| Chenghiz Khan | Kedar Kapoor | Premnath, Bina Rai, Sheikh Mukhtar, Leela Mishra, Johnny Walker, Tiwari, Jeevan, Helen, Sunder, Jagdish Kanwal | Action | Music: Hansraj Behl
Lyrics: Qamar Jalalabadi, Verma Malik
|
Changez Khan 1957 - Osianama
lbp of film Changez Khan 1957 directed by featuring Bina Rai Jhonny Walker Prem Nath Sheikh Mukhtar, Abdulla Anwar Azam B. Sagar Bakshi Behari Chaman ...
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Photographic Lobby Card Changez Khan.1957; India |
Banner N. C. Films; Producer Gulshan Bahl |
Director Kedar Kapoor |
Select Cast Bina Rai, Jhonny Walker, Prem Nath, Sheikh Mukhtar, Abdulla, Anwar, Azam, B. Sagar, Bakshi, Behari, Chaman Lal, Feroz Gouli, Helen, Jagdish Kanwal, Jai Singh, Jeevan, Khurshed, Leela Mishra, Paul Sharma, Rajan Kapoor, Ramesh Thakore, Sagar, Sando, Sat Pal, Sunder, Tannveer, Tewari & Vijay Bala |
Changez Khan (1957) - Mohabbat Zinda Rehti Hai (part i ...
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4.75 - 8 votesMohammed Rafi Hansraj Behl Qamar Jalalabadi Changez Khan (1957) Bina Roy, Prem Nath,Sheikh Mukhtar Video Playlist of all the songs of this movie from youtube Advertisements
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Changez Khan (1957)Film cast: Premnath, Beena Roy, Jeevan, Helen, Tiwari, Sheikh Mukhtar, Leela Mishra Singer: Mohammed Rafi, Lata Mangeshkar, Sudha Malhotra, Shamshad Begum Lyricist: Qamar Jalalabadi, Verma Malik, Saraswati Kumar Deepak Music Director: Hansraj Behl Film Director: Kidar Kapoor External Links: Changez Khan at IMDB Changez Khan (1957) - IMDb
www.imdb.com/title/tt1350913/Rating: 8.2/10 - 6 votesChangez Khan (1957). 135 min - Adventure - 1957 (India). 8.2 ... Peplum Paradise Part 4: Asian Historical and Fantasy films 1949 onwards. a list of 385 titles
Director:
Kedar KapoorWriter:
M.R. Bakhri (screenplay)
Cast
Cast overview, first billed only: Prem Nath ... SheruBina Rai Sheikh Mukhtar ... Changez KhanJohnny Walker Jeevan ... UstadLeela Mishra Sunder Tanvir Ramesh Thakur Ramayan Tiwari Rajan Kapoor Jagdish Kanwal Kamaleshkumari Helen ... DancerRatan Gaurang Edit
Storyline
Add Full Plot | Add Synopsis
Genres:
Adventure
Country:
IndiaLanguage:
HindiRelease Date:
1957 (India) See more »
Company Credits
Show detailed company contact information on IMDbPro »
Technical Specs
Sound Mix:
MonoSee full technical specs »Color:
Black and WhiteChangez Khan (1957) | Dustedoff
madhulikaliddle.com/2010/04/28/changez-khan-1957/Apr 28, 2010 - Of the many things that fascinate me about old Hindi cinema, this is one: the making of films set in a time and space wholly alien to India of the ...
Of the many things that fascinate me about old Hindi cinema, this is one: the making of films set in a time and space wholly alien to India of the mid-1900’s. The 1950’s, especially, seem to favour these sort of films, set in exotic locales and needing costumes, makeup, and sets that were vastly different from what one saw in the more usual Bollywood drama, thriller or even mythological. There was Yahudi (with Dilip Kumar looking far from Roman in a light-haired wig and ankle-length gown); Aurat (based on the story of Samson and Delilah)—and this one, about the Mongol warrior king, Changez (better known to the West as Genghis) Khan.Posted in Dusted Off |
The story begins in the Mongol camp, where Changez Khan (Sheikh Mukhtar) has just returned from a military campaign against the Tatars. Along with all the loot, the Mongols have brought back prisoners—old men (whom Changez Khan orders killed), young men (whom he orders conscripted in his own army), and women (whom he imprisons). There is much singing and dancing in the Mongol camp that night, but Changez himself is dissatisfied and restless.
He finally confides in his Indian friend and adviser, Bindusar (Tiwari). It emerges that Changez Khan had once fallen in love with a Tatar princess named Azra (Bina Rai). Azra, however, would have nothing to do with him, as a result of which Changez had her parents killed and unleashed a campaign of terror against all of Asia. He has no idea where Azra is now, but she continues to be the only woman he wants—and he is ready to lay everything waste in an effort to get her.
Other people too are affected by Changez Khan’s bloodlust. His mother (Leela Misra), who still calls him by his given name of Temujin, is constantly praying to the muqaddas roohein (the ‘sacred spirits’) to cure her son of his desire to kill.
Her brother, Changez Khan’s uncle Ustad (Jeevan), however, is pleased with Changez Khan’s ambition, and does all he can to fuel it. When his sister wrings her hands and says she wants to see an end to this tyranny, Ustad’s contention is that it isn’t tyranny, it’s the rule of the powerful.
Among the trophies won in the Tatar campaign is a sort of large box with a horse’s head on one side (a Tatar Trojan horse?). That night, while the Mongols sleep off their drunken revelry, the box opens—
—and spews out a gang of Tatar warriors, led by the Tatar commander Sherwa (Premnath). He and his men are here to rescue their imprisoned compatriots (isn’t that logic flawed? Since the Tatar horse was captured during the campaign, why didn’t these men fight then? Or did they—as soon as they realised Changez was going to defeat them—stealthily slip into the horse, so that they could launch a rescue mission later? Worse still, they actually confine themselves only to rescue, not to sabotaging the Mongol camp).
Anyway, Sherwa ends up face to face with Changez Khan, who is impressed by the young Tatar’s bravery, and offers him a position in the Mongol army.
A position which Sherwa, proud Tatar that he is, immediately turns down, with the result that he ends up with his arms tied to a sort of heavy wooden beam balanced on his shoulders. Being the hero that he is, it doesn’t take him long to escape. He does this by waiting until his lone guard is sleeping (very soundly), which is when Sherwa uses his teeth to draw the guard’s sword out of the scabbard. When the men wakes, Sherwa bashes him over the head with that wooden beam.
When a man is so resourceful, he deserves to escape.
The scene now shifts to another of Changez Khan’s pillaging expeditions. After looting and killing and generally wreaking havoc, Changez has a newly-captured bunch of Tatari girls presented before him. He rips off their veils, one by one, and finds among them:
Azra!
Changez is ecstatic, but caught between his obsession for this woman and his anger at a Tatar who tries to protect her—the worthy Tatar is killed, and Azra too falls on her knees and dies of shock.
At this stage, another Tatar—a bitter character—informs Changez Khan that the woman who’s just copped it wasn’t Azra but her twin, Zohra. Azra, instead, is safe and sound at the palace of the Tatar king Sultan Wang.
Bindusar is therefore sent to Wang’s court with a request for Azra to be handed over, to be Changez’s bride. Azra’s lover, the loyal and brave Sherwa, is in court too, and voices a protest. Wang pays no heed—he doesn’t think the scales balance: one girl on the one hand, thousands of Tatar lives on the other?
So Sherwa and Azra try to flee, but are caught and brought back, and Azra asks Wang what he would have done if it had been his daughter Changez had asked for?
Which induces a change of heart in Wang. He actually does take his own daughter to Changez, and Changez throws a fit when he discovers the deception. He imprisons Sultan Wang, and gives orders that a search be launched for Azra.
The Mongols eventually succeed in finding Azra, but only accidentally. Sherwa has hidden her in a friend’s house, but the other Tatars, scared that a furious Changez will put all of them to the sword unless Azra is handed over, overpower both Sherwa and his friend and kidnap Azra, sending her off in a litter to Changez. Midway, Azra escapes, and accidentally blunders into Bindusar’s camp.
Bindusar treats her with great respect—she calls him ‘brother’, and like any good Indian (as he repeatedly reminds us he is), he will uphold the sanctity of that relationship. Having first (at her request) rescued Sherwa from the annoyed Tatars, Bindusar takes both Azra and Sherwa to Changez. When Azra still refuses to marry Changez (citing the glowering Sherwa as the reason), Changez tries to kill Sherwa—only to have Bindusar leap into the breach, ready to defend the happiness of his so-called ‘sister’. All this gets him is a swift arrest and some bitter recriminations from a Changez who feels betrayed.
Sherwa, who hurls some abuses at Changez, also gets arrested.
At this stage, Azra faints in something resembling death (the women in her family obviously have a very tenuous grip on life; remember Zohra’s sudden death?). This gives everyone else time to discuss the possible ramifications of what will happen if Changez marries Azra.
Changez himself has resolved that should Azra agree to marry him, he will renounce the way of the sword. He even proclaims this to his army, causing much confusion.
Uncle Ustad is thoroughly peeved at this decision and tries to persuade Changez to not act the milquetoast.
And Changez’s mother has her own agenda. If Changez will give up his bloodthirsty ways, she will be very grateful. So when Azra (helpfully revived by a chained Sherwa singing loudly out in the rain) finally agrees to meet the Queen Mother, she gets an earful. Changez’s mother pleads, cajoles, and uses the most shameless emotional blackmail ever to persuade Azra that her sacrifice (“love is sacrifice,” says the old lady) will save the lives of countless millions throughout the world.
Will Azra give in? Or will her love for Sherwa win through? And what will become of Changez—will he continue with his ceaseless massacres, egged on by Ustad, or will Azra and his mother prevail? Watch on. There’s plenty more to come in this film, with more speechifying and some pretty mediocre swashbuckling.
What I liked about this film:
Sheikh Mukhtar. Not a character actor I know too well (I’ve not seen enough of him to yet form an opinion), but he’s impressive in this one. Partly, of course, it’s his sheer physical presence—he towers over everybody—but there’s also something very imposing about his voice, his eyes, his style of acting. Good bit of casting, that.
Mohabbat zinda rehti hai. Composed by Hansraj Bahl and very well sung by Mohammad Rafi. Except for O ruk jaa… lautke aana hoga, this was for me the only good song in an otherwise lacklustre score. But Bahl seems to have devoted his energies to Mohabbat zinda rehti hai: it’s an excellent tune, and is repeated throughout the second half of the film.
What I didn’t like:
Changez Khan isn’t one of those films for which I can pinpoint strong likes and dislikes. But yes, I’d have liked this better if the story had:
(a) fewer digressions
(b) less melodrama
(c) fewer flamboyant speeches
(d) much better props, costumes and makeup—especially for the supporting cast
(e) no comic side plot (Johnny Walker as Tez Khan, the Mongol who romances the hakim’s daughter much against the wishes of her father, is not at his best here)
But hey, worth one watch, at least. If for nothing else than to see Sheikh Mukhtar wearing what looks like a cross between a chandelier and a hangman’s noose on his head.
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The Art of War under Chinggis Qahan (Genghis Khan)
The Art of War under Chinggis Qahan (Genghis Khan)Translated by Urgunge Onon
The Secret History of the Mongols: The Life and Times of Chinggis Khan, translated by Urgunge Onon (Curzon Press, 2001)
In the thirteenth century, all Mongols thought themselves to be the centre of the universe, a belief that they derived from their Shamanistic religion. A Shamanist worshipped natural things: the sky, the sun, the moon, rivers and mountains, etc. Heaven was both their guide and their consciousness; thus every Shamanist was born free and equal. Chinggis was, like any other Mongol, a Shamanist, and he treated every Mongol equally.
The Mongols, under Chinggis’s command, were united to face the challenges of their day. Their strength lay in their unity, and the way in which they deployed their hunting skills and pursued their nomadic economy. Always superb horsemen, their iron discipline, high morale and fine leadership ensured that, as a cavalry force, they were beyond compare. Special attention was paid to the welfare of the soldiers. Chinggis Qahan once said:
`My soldiers are as numerous as forests, and their women could form a large unit within the army. I want to feed them with juicy meat, let them live in beautiful yurts, and let them pasture their livestock on rich soil.’
Because the population of Mongolia was so small (some say it was over one million; I am inclined to put it at two million), human life was very precious. One can see from Chinggis’s tactics that the Mongols tended to avoid hand-to-hand fighting in order to minimize casualties among their soldiers. If a Mongol soldier was killed due to carelessness, his commander would be punished; if a wounded Mongol soldier was left on the battlefield, his troop leader would be executed on the spot. In December 1241, the Mongols, under Prince Batu (the founder of the Golden Horde), entered Hungary and fought a major battle on the banks of the Sayo River. Because of the delay in sending rafts to the river banks, some twenty Mongol soldiers lost their lives. Prince Batu strongly reprimanded his second-in-command, the famous general Sube’etei (one of the Four Hounds of Chinggis), for the delay, though some say that Sube’etei and his soldiers arrived late only because they were building bridges over the Sayo.
What is clear is that Chinggis cared greatly for his soldiers. With 129,000 Mongol cavalrymen he conducted wars in foreign countries for more than twenty years, his golden rule being that of `mutual loyalty’. Because of the way in which he treated his troops, he was able to maintain fairly constant numbers of men under arms.
Through their network of spies, traders and informers, Chinggis and his generals built up an exceptional understanding of the economic, military, and political conditions of the countries they wanted to attack. It was said that in the mornings, when the air was at its clearest, a Mongol could see for up to four or five miles and hear the sound of hoofs up to twenty miles away. Even in recent times, a horseman could ride from Ulaan-Baatar to Kalgan in nine days – a distance of some 600 miles. In 1221, Chinggis’s army rode 130 miles from Bamian to Ghazna, by way of Kabul, in two days. Every man learned to ride from the age of three, and served in the army from the age of fourteen until he was sixty.
Chinggis’s Arts of War were based on five key elements: speed, suddenness, ferocity, variety of tactics, and iron discipline.
Marco Polo tells us that a Mongol cavalryman often slept mounted and armed while his gelding grazed, and that he could go ten days without cooking food. On such occasions he lived on ten pounds of dried milk-curd, two litres of kumiss, and a quantity of cured meat. A Mongol soldier had three or four spare geldings, and would not ride a gelding until it had rested for three or four days. The Mongols took their herds of cows and sheep with them when they went on campaigns. If they went short of food, they hunted wild beasts.
In 1211, when Chinggis attacked the Jin territory in northern China, his army comprised about 110,000 Mongol soldiers. In 1219, when the Mongol army moved into Kwarizm territory, the army numbered some 150,000 soldiers (some say only 90,000), but to these he had added many auxiliaries, including Kurds, Turks, Turkomans, and even Chinese. Chinggis Qahan never liked to fight on a second front unless absolutely necessary, preferring instead to concentrate his forces on one front at a time.
Chinggis Qahan’s Sixteen Military Tactics
1) Crow Soldiers and Scattered Stars Tactics (also known as Ocean Waves Tactics)
When facing the enemy, the army would split into small groups consisting of three to five soldiers to avoid being surrounded. When the enemy regrouped, the Mongols too regrouped. They were to appear suddenly, like something dropping from the sky, and disappear like lightning. The attack would be signalled by a shout or the crack of a whip. One hundred cavalrymen could surround one thousand enemy soldiers and one thousand cavalrymen could control a front thirty-three miles long in order to attack the enemy at the right place and the right moment.
2) The Cavalrymen Charge Tactics (also known as Chisel Attack Tactics)
A group of cavalrymen would make a direct charge into the enemy line. If the first charge failed, a second and even third group would attack. No matter how great the opposition, even if they numbered a hundred thousand, they were unable to withstand the charges. Finally, in response to a signal, the Mongol cavalrymen would charge from all directions into the enemy lines in order to destroy their formation.
3) Archers’ Tactics
The archers, armed with shields, dismounted from their geldings and shot at the enemy, sometimes using the geldings as shelter. Other archers shot from horseback. (The horses were trained to stop dead in mid-gallop to allow the archer to take aim.) Once the enemy came under fire, their lines would be broken and they would scatter in disorder. At that point, the cavalrymen would attack.
4) Throw-Into-Disorder Tactics
If the enemy was strong on the battlefield or sheltering in a fort, the Mongols would herd oxen and wild horses into the enemy lines to cause confusion.
5) Wearing-Down Tactics
When the enemy stood in a defensive position with spears planted in a row, thus preventing a cavalry charge into the line, the Mongols would withdraw their main forces, leaving only a few small detachments to harass the enemy by shooting arrows into the spear-held line. Due to lack of food, water, and rest, the enemy would eventually have to move. Once the weary forces were on the march, the Mongol army would launch a surprise attack.
6) Confusing and Intimidating
In 1204, Chinggis Qahan ordered his soldiers to set up camp on the Sa’ari Steppe in western Mongolia. Every able‑bodied man lit five fires some distance apart, thus scaring the Naimans and enabling Chinggis to defeat them.
When the Mongols encountered numerically superior forces, they often sent troops to stir up dust behind their own lines by means of branches tied to the tails of their horses. On seeing the dust, the enemy often believed that large reinforcements were at hand and fled.
The Mongols also mounted stuffed dummies, small Mongol children, and females on the spare horses to suggest that the army was much bigger than it actually was. This trick was used by the Mongol general Shigi-qutuqu in 1221, when he engaged Jaldin at Biruan between Kabul and Ghazna.
7) Luring into Ambushes
As soon as battle started, the Mongol soldiers would feign retreat, deliberately throwing away gold and silver and other impedimenta. Such tactics were used sparingly – for example, if they could not break into heavily fortified cities or through a strong pass. In 1211, when the Mongols first attacked the Jin territory in northern China, Chinggis Qahan sent Jebe and Guyigu Nek ahead to attack the famous Chabchiyal Pass. The Mongols could not break through this pass because it backed onto mountain cliffs and was strongly fortified. Instead they decided to lure the enemy out by slowly retreating. The Jin army thought that the Mongols had given up, so they chased after them and were surprised, after a certain distance, to see the retreating soldiers suddenly turn to counter-attack. At that moment, the main Mongol army appeared from all sides in a pre-arranged ambush and slaughtered the enemy until their bodies piled up as far as Chibchayal, `like rotten logs’. Jebe stormed the gate of Chibchayal and took the pass.
In May 1222, the Mongol generals Jebe and Sube’etei and 20,000 Mongol cavalrymen pursued the fleeing Kypchaks (or Cumans) from the western side of the Caspian Sea towards the northwest, to Kiev. The Mongols met the joint forces of the Russians and the Cumans, 30,000 men, on the eastern bank of the Dnieper River. Some say that Sube’etei, with only 2,000 Mongol cavalry, lured the Russians and Cumans for nine days towards the small Kalka River that flows into the Sea of Azov, where the main Mongol cavalrymen (numbering 20,000) were waiting. Under the direction of Jebe and Sube’etei, the Mongols attacked the enemy at the end of May and destroyed most of their forces.
8) Arc Formation Tactics
The Mongols would send out two detachments in a wide curve, like the tips of a bow, but with the main forces staying at the centre of the arc, hiding in shady places to await the enemy. These two detachments went ahead to engage the enemy, shooting to infuriate them and lure them to where the main forces were waiting. These two detachments also closed in from the flanks or from behind the enemy. The Mongols called these tactics `bow tactics’. The Cossacks also used these tactics to defeat their enemies.
9) Lightning Attack And Surprise Attack
These two tactics were perhaps the most important of all: lightning attack meant speed, and surprise attack meant suddenness. In 1203, the Mongols attacked Ong Qan, who had erected a golden yurt and was feasting. For three nights and three days, under Chinggis’ command, they fought, and in the end Ong Qan and his son fled, though his entire army surrendered. This was an example of Chinggis `surprise attack’ tactics.
In 1213, the Mongol army, commanded by Jebe, failed to take the city of Dongchang (Mukden), so they retreated for six days over a distance of some 170 miles. The enemy defending the city thought that the Mongols had given up, but Jebe returned, covering the distance in one night and launching a surprise attack.
10) Outflanking Tactics (a)
When the Mongol cavalrymen could not attack the enemy from the front, they would leave a small detachment to draw the attention of the enemy. Meanwhile the main force went round the back, by way of difficult paths, to attack the enemy from the rear. There are two examples in the History to illustrate these tactics. In 1207, Chinggis Qahan ordered Dorbei-doqshin to attack the Tumet people in the northern part of Mongolia. He left a small detachment on the main road, and ordered his best soldiers to travel along paths made by wild animals. They climbed the highest mountain and then suddenly descended as if from heaven, finishing the enemy while they were feasting.
In 1213, when the Mongol cavalrymen under Chinggis Qahan wanted to take the Chabchiyal Pass, the Jin army fortified the pass and spread iron spikes along the road to the north to prevent the advance of the geldings. The entrance to the pass was also reinforced by an iron gate. Chinggis left a small detachment to shoot at the Jin army, and then took his main army west and back to the southern end of the pass. He captured a place called Nankou, and went on to take the pass.
11) Encircling Tactics
Chinggis used these tactics many times in order to destroy his enemies. The tactics were based on the enemy’s strengths and formations. If the enemy openly exposed his flank and rear, and the city defenders were weak, the Mongols would encircle them from all sides. If the enemy deployed their forces by the rivers, exposing two or three flanks, then the Mongols would encircle them from all sides of the riverbank.
In 1221, Chinggis destroyed Jalaldin Mangubirdi, who had deployed his soldiers on the west bank of the Indus, by attacking on two or three sides. Plano Carpini (who was in Mongolia in 1246) records that the Mongols always sent the captured personnel and non-Mongol soldiers in first, led by a few Mongols, to fight the encircled enemy. Only then would the strong regular army appear, as if from nowhere, to reinforce the stronghold, outflank the enemy on both wings, and destroy him.
12) Open-the-End Tactics
If the enemy was very strong and ready to fight to the death, the Mongols would leave a gap in their ranks. In this way, the enemy might think they could see an escape route, scatter, and start to run. At that precise moment, the Mongols would fix upon a suitable place to kill the fleeing enemy.
13) Combining Swords and Arrows
The Mongols avoided hand-to-hand fighting if at all possible, preferring to use bows and arrows, with a range of 200 to 300 yards, to kill the enemy. Plano Carpini records: ‘If at all possible, the Mongols never engage in hand-to-hand fighting. They always first use arrows to kill the enemy and their horses. After killing or wounding the enemy and their horses, making them too weak to fight, the Mongols move in to finish them off.’
14) Hot Pursuit Tactics and Dispersing Tactics
If winning, the Mongols would pursue the enemy so that no one escaped alive. If losing, they would disperse in all directions, so that the enemy was unable to catch them.
15) Bush Clump Tactics
These tactics involved dividing the soldiers into many small groups which, although keeping in contact with each other, maintained a low profile as they advanced. Such tactics were also used at night-time, and on dark or cloudy days.
16) Outflanking Tactics (b)
The Mongols faced a march of more than 1,500 miles to their goal in Bukhara and Samarkand. The Khwarazem Shah had deployed his forces along the Syr Darya River. The Mongols divided their forces into four contingents, three of which moved to face the Shah across the Syr Darya. The fourth and largest contingent, commanded by Chinggis himself, turned north and then due west into the Kizil Kum Desert, instead of turning south. There were neither roads nor water in this region. For several months, Chinggis made his way secretly across the desert, while the Shah’s forces were being worn out on the battlefront. In March 1218, Chinggis approached Bukhara from more than 400 miles behind enemy lines. This campaign is regarded by military historians as one of the most dramatic outflanking manoeuvres of all times.
=================================================Changez Khan (1957) - Mohabbat Zinda Rehti Hai (part i ...
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songs:-
Film - Changez Khan 1957, MD - Hansraj Behl, Lyricist - Qamar Jalalabadi, Singer - Mohd.Rafi.
HELLO OLD HINDI MUSIC LOVERS , I AM A VERY BIG FAN OF OUR INDIAN OLD MUSICS . I EDIT MORE THAN 32000 OLD
With PAMELA JAIN sung this song.
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Jun 18, 2011 - Uploaded by Rafiology
Film - Changez Khan 1957, MD - Hansraj Behl, Lyricist - Qamar Jalalabadi, Singer - Mohd.Rafi.Mohabbat Zinda Rahti Hai - Changez Khan 1957. Mohammed Rafi ...
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Feb 15, 2013 - Uploaded by MHEN786
Mohabbat Zinda Rahti Hai - Changez Khan 1957. Mohammed Rafi Lyrics: khol aankhen apne khwaab ...
Many thanks to YouTube channel Rafiology for this video song: https://www.youtube.com/user/Rafiology Beena Rai Sheikh ...
Samarkand Ke Yaarkand Lata Mangeshkar & Sudha Malhotra Changez Khan (1956) Music Hansraj Behl.
Many thanks to YouTube channel Rafiology for this video song:
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Film - Changez Khan 1957, MD - Hansraj Behl, Lyricist - Qamar Jalalabadi, Singers - Mohd.Rafi, Shamshad Begum & Chorus.
Film - Changez Khan 1957, MD - Hansraj Behl, Lyricist - Verma Malik, Singer - Mohd.Rafi.
5
changez khan (1957) - mohabbat zinda rehti hai (part ii ... - Rediff Videos
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Feb 12, 2012
Watch changez khan (1957) - mohabbat zinda rehti hai (part ii) - mohd.rafi video online on Rediff Videos ..Film - Changez Khan 1957, MD - Hansraj Behl, Lyricist - Qamar Jalalabadi, Singer - Mohd.Rafi.
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Yeh Ho Kar Rahega - Mohd Rafi - Changez Khan - Prem Nath3:04
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Mohabbat Zinda Rehti Hai part (ii) - Mohd Rafi - Changez Khan - Prem Nath1:04