Badi Behen. Always wondered how these street singers knew to sing the perfect song for the situation and where have they gone after the 60s. Another post perhaps on street singers, Anu ?

  85. Your question about where street singers went after the 60s is a good one. I should have added them to my Kahan Gaye Woh Log post. :)

    Thanks for the link - I haven't heard it in a long time.

  86. Ok so more reading material for tonight :) Kahan Gaye Woh Log

  87. I was just thinking about this song, and realized it fits right here and has not been posted yet.
    Wafa jinse kii, bevafaa ho Gaye from Pyar ka Sagar


    Question is, maana that Meena Kumari heard the name wrong as to who she iwas getting fixed up with ( that is another thing in hindi movies, no matter how big a city / town, there is ONLY ONE person with that name ), didn't they print wedding invitations ? Mabe they did, she just never looked at them. His name Bishan Chand never came up again ? There was no engagement ? No ring exchange ? OK I am asking too much from these movies. Like SoY said, how will we then have all these sad songs and a three hour movie.

  88. Yes, it fits perfectly, Neeru. Another man bemoaning the 'unfaithful' beloved. But decent song, no? :)


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