Humshakal (1974): ham tum gumasum raat milan kii
pramod...@gmail.com
I had never heard of this song till I bought the Pancham Album from
HMV. And was totally enthralled by it.
The prelude with chorus and Asha builds a perfect scene for Kishore's
entry with the onomatopoeic "ham tum gumasum". I know ham tum cannot
be onomatopoeic, but it gives you a feeling that the lines are not
sung but felt by the characters.
The way Asha sings every word of this song is phenomenal and this
characterizes her art. She does not only fill the words with emotion
but also the movement for e.g., the way she sings jho.nke or jhaa.Nke.
You literally feel these words on your skin.
A wonderful song, it somehow reminds me of "chorii chorii solah
si.ngaar karuu.Ngii"
Somehow for my ears and eyes, Asha's rendition doesn't fit Moushmi's
facial expressions. Her characterization of the character is too coy
for the song. Her hand movements to "bajane lage hai.n mere ka.nganaa
chhuum chhuum" looks childish to say the least. It reminds me of the
poetry recitation movements in KG.
Kishore's rendition thought fits Rajesh Khanna like a glove as usual.
Enjoy all the same!
Pramod
% ITRANS Song #
%
\startsong
\stitle{ham tum gumasum raat milan kii}%
\film{Humshakal}%
\year{1974}%
\starring{Moushmi Chaterjee & Rajesh Khanna}%
\singer{Asha Bhosle, Kishore Kumar and chorus}%
\music{R. D. Burman}%
\lyrics{Anand Bakshi}%
%
% Tags: seduction, suhaagraat
% Audio on:
% Contributor: Pramod Harvey
% Transliterator: Pramod Harvey
% Date: 7 Nov 2007
% Series:
% Comments:
% generated using www.giitaayan.com
%
\printtitle
#indian
%
ko: jhuumanaa jhuumanaa...
aa: laa laa laa
ki: (ham tum gumasum raat milan kii
aajaa gorii sun le baat sajan kii) 2
aa: o chho.Do mujhe nii.nd aayii hai, jaao tum
koras: jhuumanaa jhuumanaa...
ki: ham tum gumasum raat milan kii
aajaa gorii sun le baat sajan kii
aa: o chho.Do mujhe nii.nd aayii hai, jaao tum
koras: jhuumanaa jhuumanaa...
aa: jho.nke pawan ke
khi.Dakii se jhaa.Nke
chhe.Do na tum baalamaa
sun le na koii zaalimaa
zaalimaa re
jho.nke pawan ke
khi.Dakii se jhaa.Nke
chhe.Do na tum baalamaa
sun le na koii zaalimaa
bajane lage hai.n
mere ka.nganaa chhuum chhuum
ko: jhuumanaa jhuumanaa...
ki: ham tum gumasum raat milan kii
aajaa gorii sun le baat sajan kii
aa: o chho.Do mujhe nii.nd aayii hai, jaao tum
koras: jhuumanaa jhuumanaa...
ko: jhuumanaa jhuumanaa...
Ki: (mai.n na sunu.ngaa ko_ii bahaanaa
mai.n to diiwaanaa ho gayaa
teraa masataanaa ho gayaa) 2
ho mastii me naache re
jhuume jiyaa jhuum jhuum
aa: jhuumanaa jhuumanaa...
ki: ham tum gumasum raat milan kii
aajaa gorii sun le baat sajan kii
aa: o chho.Do mujhe nii.nd aayii hai, jaao tum
koras: jhuumanaa jhuumanaa...
%
#endindian
\endsong
Asif
You got everything right in explaining the song's mood and feel. Yep,
I also feel it on my skin and get goosebumps! Both Asha and KK are
superb here. Note how KK charges up the pitch in the line 'ho
gayaa' (in his antara) so magically! And did you notice the two
heavenly interludes? Boy, I wonder how RDB drummed them up, or he
conjured them right out of the heaven?
Anyway, I am wondering if RDB really cared about who would sing his
songs on the screen? If he did, then he probably could not have let
his talent and innovation skills loose as well as get the best out of
his singers - and we would not have got all those gems like we
actually did.
A couple of songs (where he probably did not care about the on-screen
artistes) come to mind are:
1. baaho.n me.n chale aa_o (Anamika, 1973) - Jaya Bhaduri, for all
her coy and girl-next-door looks on screen, would not have fit the
song's naughty mood, but she did a decent job on screen. If RDB was
made to worry about Jaya's screen persona and character, the song
might not have come out of RDB's baton the way it finally did.
2. bechaaraa dil kyaa kare (Khusbhoo, 1975) - Farida Jalal, for all
her sisterly and simple looks (though naughty all the same) on screen,
would not have inspired RDB to give the song such a zingy and bubbly
feel. But he did it anyway. Years ago I read in (probably) Stardust
that the song was supposed to go on Hema Malini, but before RDB even
started working on it he met Farida Jalal on the film's sets and then
argued with director Gulzar to film the song on her. Thus we got the
song we know today. Farida Jalal did a nice job in the song. Now
imagine the song to go on Hema, as originally planned, and we would
have got another dullish song in the film, besides 'do naino.n me.n'.
Asif
Now the corrections below:
Not sure, but is not it 'chhun chhun'?
> ko: jhuumanaa jhuumanaa...
> ki: ham tum gumasum raat milan kii
> aajaa gorii sun le baat sajan kii
> aa: o chho.Do mujhe nii.nd aayii hai, jaao tum
> koras: jhuumanaa jhuumanaa...
>
> ko: jhuumanaa jhuumanaa...
> Ki: (mai.n na sunu.ngaa ko_ii bahaanaa
*sunuu.Ngaa*
> mai.n to diiwaanaa ho gayaa
> teraa masataanaa ho gayaa) 2
*mastaanaa*
> ho mastii me naache re
*me.n*
Artnut
"Asif" <alvi...@gmail.com> wrote in message
news:1194446775.6...@o38g2000hse.googlegroups.com...
Yes absolutely marvellous song from RDB and it seems like a cakewalk for KK
and Asha. Somehow I always thought that this song is definitely picturised
on Rajesh Khanna. He was perhaps the most luckiest to get some of RD's best
compositions picturised on him. The actress in this song, as I thought could
be Sharmila or Mumtaz but was surprised to find Moushumi in it. Also, I
conjured up the picturisation differently than as we see it. The chorus of
jhumna, jhumna conveyed the presence of some fishermen and their hamlet. Of
course it conveys its their milan ki raat but I thought the actors would be
shown romancing in the confines of their bedroom.
Now as far as the RDB is concerned, what I cannot imagine is how two
entirely different songs he composed in this film both of which were hits.
Ham tum gum sum and the other is Kahe ko bulaaya mujhe baalma, pyar mein
naam se. The latter song gives the feeling of countryside with some verdant
fields where the actress is dressed as the typical goan ki gori while the
hero would be wearing a dhoti.
As per Mr. Asif's points about RDB not caring about who would sing the
on-screen song, the most glaring example I can think of is Taariq's Kya Hua
Tera Vaada from Ham Kisise Kam Nahin.
Arty
Sunil Dandekar
orchestration and the tune are simply out of the world. AB is
romanticism audiofied in this song.
However little aberrant for RDB to have found chorus necessary in a
song that goes "Hum tum gum sum raat Milan ki..."
I don't know what went in his mind. Why create such unusual and
melodious tunes and then apply black tika like this?
For instance the second female voice in original "Kya janoo sajan.."
makes the song very irritating to me. The magic of the tune has come
out so well in the remixed version in "dil wil pya vyar", the song
with its superlative visual appeal (largely due to Namrata Shirodkar)
and inspired instrumentation was mind blowing.
In a post full of non sequiturs, another trivia: In my mind, side
line of this song and the interlude of Jalta hain jiya mera...."Gulabi
pyaale hain tere hawale etc" are inexplicably linked. I start singing
hum tum gum sum and derail into Gulabi pyale.... They match uncannily.
regards,
Sunil
pramod...@gmail.com
>
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>
> - Zitierten Text anzeigen -
Well, I didn't mean to say that Asha's voice doesn't suit Moushmi. I
think Moushmi is capable of providing the necessary sex appeal. What
I've said is that Moushmi's facial expressions don't fit Asha's
renditions. Moushmi's ecstatic facial expression gives me a feeling
that she is far beyond "chho.Do mujhe nii.nd aayii hai, jaao tum"
part.
I also don't blame RDB for it. I think at the time the song was
composed, RDB must've got an "order" for a suhaagraat type of song and
he composed it like he thought it fits.
RDB did give a thought, whom the song was picturised on. BEst examples
are all songs from Gulzar's movies, where I think a better cooperation
was possible.
Pramod
pramod...@gmail.com
> A couple of songs (where he probably did not care about the on-screen
> artistes) come to mind are:
>
> 1. baaho.n me.n chale aa_o (Anamika, 1973) - Jaya Bhaduri, for all
> her coy and girl-next-door looks on screen, would not have fit the
> song's naughty mood, but she did a decent job on screen. If RDB was
> made to worry about Jaya's screen persona and character, the song
> might not have come out of RDB's baton the way it finally did.
I don't understand, what you don't like about Jaya in this song. I
find her perfect. that is also the only reason, why I find Lata good
for the song. If I have to picturise the song with, let us say Zeenat,
then I would have found Asha a better choice.
IMHO I find Jaya has done justice to the song.
> 2. bechaaraa dil kyaa kare (Khusbhoo, 1975) - Farida Jalal, for all
> her sisterly and simple looks (though naughty all the same) on screen,
> would not have inspired RDB to give the song such a zingy and bubbly
> feel. But he did it anyway. Years ago I read in (probably) Stardust
> that the song was supposed to go on Hema Malini, but before RDB even
> started working on it he met Farida Jalal on the film's sets and then
> argued with director Gulzar to film the song on her. Thus we got the
> song we know today. Farida Jalal did a nice job in the song. Now
> imagine the song to go on Hema, as originally planned, and we would
> have got another dullish song in the film, besides 'do naino.n me.n'.
'do naino.n me.n' is dullish!!!!!
It is such a superb song. Full of pathos and melancholy!
Asif, go and listen to it again!
Arre yaar, aise bhi to dil ko thesh na lagaoo!
Pramod
Artnut
"Sunil Dandekar" <sunnyd...@yahoo.com> wrote in message
news:1194455485.8...@s15g2000prm.googlegroups.com...
Non sequitur again as far as the main topic is concerned but further to what
Sunil says that songs matching uncannily. While listening to Duppatta tera
nau rang ka, haai ni mera dil mangda from Sallu-Govinda starrer Partner
reminds me of Channa vey ghar aaja re.
Arty