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(Yeh Raat Phir Na Aayegi( (1966) - Indian films and posters from 1930. bombaymann2.blogspot.com/2014/04/prithviraj-kapoor.html. Jul 2, 2012 - 3 months ago; ...
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film (Yeh Raat Phir Na Aayegi( (1966)| Yeh Raat Phir Na Aayegi | Sharmila Tagore, Biswajeet, Mumtaz, Shailash Kumar |
Yeh Raat Phir Na Aaygi - Osianama
Director Brij Sadanah
https://www.osianama.com › yeh-raat-phir-na-aaygi-1966-0815990
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Yehi Woh Jagah Hai | Yeh Raat Phir Na Aayegi Songs | Sharmila Tagore | Biswajeet | Filmigaane
Movie: Yeh Raat Phir Na Aayegi (1966) Music Director: O P Nayyar Singer: Asha Bhosle Lyricist: S H Bihari Director: Brij Yehi ...
Yehi Woh Jagah Hai l Asha l Yeh Raat Phir Na Aayegi - Prithviraj, Biswajeet, Mumtaz, Sharmila
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Phir Miloge Kabhi | Yeh Raat Phir Na Aayegi Songs | Sharmila Tagore | Biswajeet | Love | Filmigaane
Movie: Yeh Raat Phir Na Aayegi (1966) Music Director: O P Nayyar Singer: Asha Bhosle, Mohammed Rafi Lyricist: S H Bihari ...
Yeh Raat Phir Na Aayegi (1966) | MemsaabStory
memsaabstory.com/2008/02/06/yeh-raat-phir-na-aayegi-1966/
Feb 6, 2008 - I was pretty happy to finally find this film on DVD since I've long loved OP Nayyar's songs from it. Also it features three of my favorite peopleYeh Raat Phir Na Aayegi (1966) | Dustdoff
madhulikaliddle.com/2012/07/02/yeh-raat-phir-na-aayegi-1966/
Jul 2, 2012 - Yeh Raat Phir Na Aayegi would probably have succeeded as well, if it had been plotted with a little more of an eye for detail. After all, it does ...Yeh Raat Phir Na Ayegi (1966) - The Hindu
www.thehindu.com/.../yeh-raat-phir-na-ayegi-1966/article3779745.ece
Aug 16, 2012 - Directed by Brij, “Yeh Raat Phir Na Aayegi” (YRPNA) was a sleek and racy depiction of a very predictable story. Biswajeet and Sharmila Tagore ...
Yeh Raat Phir Na Aayegi
Initial release: 1966
After discovery of skeletal remains at an excavation site, a woman known to be deceased for over 2 centuries mysteriously re-surfaces to claim her lover.
Director:
BrijWriters:
Brij (story), Brij Katyal (screenplay), 2 more credits
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Cast
| Complete credited cast: | |||
 |
Prithviraj Kapoor | ... |
Professor
(as Prithviraj)
|
| |
Biswajeet | ... |
Suraj /
Surajprakash
(as Biswajit)
|
| |
Sharmila Tagore | ... |
Kiran /
Kiranmai
|
| |
Sailesh Kumar | ... |
Rakesh
|
| |
Mumtaz | ... |
Reeta
|
See full cast »
 Yeh Raat Phir Na Ayegi (1966) |
|
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See full technical specs »
Storyline
A widower Professor, who lives a wealthy lifestyle in Northern India,
along with his daughter, Reeta, who is engaged to Suraj, is presently
conducting an archaeological excavation along with the help of his
assistant, Rakesh. They come across skeletal remains of a female corpse
as well as a well-sculpted statue. Subsequently he is displeased when
Reeta tells him that Suraj is showing an unusual interest in a woman
named Kiran. He gets to meet her during his daughter's birthday party
and notices that she is wearing jewelry similar to the one worn by the
corpse. Further investigation reveal that she has been killed over 2
centuries ago, and has re-surfaced to claim Suraj, her lover from a past
life, on the next full moon. The Professor counsels Suraj and even
threatens to ensure his disinheritance, but the latter refuses to stop
seeing her - not knowing that soon Kiran will ask him to make the
ultimate sacrifice so that their souls can be re-united forever - while a
gun-toting Reeta is ... Written by
rAjOo (gunwanti@hotmail.com)
Plot Summary
|
Add Synopsis
Certificate:
ADetails
Country:
IndiaFilming Locations:
IndiaCompany Credits
Show detailed
company contact information
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IMDbPro »
Technical Specs
Sound Mix:
Mono (RCA Sound Recording)Color:
Black and White
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Music by O.P. Nayyar
Lyrics by Kashmiri
Performed by Asha Bhosle, Minoo Purushottam
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Did You Know?
Soundtracks
Huzurewala, Jo Ho IjazzatMusic by O.P. Nayyar
Lyrics by Kashmiri
Performed by Asha Bhosle, Minoo Purushottam
See more »
songs:-
Phir Miloge Kabhi | Yeh Raat Phir Na Aayegi Songs | Sharmila Tagore | Biswajeet | Love | Filmigaane
Movie: Yeh Raat Phir Na Aayegi (1966) Music Director: O P Nayyar Singer: Asha Bhosle, Mohammed Rafi Lyricist: S H Bihari ...
... Phir miloge kabhi iss baat ka vada kar lo - complete ...
... Phir miloge kabhi iss baat ka vada kar lo - complete ...
Mera Pyar Woh Hain | Yeh Raat Phir Na Aayegi Songs | Sharmila Tagore | Biswajeet | Love | Filmigaane
Movie: Yeh Raat Phir Na Aayegi (1966) Music Director: O P Nayyar Singer: Mahendra Kapoor Lyricist: S H Bihari Director: Brij ...
Huzurevala Jo Ho Ijaazat To | Yeh Raat Phir Na Aayegi Songs | Helen | Biswajeet | Dance | Filmigaane
Movie: Yeh Raat Phir Na Aayegi (1966) Music Director: O P Nayyar Singer: Asha Bhosle, Minoo Purushottam Lyricist: Aziz ...
5:47
Sampada Goswami & Nileema Gokhaley - "Huzure wala ..."
Sampada
Goswami & Nileema Gokhaley perform beautifully in the the "O.P.
Nayar show", March 2012. Venue: Ravindra Natya ...
Yehi Woh Jagah Hai | Yeh Raat Phir Na Aayegi Songs | Sharmila Tagore | Biswajeet | Filmigaane
Movie: Yeh Raat Phir Na Aayegi (1966) Music Director: O P Nayyar Singer: Asha Bhosle Lyricist: S H Bihari Director: Brij Yehi ...
Yehi Woh Jagah Hai l Asha l Yeh Raat Phir Na Aayegi - Prithviraj, Biswajeet, Mumtaz, Sharmila
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COMMENT's Statutory Declaration: Contents of this Film ...
Mohabbat Chiz Kya Hai | Yeh Raat Phir Na Aayegi Songs | Mumtaz | Biswajeet | Asha Bhosle |Filmigaane
Movie: Yeh Raat Phir Na Aayegi (1966) Music Director: O P Nayyar Singer: Asha Bhosle Lyricist: Aziz Kashmiri Director: Brij ...
Har Tukda Mere Dil Ka 1 | Yeh Raat Phir Na Aayegi Songs | Sharmila Tagore | Biswajeet | Filmigaane
Movie:
Yeh Raat Phir Na Aayegi (1966) Music Director: O P Nayyar Singer: Asha
Bhosle Lyricist: Aziz Kashmiri Director: Brij Har ...
Har Tukda Mere Dil Ka || | Yeh Raat Phir Na Aayegi Songs | Sharmila Tagore | Biswajeet | Filmigaane
Movie:
Yeh Raat Phir Na Aayegi (1966) Music Director: O P Nayyar Singer: Asha
Bhosle Lyricist: Aziz Kashmiri Director: Brij Har ...
Aapase Maine Meri Jaan | Yeh Raat Phir Na Aayegi Songs | Sharmila Tagore | Biswajeet | Filmigaane
Movie: Yeh Raat Phir Na Aayegi (1966) Music Director: O P Nayyar Singer: Asha Bhosle, Mohammed Rafi Lyricist: S H Bihari ...
Main Shayad Tumhare Liye | Yeh Raat Phir Na Aayegi Songs | Sharmila Tagore | Asha Bhosle |Filmigaane
Movie:
Yeh Raat Phir Na Aayegi (1966) Music Director: O P Nayyar Singer: Asha
Bhosle Lyricist: S H Bihari Director: Brij Main ...
Phir Miloge Kabhi | Yeh Raat Phir Na Aayegi Songs | Sharmila Tagore | Biswajeet | Love | Filmigaane
Movie: Yeh Raat Phir Na Aayegi (1966) Music Director: O P Nayyar Singer: Asha Bhosle, Mohammed Rafi Lyricist: S H Bihari ...
.Yeh Raat Phir Na Aayegi (1966) ~ Full Movie - YouTube
Yeh Raat Phir Na Aayegi (1966) | Dustedoff
dustedoff.wordpress.com/2012/07/02/yeh-raat-phir-na-aayegi-1966/
Jul 2, 2012 - And why do so many people in this film look like they're not enjoying themselves? ... Yeh Raat Phir Na Aayegi would probably have succeeded as well, if it ...... I believe Manoj Kumar designed the posters for Woh Kaun Thi?Yeh Raat Phir Na Aayegi (1966)
This never-to-return night [thank goodness for that] begins in daylight at an archaeological site. A renowned archaeologist, Professor Sahib (Prithivraj Kapoor) is supervising the digging up of an ancient city. With him is his assistant Rakesh (Sailesh Kumar).
Professor Sahib’s daughter Rita (Mumtaz) drops by to remind her forgetful father that the two of them are supposed to receive Suraj at the railway station. Professor Sahib begs to be excused, and a huffy Rita leaves him to his beloved ruins and goes to the station on her own.
Suraj (Biswajeet), we learn, is the son of Professor Sahib’s old, long-deceased friend. Suraj has been living abroad for the past ten years, and has now returned to claim his substantial inheritance.
Having come home, he decides he must go meet Professor Sahib immediately, so he and Rita set out. Along the way, Suraj insists on stopping the car at an old haveli he used to frequent as a boy. He points out the old door, on which he’s scratched his name [I blame Hindi films for this fascination with defacing monuments. Shameful]. It’s an odd sort of mansion, with a bell hanging in a circular ‘porthole’, rather like a church or monastery.
They continue, and neither of them notices a very odd figure emerge [it looks like someone wearing a short, badly tailored habit on top of a full set of clothes—which reinforces the monastery impression]. This weird person comes out of the haveli and watches Suraj and Rita drive off.
Rita takes him to the ruins, where Professor Sahib and his protégé are reunited. Professor Sahib gets to deliver a brief [and rather cheesy] homily on the importance of ruins and archaeology.
Professor Sahib goes back to his work. Rita and Suraj are headed out of the ruins, when Rita remembers something and turns back. While he’s on his own, Suraj suddenly hears the jingling of ankle bells. Curious, he explores a bit, but to no avail. Little does he know that he’s been watched by a mysterious woman.
Suraj settles in at his old family home. He’s an artist and spends much of his time painting and trying to fend off the determined attentions of Rita, who is apparently pretty much in love with him. Suraj is willing to be friends (after all, they were friends in childhood, as she points out), but that’s it. He’d rather she and her friends don’t try to drag him into their picnics.
Little does Suraj know that his father and Professor Sahib, in time-honoured tradition of best friends in Hindi cinema, had arbitrarily decided that Rita and Suraj are now betrothed. [Nobody has even had the courtesy to let Suraj know all this while].
Meanwhile, Professor Sahib, Rakesh and their team have made a momentous discovery: an underground hall that’s gorgeously carved all around, and is decorated with statues. It’s quite splendid, but one of their first finds in this hall is rather creepy, and totally spooks out Professor Sahib’s helper.
It’s a skeleton, possibly of a woman, since there’s a rather distinctive bracelet on one wrist. Beside the skeleton is also a dagger, which (along with the bracelet), Professor Sahib places in his pocket. A stiff breeze, tunnelling through the stairwell, blows the skeleton into dust [I don’t know how a breeze stiff enough to do that barely ruffles the hair on Professor Sahib’s head].
Also in the hall, Professor Sahib and Rakesh find an ornate statue of a woman dressed in flowing garments and wearing the same bracelet that Professor Sahib had found on the skeleton. Professor Sahib comes to the conclusion that this is, therefore, the statue of the same woman who’d been a skeleton until that breeze came along.
That evening, Suraj is driving down a jungle road in his car, with Rita alongside. The car splutters to a halt [Woh Kaun Thi?, anyone?], and Suraj, doing a quick check, finds that the radiator’s heated up. He’s setting out to fetch some water from a stream when he hears a woman giggle [rather maniacally, in my opinion]. The song comes on, with much mist swirling about and—after much pursuing on the part of Suraj—an inevitable meeting with the mysterious singer (Sharmila Tagore).
She’s rather overdressed for a jungle waterfall, but Suraj, besides asking if she’s not scared, doesn’t probe much. The girl, after all, is pretty daunting: she has a weird look about the eyes, and makes odd allusions to not having forgotten him, Suraj (she even calls him by that name) all these many centuries. What the—?
She then tells him her name: Kiran. [Phut go Rita’s chances of ever marrying Suraj. Suraj (‘sun’) and Kiran (‘ray of light’) go together, in Hindi films. Always. Like Neela (‘blue’) and Akash (‘sky’)]. Suraj is spooked, all right, and goes back to the car, where Rita is getting very impatient. Suraj asks her if she’d heard the giggling and the singing, but Rita says no, and is puzzled. Is Suraj quite all right?
Next, the scene shifts to an exhibition of Suraj’s paintings. [‘The one and only master of modern art’. Hmm.]
Among the crowds milling about admiring Suraj’s work, Suraj finds Kiran. She’s dressed in a more modern style on this occasion, but is as mystifying as ever. When (on being asked if this is all his corpus of art), Suraj tell her that yes, these are all the paintings he’s ever made, she contradicts him. There is one unfinished painting that is missing, she says. You were making a painting of me, and you never completed it. [Another ‘What the—?’ moment].
Having dropped that bombshell, Kiran goes off, in a horse-drawn carriage [where on earth did she get that?]. Suraj follows in his car, trying to catch up. They race through the countryside, through a tunnel—and when Suraj drives out of the tunnel, all he sees is empty road ahead. For as far as the eye can see, there’s no carriage.
Even a labourer, breaking stones by the side of the road, denies having seen any carriage emerge from the tunnel. Suraj goes back into the tunnel, but it’s dark and gloomy—and empty.
We now have a quick break from all this What the—?’ness, with a nice little party, and a nice little song and dance by Helen and Madhumati.
…punctuated, for Suraj, by the song, all over again. He goes out, onto the bank of the lake outside, and sees Kiran being rowed along. He tries to follow on the bank, and reaches the boat only when the boatman’s mooring it to the shore. Kiran is gone.
Suraj asks the boatman (B M Vyas) where that girl is. The man [who’s just as spooky as Kiran] cackles madly and tells Suraj that Kiran is his daughter, and that they live in the old haveli—the same monastery-like place Suraj is already familiar with.
So Suraj, who’s hosting a party at his home the next day, goes to the haveli to invite Kiran. He is received by the badly-dressed monk [or whatever; he remains in the shadows and does not show his face]. Not only is the ‘monk’ badly dressed, he’s also badly behaved. Suraj gives him the message—the party invite for Kiran—and is subsequently told to get lost.
Meanwhile, Professor Sahib and Rakesh have been doing some research. They’ve discovered that the statue in the underground hall is that of a woman named Kiranmayi [does that ring any bells?]. Just about now, Rita dampens her daddy’s joy a bit by telling him about Suraj’s perfidy—that he’s going gaga about a strange woman, whom he’s probably invited to the upcoming party as well.
And, sure enough, Kiran turns up at the party. One look at her, and Professor Sahib is stunned. This woman’s dressed exactly like the statue of Kiranmayi in the excavated hall. Down to the bracelet on her wrist! [Spookiness goes through the roof].
Professor Sahib rushes to his office and opens his desk drawer, to find the ancient bracelet missing. And, when he hurries to the site and goes down into the hall—he finds Kiranmayi’s statue missing.
What is happening? Who is this mysterious Kiran who talks of a long, long association with Suraj (two thousand years, she tells him, in one conversation)? And what’s with the mysterious monk in the haveli? Is the boatman really Kiran’s father?
And why do so many people in this film look like they’re not enjoying themselves?
What I liked about this film:
O P Nayyar’s music. My favourite song by far is the exquisite Yehi woh jagah hai, sung by Asha—my mum used to sing it to me as a lullaby when I was a baby, so it’s been a favourite ever since my brain began to register music. The song (Kiran’s signature song), Har tukda mere dil ka, is lovely, as is Aapse maine meri jaan mohabbat ki hai.
The prettiness. Sharmila Tagore is lovely, of course, and Mumtaz, while not yet as totally fabulous as she was in Aadmi aur Insaan, is very pretty too. So is Biswajeet, actually.
Biswajit Chatterjee
Yeh Raat Phir Na Aayegi (this night will not come again) starts with an archaelogist - Prithviraj Kapoor who is busy in an archaeological excavation with his assistant, Rakesh (Shailesh Kumar) in search of some old civilization. He has engaged his daughter Reeta (Mumtaz) to the son of his deceased friend who is our hero, Suraj (Biswajeet) who is a painter and going to inherit the wealth of his late father after marrying Reeta only. During the proceedings of the excavation work, a very old statue of a well-ornate female dancer is found and also found a seemingly equally old skeleton of some female with similar bangles in her wrists as in the wrists of the statue. The archaeolotist who is addressed as the Professor in the movie, reads a book about that 2000 years old civilization in which there is a mention of a dancer known as Kiranmayi whose statue (and perhaps the skeleton with the bangles also) has been found by him.
The twist in the tale comes when Suraj happens to come across a mysterious damsel calling herself as Kiran. When Suraj invites this mysterious beauty (Sharmila Tagore) to a party thrown by him, she startles everybody including the Professor because she is wearing the same bangles as found on the wrists of the skeleton and which the Professor had kept for safekeeping. When the Professor checks their status, he finds them as missing from his safe custody. The real trouble starts when Suraj finds himself in love with this so-called Kiran who is getting more and more mysterious to him (and for the others as well). The suspense deepens when a seemingly jealous Reeta murders Kiran but she is found alive again. She tells Suraj as such and all others also believe that she is not a flesh and blood human-being. Instead she is the spirit of that deceased dancer - Kiranmayi who used to exist 2 millenniums back. Suraj's life is in danger because that so-called spirit wants to unite with him (calling him as her lover in that millenniums-old incarnation) forever transcending the bounds of life and death. The mystery is resolved in the climax.
The title of the movie is as such because the so-called spirit of Kiranmayi wants to unite with Suraj forever on the full-moon night by making him get rid of his earthly existence, telling him - 'Do it tonight as this night won't come again (Yeh Raat Phir Na Aayegi)'.
Yeh Raat Phir Na Aayegi has a very good script but I felt that the narrative is not that much impressive as it could have been considering the quality of the story. The songs block the flow of the story every now and then. The resolution of the mystery (and the unmasking of the culprits) in the climax is not very convincing (at least I was not satisfied). Better direction could have turned this movie into a spellbinding suspense movie. All the same, it's a nice watch. Certain sequences are damn impressive. And good songs with good performances of the male leads (and of course, the curiosity regarding the resolution of the mystery) don't allow the viewer to leave it before the ending scene.
O.P. Nayyar's compositions hinder the flow of the narrative but on the other hand, they are the biggest strength of this movie. The movie contains gems like Mera Pyar Wo Hai Ki Mar Kar Bhi Tum Ko Juda Apni Baahon Se Hone Na Dega (Mahendra Kapoor), Aap Se Maine Meri Jaan Mohabbat Ki Hai (Rafi) and Phir Miloge Kabhi Is Baat Ka Vaada Kar Lo (Rafi-Asha duet). But it's the Asha's enchanting solos which makes the essence of the music album viz. Huzure Waala (with chorus), Mohabbat Cheez Hai Kya, Yahi Wo Jagah Hai Yahi Wo Fizaayen, Har Tukda Mere Dil Ka Deta Hai Duhaai and finally, my favourite - Main Shaayad Tumhaare Liye Ajnabee Hoon Magar Chaand Taare Mujhe Jaante Hain. The beautiful lyrics have been penned by S.H. Bihari.
Technically this black and white movie is good. The art director has successfully exasperated the environment of excavated sites and nearby places, the caves, the lake etc. according to the requirement of the script and a mysterious atmosphere is created for the audience. The cinematographer has also done his job well in association with the art director. The length of the movie is according to the norms prevailing for Bollywood movies in that period.
Performance wise talking,Prithviraj Kapoor, the great actor of Hindi cinema takes the cake. He has delivered a highly impressive performance in the role of an archaelogist as well as the father of a grown-up daughter. Dashing and charming Biswajeet has done well, especially in the romantic scenes and songs. Mumtaz and others have also done perfectly. Though the story revolves around Sharmila Tagore, I found herself only as miscast in this movie. Perhaps an actress like Waheeda Rehman would have been a better choice for the role of the mysterious leading lady.
Yeh Raat Phir Na Aayegi has a repeat value for the music lovers because both the songs and their picturization are just very good. I recommend this black and white movie to both the music-lovers and the mystery-lovers alike.
Yeh Raat Phir Na Aayegi (1966) ~ Full Movie - YouTube
YEH RAAT PHIR NA AAYEGI Yahi Woh Jagah Hai - YouTube
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