Ta dhim tana dhim…keh do bedardi se jaa ke
Posted on: April 8, 2012
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
The saga of Hindi films will never be complete without the discussion of the “formula” that used to be, and continues to be, followed by the production banners. More often than not, once a film became a hit, and brought profits for the producers, generally there used to be a spate of new productions trying to imitate the theme, the storyline, and the main attractive ingredients of that successful film, in an effort to duplicate that success. Over a period of time, such duplications would get refined into a list of specific ingredients that should be part of a film production strategy. Besides the components of the storyline, and type of characters and the list of events that should form part of the film, a main item of consideration was the type of music and songs that a film should contain.
I give a very striking example. Browsing through the list of films from mid fifties to almost end sixties, one thing that stands out is that every seventh or eighth film of this era has a qawwaali. Mostly unheard and unknown, but yet, qawwaali formed a formula ingredient for films during this period. A number of famous qawwaali singers like Jaani Babu Qawwaal, Yusuf Azad Qawwaal, and others made their mark in Hindi films singing a lot of qawwaalis. And the number of qawwaalis n Hindi films is much, much more than the thirty or forty that we are very familiar with.
Another song format is a dance item. As a part of the film, the dance item has existed probably since the inception of the film making itself. But in the fifties and sixties, it became refined as a distinct art form. A dance item became a fixture in the film making formula, with special emphasis on lyrics, on compositions and choreography. Pick up any film in this era, or even in the decades after, you can be sure to locate a dance song in the film, almost every time. Somehow, the storyline always lent itself to accommodate this type of a song, or even if it didn’t, the producer would make sure that it somehow got inserted into the story line. Starting from the traditional ‘mujra’ in a ‘mehfil’ setting, the dance song evolved into a cabaret type performance, and then into disco and group performances in 80s and later.
And of course, this song format can never be considered complete, without talking about the angels of beauty and savants of supple movements, who made it possible for this song format to become the primary attraction of the formula film. A handful of these ‘prima donna’ performers embraced this format and took it to heights of perfection that has made such songs the stuff of living memory in our lifetimes. The undisputed leader of this group of ‘prima donnas’ is of course, Helen. But then there are a few more names that have tried to take on this performance format, and did make a good name for themselves. A few names come to mind – Shashikala, Laxmi Chaaya, Minoo Mumtaz, Aruna Irani, Mumtaz, Kum Kum, Faryal, Bindu, etc. I am sure other readers can add more names to this list.
Such a list will never be complete without the mention of the one and only, Bela Bose. A leading dancer in her time, i.e. the sixties and seventies, Bela Bose occupies the place right after Helen, who is of course the undisputed goddess amongst these angels. Starting her career in films in the late 1950s, Bela Bose appeared in tiny roles and some group dance numbers, with and without credits, before she came into her own as a character artist in films like ‘Sautela Bhai’ (1962), ‘Bandini’ (1963), ‘Ziddi’ (1964) etc. In parallel, she also appeared in dance item numbers in ‘Zabak’ (1961), ‘Aaya Toofaan’ (1962), ‘Sunehari Nagin’ (1963), ‘Bidesiya’ (1963) etc. Her performances were recognized and she remained a very busy actress in the 1960s, and well into the 1970s. Click Here for an interesting write up on Bela Bose, and a selection of her songs in Hindi films, on Mem Didi’s blog.
This wonderful dance item number is from the 1965 film ‘Poonam Ki Raat’. And to wonder that this ritzy and racy composition comes from the baton of Salil Chaudhry. The lyrics are by Shailendra, and the singing voice – who else but Asha Bhosle, accompanied by a chorus. The setting is a college picnic, a group of boys and girls are at a picnic location, and one can see activities in progress for culinary preparations. The lead players in this song are Bela Bose and Manoj Kumar. One can clearly see that Bela Bose has a crush on Manoj, and she expresses her feelings for him, through this song.
‘Poonam Ki Raat’ is produced and directed by Kishore Sahu, under his own home banner by the name ‘Kishore Sahu Productions’. The main star cast of this film includes Manoj Kumar, Kumud Chhugaani, Nandini, Kishore Sahu, Bela Bose, Shiv Kumar, Rajendranath, Ravindra Bannerjee, Prem Chopra, Praveen Chaudhry, Sapru, Rajkishore, Bhardwaj, Jankidas, Sarita, Sabina, Gope Raj, Shailesh Kumar etc. The following synopsis is adapted from the earlier comments posted by Arun ji Deshmukh, our very own in house encyclopedia of Hindi films and music, from the yesteryears.
‘Poonam Ki Raat’ (1965) is a Kishore Sahu film in totality. He not only produced and directed it, but also wrote the story, the screenplay, dialogues and he also acted in it.
Prakash Gupta is accompanying his friend Chandan to his hometown, where Chandan’s father is ailing. Just before entering town, Prakash hears from villagers that Lala Baijnath, Chandan’s father, murdered a young girl Rani, whose ghost roams in the bungalow. He is curious. When he enters the house, he meets Jyoti, Chandan’s younger sister, with whom he falls in love immediately.
In the night there are whispering and moaning sounds of a girl. Nandini, Chandan’s other sister is equally beautiful. The mystery deepens when the Lala Baijnath’s nurse is murdered. There are too many characters under suspicion- the smart family doctor, the silent Chandan himself, the complaining mother, the calculating elder brother, the scheming sister in law, the widowed sister, her temperamental son or any of the many servants in the hous. Only because of too many suspects, the entire film became weak, and the suspense got diluted.
This film was the debut movie of Kumud Chhugaani. Kumud Chhugani was an accomplished classical dancer, who had won a trophy from Jawaharlal Nehru in 1963 youth festival at Delhi. She was a talented actress too. She acted in 18 films in a career spanning 20 years. She has worked opposite leading stars like Dharmendra, Bishwajeet, Joy Mukherjee, Rajendra Kumar, Manoj Kumar, Sanjay Khan etc. Her last film was Karmayudh-1985. She acted in several Hindi and Gujarati plays also. Retired now, she lives with her husband in Mumbai, helping him with his Interior Decoration business in Mumbai.
Click on this and enjoy this extremely wonderful song. Bela Bose is an extremely energetic dancer, in full control of her movements. The manner in which she is able to separately maneuver the various parts of her being, make it seem that she is able to exercise control over the tiniest of her muscles and nerves. Just the action of jangling the bangles on her wrists in the opening shot of this song prepares one for the performance that is to follow. I recall the fantastic dance number “O Dilwaalo, Thaame Dil Ko, Jhoom Lo, Gaa Lo, La La La La La La. . .” from the film ‘Luteraa’ also from 1965, in which her dance movements appear to be ready to break the sound barrier. In contrast, Manoj Kumar seems to have stepped out of a vat of molasses. The director should have found some way to keep him firmly seated on the side, drinking tea, and at the most clinking the cup with the edge of the saucer.
Enjoy this, one of the best dance numbers of Bela Bose.
keh do, koi bedardi se jaa ke
kehtaa hai jo aaj ka mausam
Go, tell the heartless one
Give him the message
That emanates from
These surroundings, this ambience
zindagi hai do dinon ki, pal chhinn ki jawaani
tu to na hogaa teri reh jaayegi kahaani
This life will last but two days
And the youth is a fleeting moment
But yes, your tales will remain
Long after you are gone
teri ik nazar ka kyaa asar
tujhe kyaa pataa, tujhe kyaa khabar
jaane kab se mere pyaare sitamgar
seh rahaa hai dil tere sitam
You may not know
The effect of one glance from you
For so long, don’t know since when
This little heart of mine
Endures your merciless, heartless acts
tu ye jaan ke bhi anjaan hai
ke ye kis tarah ka toofaan hai
jaane duniya saari, jaane ye mehfil
kis pe kab se lutt baitthe hain hum
Although you know
But you still feign ignorance
Of this storm (of passions) inside
This gathering, these people
They all know
That I have lost my heart
Long ago, and to whom
Song-Ta dhim tana dhim…keh do bedardi se ja ke (Poonam Ki Raat)(1965) Singer-Asha Bhonsle, Lyrics-Shailendra, MD-Salil Chaudhary
Male chorus,Female chorus
Lyrics
taa deem tanaa deem
taa deem deem deem
keh do
koi bedardi se jaa ke
kehtaa hai jo aaj ka mausam
taa deem tanaa deem
taa deem deem deem
keh do
koi bedardi se jaa ke
kehtaa hai jo aaj ka mausam
taa deem tanaa deem
taa deem deem deem
arre bhai zindagi hai do dinon ki
pal chhinn ki jawaani
tu to na hogaa
teri reh jaayegi kahaani
zindagi hai do dinon ki
(aaaa aaaaa)
pal chhinn ki jawaani
(aaaa aaaaa)
tu to na hogaa
(aaaa aaaaa)
teri reh jaayegi kahaani
(aaaa aaaaa)
a haa
ahaa haa haa haa
aa haa haa haa haa haa
teri ik nazar
ka kyaa asar
tujhe kyaa pataa
tujhe kyaa khabar
teri ik nazar
ka kyaa asar
tujhe kyaa pataa
tujhe kyaa khabar
jaane kab se
mere pyaare sitamgar
jaane kab se
mere pyaare sitamgar
seh rahaa hai dil
tere sitam
taa deem tanaa deem
taa deem deem deem
keh do
koi bedardi se jaa ke
kehtaa hai jo aaj ka mausam
taa deem tanaa deem
taa deem deem deem
arre bhai zindagi hai do dinon ki
pal chhinn ki jawaani
tu to na hogaa
teri reh jaayegi kahaani
zindagi hai do dinon ki
(aaaa aaaaa)
pal chhinn ki jawaani
(aaaa aaaaa)
tu to na hogaa
(aaaa aaaaa)
teri reh jaayegi kahaani
(aaaa aaaaa)
a haa
ahaa haa haa haa
aa haa haa haa haa haa
tu ye jaan ke
bhi anjaan hai
ke ye kis tarah
ka toofaan hai
tu ye jaan ke
bhi anjaan hai
ke ye kis tarah
ka toofaan hai
jaane duniya saari
jaane ye mehfil
jaane duniya saari
jaane ye mehfil
kis pe kab se
lutt baithhe hain hum
taa deem tanaa deem
taa deem deem deem
keh do
koi bedardi se jaa ke
kehtaa hai jo aaj ka mausam
taa deem tanaa deem
taa deem deem deem
arre bhai zindagi hai do dinon ki
pal chhinn ki jawaani
tu to na hogaa
teri reh jaayegi kahaani
(aaaa aaaaa)
zindagi hai do dinon ki
pal chhinn ki jawaani
(aaaa aaaaa)
tu to na hogaa
(a ha ha aaaaa)
teri reh jaayegi kahaani
(aaaa aaaaa)
aa ha ha ha
5 Responses to "Ta dhim tana dhim…keh do bedardi se jaa ke"
April 12, 2012 at 12:13 am
Sorry Sudhirji
Deri ho gayee,aapke post padhne mein.
Thanks for the lyrics and for the informative post.
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April 13, 2012 at 7:15 pm
At the 1:08 mark (when the singing begins) you can see Edwina and Ted Lyons dancing behind Bela 🙂 It is a lovely song indeed.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
April 8, 2012 at 8:23 pm
Ah, I know this song and love it. I helped Tom with the subtitles for this and also O Dilwalon. It was great to see Bela Bose in these lovely dance numbers. That little jig that Manoj did in Keh do.. was so funny.
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April 9, 2012 at 12:55 pm
Yes, I noted that while going through the Memsaab link. It is interesting to note that many people including myself have discovered actors like Bela Bose, Laxmi Chhaya etc thanks to the efforts of Memsaab, Tommydan etc. And the contributions of translators like you, Raja etc in making Hindi movies more accessible to non Hindi speakers is a tremendous initiative.
Come to think of it, it is the industry who should have taken this initiative to reach out of non Hindi speaking international audience. They have not done and and not bothered about it. But they will come forward when it is time for reaping the rewards.
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