Dil Laga Kar Hum Ye Samjhe - Zindagi Aur Maut (1965)
Dil lagaa kar Hum ye samjhe, Zindagi Aur Maut
Movie : Zindagi aur Maut Singer : Mahendra Kapoor Music : C. Ramchandra Lyrics: Shakeel Badayuni
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Dil Laga Kar Hum Ye Samjhe
Sangeeta Melekar at a rehearsal-Kiran Hall 24th Dec 2012.
Song : Dil Laga Kar Hum Ye Samjhe
Lyricist : Shakeel Badayuni
Actors : Pradeep Kumar, Faryal Manmohan, N A Ansari, Anwar Hussan
Music Directors : C Ramchandra
dil laga kar hum ye samjhe
zindagi kya cheez hai
dil laga kar hum ye samjhe
zindagi kya cheez hai
ishq kehte hain kise aur aashiqui kya cheez hai
dil laga kar hum ye samjhe
haaye ye rukhsaar ke shole
ye baahen marmari
haaye ye rukhsaar ke shole
ye baahen marmari
aap se mil kar ye do baaten
samajh mein aa gayi
dhoop kis ka naam hai
aur chandni kya cheez hai
dil laga kar hum ye samjhe
aap ki shokhi ne kya kya
roop dikhlaaye hamen
aap ki shokhi ne kya kya
roop dikhlaaye hamen
aap ki aankhon ne kya kya
jaam pilwaaye hamen
hosh kho baithe to jaana
bekhudi kya cheez hai
dil laga kar hum ye samjhe
aap ki raahon mein jab se
humne rakha hai kadam
aap ki raahon mein jab se
humne rakha hai kadam
hum ko ye mehsoos hota hai
ki hai manzil pe hum
koi kya jaane muhabbat ki
khushi kya cheez hai
dil laga kar hum ye samjhe
zindagi kya cheez hai
dil laga kar hum ye samjhe
Filters
During her awesome dance with
Ted Lyons & His Cubs (Ted on drums!) she sticks a large obvious
note on Ashok’s wrist which seems guaranteed to be easily read by Chief
(she even positions it so he doesn’t have to decipher it upside down),
scanning the crowd with his binoculars—and is. He slips a poison gas
capsule into a bouquet of flowers he gives her after the performance,
and Ashok finds her dead in her car when it pulls up at their meeting
place. There is no word on how her driver escapes the gas, to my
knowledge, although I must admit I am distracted as Chief explains the
gas capsule functionality by the thing I spot on his desk. I am pretty
sure I need one too.
I would put my own face on it, and swing myself from the yardarm during
those long excruciating conference calls at work. It would make me laugh
and laugh.
I digress. Like all respectable evildoers, Chief has a cheerfully plump
and loyal moll named Mona (Nilofar). His henchmen are masters of
disguise, as the police discover after they find poor dead OS127′s body
and raid his pockets for the photograph, along with a diary explaining
how and where the microphillum will be passed on: in a place called
Jahanabad, with a dance troupe and gypsy involved.
Outside of his lair milieu, Chief is also known as respectable
businessman Mr. Roy, and he is a friend of Ashok and his family. Mirza
and Ashok show up while Roy is visiting his Maa (Chandrima Bhaduri) and
much is made of how like a brother-son Mirza is to Ashok’s sister
Nirmala (Nasreen) and Maa. There may be some discussion of Nirmala
getting married too; I find it all vaguely confusing and not that
interesting.
In Jahanabad, Mona runs the Venus Dancing Troupe, which is a front for
henchmen Swamiji (Uma Dutt) and his sitar and suave Mr. Kishore (MA
Lateef). They send messages to Roy via the sitar (or sarod or
whatever)—five minutes or so of plucking strings conveys the succinct
message “All is well”; and Chief responds with a violin solo. It is
sheer genius. Also, Kishore looks like a maniacal elf with those
headphones on.
The gypsy in question is Johnny Walker and he seems to have an
unreciprocated thing for Mona. I never do figure out what his story is;
he is firmly on the side of Ashok and Mirza by the end, anyway, but
let’s just say that it’s good to see him, and he gets a nice song with
Nilofar and a little romantic moment with three donkeys. Bas.
Our heroine now appears in the form of Geeta (Faryal), a member of the
Venus Dancing Troupe. She is scurrying along looking frightened, and
takes a bicycle which Mirza mistakes as his own. Ashok gives chase, and
although it turns out that it is in fact her bicycle, he is thoroughly
smitten by her. They are interrupted by Mr. Kishore, who pulls up and
escorts a rather unwilling Geeta into his car. There is some
consternation on everyone’s part, but I have no idea why or what it is
about. I’m just happy to see one of my favorite songs, with Faryal and
Edwina and her friends.
Geeta and Ashok proceed to fall in love, and Geeta skulks around Venus
Dancing Troupe HQ eavesdropping and spying on Ashok’s behalf. A
suspicious Mr. Roy/Chief ingratiates himself with Ashok, thus getting
the inside scoop on the investigation, enabling him to keep one step
ahead of them.
The microfilm seller shows up and demands five times his original asking
price, prompting Chief to shoot him dead. Thankfully the seller has the
microfilm on him (he did not think that one through), and Geeta watches
as Swamiji hides it in a harmonium. She is caught when she steals it by
Swamiji but manages to escape after some harrowing moments, although
not without losing the microfilm back to him. Ashok decides that they
might as well take a little vacation and in a very sweet scene asks her
to marry him and come to Delhi to meet his mother. She demurs—being a
mere dancer while he is such an important man—and he laughs at her.
“That old thinking?!” he says. I cheer for yet another progressive “B-movie” win.
Microfilm search put aside for now, Ashok and Geeta board a train for Delhi to meet Maa and Nirmala.
But Chief has not forgotten that Ashok is a police officer on his heels,
and he instructs his henchmen to blow up the train as it crosses a high
bridge over a mighty river. The humanity!
Will Ashok survive the crash? Purely hypothetically, if he does, will a
broken arm apparently make it hard for him to walk? And will
hypothetical memory loss make him also practically catatonic? Will Geeta
survive the crash? Will the microphillum make its way into enemy hands?
Will Ashok ever figure out that Mr. Roy is also his evil nemesis?
Will Hindustan survive the leaking of “all hamara important documents”?!
If those questions aren’t burning enough reason to watch this, then your soul might be dead. To recap:
Musical instrument via flashing-beeping radio communications, and Johnny
Walker in a gypsy outfit complete with giant doorknocker earrings:
Fabulous songs and dancing:
At one point smuggled diamonds are introduced to the plot courtesy of
this old crone and her bewigged son, but I never do figure out why.
Still, it’s a great hiding place and the old crone herself is pretty
kickass.
Someone ought to start collecting screencaps like this one and
the one at left below (furniture clashes with wallpaper clashes with
outfits). I am pretty sure based on exhibit B (right, below) that I am
not qualified to point fingers at anyone, although I probably would have
been very qualified to be a 1960s set designer.
And let’s not forget the best Villain Desk Accessory ever. I have a new quest!
Faryal
From Wikipedia, the free encyclopedia
| Faryal | |
|---|---|
| Born | Faryal Manmohan 3 November 1945 Syria |
| Occupation | actress, dancer |
| Years active | 1965–present |
Contents
Early life and background
Faryal was born in the Damascus area of Syria on 3 November 1945 to an Indian father and a Syrian mother.[2] She completed her education at Loretto Convent, Simla, Cathedral High School and St. Xavier's College, Bombay. Faryal worked for a while as an air hostess in Air India before joining films. She is a product of the FilmaIaya School of Acting.[3]Career
Faryal entered Bollywood in 1965 in the black-n-white movie Zindagi aur Maut, as a lead role opposite Pradip Kumar. This film contained famous song "Dil Laga kar hum ye samjhe" sung solo by Asha Bhonsle and Mahender Kapoor. both these songs are available on YouTube. Faryal was liked by people and resulted in her getting lead role in film Biradari opposite Shashi Kapoor. The movie was a total flop. She was noted for her role as a cabaret dancer in the movie Jewel Thief released in 1967. After the movie's release, offers started pouring in. In an interview in 1973, Faryal stated that "Ever since Goldie cast me in that glamorous dancer's role in Jewel Thief, film makers have looked upon me as an "excellent cabaret dancer". "Whereas in reality I have never learnt dancing,". "I don't even like dancing; I rather hate it". She was also noticed for her roles in Rajesh Khanna-Mumtaz starrer 'Sachcha Jhootha' and Dharmendra-Waheeda Rehman starrer 'Man Ki Aankhen'. At first afraid of being typecast, Faryal was reluctant to accept the numerous offers that she received soon after the release of Jewel Thief. But gradually she realized that if she refused the roles there were ten others ready to replace her. And now the bath tub scene in Apradh released in 1972 had given me an even worse image".[4] Faryal retired from movies in 1984 after her performance as the girlfriend of Jeetendra in Gold Medal.Personal life
Faryal married her long-time boyfriend after quitting movies, and she is currently living in Israel.Selected Filmography
- Zindagi Aur Maut (1965)
- Biradri (1966)
- Fareb (1967)
- Jewel Thief (1967)
- Insaan Aur Shaitan (1970)
- Sachaa Jhuta (1970)
- Hungama (1971)
- Apradh (1972)
- Rani Mera Naam (1972)
- Khoon Khoon (1973)
- Dharma (1973)
- Rampur ka Lakshman (1973)
- Dharmatma (1974}
- Manoranjan (1974)
- Rafoo Chakkar (1975)
- Aafat (1977)
Pradeep Kumar
From Wikipedia, the free encyclopedia
For the Indian singer born "Pradeep Kumar" in 1986, see Deepu
| Pradeep Kumar | |
|---|---|
| Born | Pradeep Kumar January 4, 1925 |
| Died | October 27, 2001 (aged 76) Kolkata, India |
| Occupation | Actor |
Career
When Kumar was 17 years old, he decided to take up acting. His started his film career in Bengali films. His notable roles in Bengali films were in Alaknanda(1947) directed by renowned filmmaker Debaki Bose and in '42 (1951).Kumar then shifted to Bombay and Filmistan studios, and had an important role in the film Anand Math (1952). He played the lead role with Bina Rai in Anarkali (1953) and with Vyjayanthimala in Nagin (1954). Both films were very popular and had songs that added to the movies success. He had a spate of releases in the second half of the 1950s. He did not enjoy as much success in the 1960s, though Ghoonghat (1960) , Taj Mahal (1963) and Aarti were successful. He worked with Meena Kumari in 7 films i.e. Adil-E-Jahangir, Bandhan, Chitralekha, Bahu Begum, Bheegi Raat, Aarti & Noorjehan & with Mala Sinha in 8 films i.e. Naya Zamana, Hamlet, Baadshah, Detective, Fashion, Ek Shola, Duniya Na Maane, and Mitti Mein Sona.
He did not get to act in lead roles with the newer heroines of the 1960s like Sadhana, Saira Banu, Babita or Sharmila Tagore, though he did work with Asha Parekh in Ghoonghat and Meri Surat Teri Aankhen & with Waheeda Rehman in Raakhi(1963). In 1969, he moved to character roles with Sambandh and Mehboob Ki Mehndi, but did not have many visible roles till Jaanwar and Razia Sultan in 1983.
He won the Kalakar Award-Lifetime Achievement Award (1999).[3]
Pradeep Kumar died in Calcutta on 27 October 2001, at the age of 76. He is survived by his daughters Reena, Meena and Beena Banerjee who plays character roles in movies and TV serials including Uttaran, son Debiprasad and granddaughters Tanisha, Riya and Hrishita. Beena Banerjee's son son Siddharth Banerjee worked as assistant director in Sajid Khan's Housefull 2 (2012) andHimmatwala (2013)[4][5]
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