| Teesri Kasam | |
|---|---|
 | |
| Directed by | Basu Bhattacharya |
| Produced by | Shailendra |
| Written by | Phanishwar Nath Renu(Dialogue) |
| Screenplay by | Nabendu Ghosh |
| Based on | Teesri Kasam Urf Maare Gaye Gulfam by Phanishwar Nath Renu |
| Starring | Raj Kapoor Waheeda Rehman Iftekhar Asit Sen Dulari Keshto Mukherjee C.S. Dubey |
| Music by | Shankar-Jaikishen |
| Cinematography | Subrata Mitra |
| Release date(s) | 1966 |
| Running time | 159 min |
| Language | Hindi |
sajan re jhooth mat bolo, khudaa ke paas jaanaa hai na haathi hai naa ghodaa hai, wahaan paidal hi jaanaa hai sajan re jhooth mat bolo, khudaa ke paas jaanaa hai na haathi hai naa ghodaa hai, wahaan paidal hi jaanaa hai sajan re jhooth mat bolo tumhaare mahal chaubaare, yahin rah jaayenge saare tumhaare mahal chaubaare, yahin rah jaayenge saare akad kis baat ki pyaare akad kis baat ki pyaare, ye sar phir bhi jhukaanaa hai sajan re jhooth mat bolo, khudaa ke paas jaanaa hai
Sajan re jhoot mat bolo
Khudaa ke paas jaana hai
Na haathi hai na ghoda hai
Wahan paidal hi jaana hai
Sajan re jhoot mat bolo...
Sweetheart, don't tell lies
Because eventually, you'll have to show your face before God
There are no elephant or horse carriages up there
You can only walk there
Don't tell lies sweetheart....
Tumhaare mahal chaubaare
Yahin reh jaayenge saare
Akad kis baat ki pyaare
Yeh sar phir bhi jhukaana hai
Sajan re jhoot mat bolo, khuda ke paas jaana hai
You may have big palaces now,
But you will have to leave those here
Why do you bother to hold up your ego in pride
When you eventually will have to bow your head
Sweetheart, don't tell lies; you will eventually have to face God.
Buraa kije buraa hoga
Wahi likh-likh ke kya hoga
Yahin sab kuch chukaana hai
Sajan re jhoot mat bolo, khudaa ke paas jaana hai
If you are good, then you will be rewarded.
If you are bad, then bad will come back to you.
What's the point in keeping track of these matters now
When you have to eventually pay your dues
Sweetheart, don't tell lies; you will be facing God someday
Ladakpan khel mein khoya
Jawaani neend bhar soya
Budhaapa dekhar roya
Wohi kissa puraana hai
Sajan re jhoot mat bolo khuda ke paas jaana hai
I spent my childhood playing
My youth was spent sleeping
And old age saw this and cried
That this is the same old story
Sweetheart, don't tell lies; you will have to come before God some day.
| Song Heading | Singer(s) | Music Director | Lyricist | Movie / Album | Actor(s) |
| Sajan Re Jhoot Mat Bolo Khuda Ke Paas Jana | Mukesh | Shankar Jaikishan | Shailendra | Teesri Kasam (1966) | Waheeda Rehman,Raj Kapoor |
| Video Playlist of all the songs of this movie from youtube | Advertisements |
Legend / symbol used on this page |
 Teesri Kasam (1966) |
|
Synopsis
The plot centers on Hiraman, a rustic villager from a remote village in Araria (Bihar), who drives a bullock cart to earn his livelihood. The story begins with Hiraman taking two consecutive vows based on difficult situations in his life. He then meets a nautanki dancer named Hirabai. The story then evolves into one of the friendship between a bullock cart driver and an urban nautanki dancer. The movie, finally, ends with Hiraman taking a third vow.
Hiraman (Raj Kapoor) is a bullock cart driver with conservative traditional values. While smuggling illegal goods on his bullock cart and narrowly escaping the police, Hiraman takes a vow (the first Kasam) to never carry illegal goods again in his cart. While subsequently transporting bamboo for timber trader on his bullock cart, he is beaten by two men when their horses are upset by the bamboo in the cart. After that incident, Hiraman takes another vow (the second Kasam) to never carry bamboo again in his cart.
One night Hiraman is asked to carry Hirabai (Waheeda Rehman), a nautanki dancer, as a passenger to a village fair 40 miles away. As they travel together Hiraman sings to pass the time and tells her the story of the legend of Mahua. As the journey progresses, Hirabai is mesmerized by Hiraman's innocence and his simple philosophy of life. Hiraman in return sees her as an angel of purity.
Once they reach the village fair, Hiraman joins with his band of bullock cart drivers and Hirabai joins the nautanki company. Hirabai asks Hiraman to stay at village fair for a few days to see her dance. Hirabai arranges free passes for Hiraman and his friends to see nautanki on every night as long as village fair runs.
As Hiraman attends nautanki, he becomes aware that other people see her as a prostitute, which disturbs him. He tries to shield and protect her from society. The bond between two grows stronger as the days pass at the fair. He gets involved in fights with local people who speak badly about her and her profession. Hirabai tries to make him understand the harsh reality of her life. Hiraman asks her to leave her profession and start living a respectable life. Hirabai refuses to leave her acting career. Depressed, Hiraman leaves village fair and returns to his village.
In the mean time, Hirabai understands Hiraman's unselfish love. Hirabai meets Hiraman and reveals her past secret that she had been already sold and she was no longer a virgin beauty. Hirabai returns to her hometown. After seeing Hirabai going away from his life, Hiraman takes third vow (teesri Kasam) to never carry a nautanki company dancer again in his cart.
Cast
- Raj Kapoor as Hiraman
- Waheeda Rehman as Hira Bai
- Dulari as Hiraman's Bhabhi
- Iftekhar as Vikram Singh
- Keshto Mukherji as Shivratan
- A.K. Hangal
- Asit Sen
- C. S. Dubey
- Shailendra
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1988 – The show must go on
India had to say goodbye to yet another stalwart of Indian cinema this year, with Raj Kapoor’s death. Branded as the showman of the millennium, Raj Kapoor had no cinematic equal, though many aspired to (unsuccessfully) walk in his shoes. Hailing from a family of thespians, this controversial actor-filmmaker was responsible for the blossoming of the careers of many leading ladies, literally and figuratively, and had the gumption to stray into uncharted territories of brazen intimacy and nudity on the silver screen. His death ended what many saw as an unapologetic era in Indian cinema, and no Kapoor since then has been able to make the merest speck of a mark as Raj did during his glorious reign.
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