| 10. |
"Raag Malika" |
Lata Mangeshkar, Manna Dey
hindigeetmala.net/movie/jhanak_jhanak_payal_baje.htm
10+ items - Lyrics and video of songs from Movie / Album : Jhanak Jhanak ...
Mere Aye Dil Bata, Pyar Tune Kiya.
4.58 - 19 votes
Manna Dey
Jhanak Jhanak Paayal Baaje.
4.43 - 7 votes
Ustad Amir Khan
www.raaga.com/channels/hindi/moviedetail.asp?mid=h002157
Songs from Jhanak Jhanak Payal Baaje. hindi movie songs from Jhanak Jhanak Payal Baaje. Jhanak Jhanak Payal Baaje. ... Jhanak Jhanak Payal Baje [02:54] ...
Listen to Jhanak Jhanak Payal Baje song online. Jhanak Jhanak Payal Baje song from Jhanak Jhanak Payal Baaje Hindi Movie Sountrack. Singer: Ustad Amir ...
www.youtube.com/watch?v=3kIey2rq0kc
Jun 18, 2008 - Uploaded by Surya Rao
Surya's favorate songs from Jhanak Jhanak Payal Baje movie. Hats off to Gopi.
www.youtube.com/watch?v=YAuqnaI9ZH0
Jan 20, 2010 - Uploaded by toshirani
Jhanak Jhanak Payal Baje(1955)-Gopi Krishna, Sandhya Music: Vasant Desai.
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Jhanak Jhanak Payal Baje(1955)- Sandhya, Gopi Krishna, Bhagwan Music: Vasant Desai.
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Jhanak Jhanak Payal Baje(1955)-Gopi Krishna, Sandhya Music: Vasant Desai.
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Song : nain so nain naahii milaao,,, Movie: Jhanak Jhanak Paayal Baaje(1955) Singer(s): Lata Mangeshkar, Hemant Kumar ...
"Jhanak Jhanak Payal Baaje" [1955] is an Indian Hindi film and winner of the 1956 Filmfare Best Movie Award. Directed by V.
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Gopi Krishna shows off his amazing dance talents in Jhanak Jhanak Payal Baaje (1955) ...
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Jhanak jhanak pâyal bâje: Râdhâ-Krishna dance -
"Jhanak Jhanak Payal Baje" is a 1955 Indian film directed by V. Shantaram. It stars Shantaram's wife Sandhya and dancer Gopi ...
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Jhanak Jhanak Pyal Baje(1955)- Gopi Krishna, Sandhya Music: Vasant Desai.
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Funny Jazz style dance scene in Jhanak Jhanak Paayal Baaje which proves not so funny for Mangal Maharaj (Keshavrao Date) ...
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Jhanak Jhanak Pyal Baje(1955)- Gopi Krishna, Sandhya Music: Vasant Desai.
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Jhanak Jhanak Pyal Baje(1955)- Gopi Krishna, Sandhya Music: Vasant Desai.
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Jhanak Jhanak Payal Baje(1955)- Sandhya, Gopi Krishna, Bhagwan Music: Vasant Desai.
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Movie: Jhanak Jhanak Payal Baaje (1955) Producer: Rajkamal Kala Mandir Director: Rajaram Vankudre Shantaram (V ...
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Jhanak Jhanak Payal Baje(1955)-Gopi Krishna, Sandhya Music: Vasant Desai.
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Jhanak Jhanak Payal Baje(1955)- Sandhya, Gopi Krishna, Bhagwan Music: Vasant Desai.
 
classical roots
Raga In Flight
Let's bring back the spirit of the golden oldies
In
the 1950s and '60s we had some of the greatest of filmmakers and also
the best of music that Hindi films have ever produced. Take the role of
music in the films of V. Shantaram. He was the first filmmaker I worked
with in Jhanak Jhanak Payal Baaje in 1955. That was the first
time santoor was used in an Indian film. The film was about a kathak
dancer (played by Gopi Krishna), and the relationship between a guru and
his disciple. Naturally, you couldn't use rumba-samba music. It had to
be based on Indian classical ragas.
The theme of the films
allowed for the use of classical art forms. No wonder, the stalwarts of
Indian classical arts willingly performed—Gopi Krishna, Pandit Shamta
Prasad, Ustad Amir Khan. The films of Bimal Roy, Guru Dutt and Mehboob
Khan were deeply Indian, so the music was rooted as well.
Music
directors themselves had a sound grasp of the classical and folk music
traditions—Vasant Desai, Naushad, C. Ramachandra, Anil Biswas and Madan
Mohan. But it was not that these people looked only at Indian classical
music for their compositions. They seamlessly blended Indian and Western
styles. The best of fusion music happened in Indian films with these
composers. Madan Mohan's song Tu jahan jahan chalega mera saya saath hoga...in Mera Saya
was composed in raga Nand and was recorded with full symphony orchestra
accompaniment. He would take a raga and give it a new colour by
highlighting or twisting one note or by adding orchestrations. The
outcome was always brilliant. In Woh bhooli dastaan lo phir yaad aa gayee... he made just one note prominent and the entire character of the composition rested on it.
The
music directors then had an individual stamp. They were like gharanas
in themselves. And so were the singers—Noor Jehan, Amirbai Karnataki,
Hemant Kumar, Kishore Kumar and Manna Dey. But today, with the excessive
use of electronic music, no one has been able to build on any style.
All music sounds the same. A majority of the songs are sung and played
on the same scale.
Hari Prasad Chaurasia and I are classical artistes but have together composed for many films of Yash Chopra—Silsila, Chandni, Lamhe, Faasle, Vijay and Darr. We have been lucky to get the opportunity to work with some great lyricists like Javed Akhtar in Silsila, Sharyar in Faasle
and Anand Bakshi. I feel it is important for the music director to sit
and listen to the entire story and get a perspective on the film and
lyrics before composing. There should be a discussion on why the song
should be there. We did that and only then would we start working on the
music. We had a lot of freedom in preparing the structure of songs.
Yashji would sit with us and listen. Sometimes he made suggestions and
we made modifications. Bimal Roy too used to sit with Burman dada and
give his inputs. Even V. Shantaram, who was thoroughly adept at every
department of filmmaking, gave his inputs.
When Mughal-e-Azam
was coloured and re-released, there was apprehension that today's youth
may not accept it. But it was a big success. Similarly, it would be
incorrect to say that raga-based songs will not be accepted by the
youth. In fact, in all the competitions or talent-hunts more
participants still sing old songs. It's because you don't connect with
the new; they just come and go. However, pure melodies stay on forever.
Director
V.
Shantaram (18 November 1901 – 30 October 1990) is a renowned Indian
filmmaker, film producer and actor. He is most known for his films like
Dr. Kotnis Ki Amar Kahani (1946), Amar Bhoopali (1951), Jhanak Jhanak
Payal Baje (1955), Do Aankhen Barah Haath (1957), Navrang (1959), Duniya
Na Mane (1937), Pinjra (1972), Chani, Iye Marathiche Nagari and Zunj.
He directed his first film, “Netaji Palkar” in 1927. In 1929, he
founded the Prabhat Film Company along with V.G. Damle, K.R. Dhaiber, S.
Fatelal and S.B. Kulkarni, which made Ayodhyecha Raja, the first
Marathi language film in 1932 under his direction. He left Prabhat in
1942 to form “Rajkamal Kala Mandir” in Mumbai. In time, ‘Rajkamal’
became one of most sophisticated studios of the country. He was praised
by Charlie Chaplin for his Marathi film Manoos. Chaplin reportedly liked
the film very much.
Shantaram was born Shantaram Rajaram Vankudre on 18 November 1901 in the erstwhile princely state of Kolhapur
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Song in itrans and translation
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Female:
nain so nain nAhI.n milAo - 2
dekhat sUrat Avat lAj, saiyyA.n
Don't look into my eyes,
When you look at my face, I'm embarrassed, my love.
Male:
pyAr se pyAr Ake sajAo - 2
madhur milan gAvat Aj, gu_iyA.n
nain so nain ...
Decorate love with love.
Singing sweet songs of being together, my friend.
Female:
aa ...
khai.ncho kamAn mAro jI bAN, rut hai javAn o mere prAN
Pull the bow, shoot the arrow,
Season is young, my life!
Male:
tumane chorI kar lI kamAn, kaise mArU.n prIt kA bAN
gu_iyA.n ...
nain so nain ...
You have stolen my bow, how can shoot the arrow,
my friend.
Female
rim jhim jarano.n kii dhaar
dil ko lubhaay koyal pukaar
the soft sounds of the fountains,
The heart delights in the song of the nightingale
Male:
jharno ki dhaar me teraa sangiit
gaaye koyal teraa hii giit
its is your music in the flow of the fountains
the nightingale is really singing your song
Female
nIle gagan pe jhUme.nge Aj, bAdal kA pyAr dekhe.nge Aj
We'll swing in the blue sky,
we'll see the love of the clouds.
Male
bAdal naiyyA hai bijalI patavAr
ham-tum chal de.n duniyA ke pAr, saiyyA.n ...
nain so nain ...
Boat of love, oars of lightening
let's go beyond this world.
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