| Gyarah Hazaar Ladkiyan | K. A. Abbas | Bharat Bhushan, Mala Sinha, David, Mukri, Murad, Nadira, Helen, Baby Farida | Social Romantic drama | Music: N. Dutta Lyrics: Majrooh Sultanpuri |
..
Gyara Hazar Ladkiyan
Dil Ki Tamanna Thi - GYARA HAZAR LADKIYAN 1962.Solo ...
Dil Ki Tamanna Thi Masti Me Manzil Se (By Rafi)
dil ki tamanna thi masti me mazil se bhi dur nikalate
apana bhi koi sathi hota, ham bhi bahakate chalate-chalate
sathi mila, yun to magar, raste me tha chandi ka nagar -2
chandi ki nagari bhai use ham, rah ga_e ankhe malate-malate
yado ki dhul ankho me hai, daman ki hasarat hatho me hai -2
khvabo ke virane me tanha, thak gaya rahi chalate-chalate
Singer : Mohd Rafi
rafi:
dil ki tamanna thi masti me
mazil se bhi dur nikalte
apna bhi koi sathi hota
apna bhi koi sathi hota
ham bhi bahakte chalte chalte
ho dil ki tamanna thi masti me
mazil se bhi dur nikalte
rafi and asha:
apna bhi koi sathi hota
ham bhi bahakte chalte chalte
ho dil ki tamanna
asha:
hote kahi ham aur tum
khvabo ki rangi vadi me gum
hote kahi ham aur tum
khvabo ki rangi vadi me gum
rafi:
phir un khvabo ki vadi se,
uthte aankhe malte malte
rafi and asha:
dil ki tamanna thi masti me
mazil se bhi dur nikalte
apna bhi koi sathi hota
ham bhi bahakte chalte chalte
ho dil ki tamanna
ra:
hansti zami, gate kadam,
chalte nazare, chalte jo ham
hansti zami, gate kadam,
chalte nazare, chalte jo ham
aa:
rukte ham to ruk ruk jata,
dhalta suraj dhalte dhalte
rafi and asha:
dil ki tamanna thi masti me
mazil se bhi dur nikalte
apna bhi koi sathi hota
ham bhi bahakte chalte chalte
ho dil ki tamanna
www.youtube.com/watch?v=qOY57nLpO0A
Jun 14, 2011 - Uploaded by TheJigneshDalwadi
Dil Ki Tamanna Thi - GYARA HAZAR LADKIYAN 1962. .... gyarah hazar ladkiyan dil ki tammana happy ...Gyara Hazar Ladkiyan (1962) - Movie Review, Story ...
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Gyara Hazar Ladkiyan review, story, songs, photos, videos ... In Film; Main Details; Synopsis; News & Featuresnew! ... Gyara Hazar Ladkiyan (1962 - Hindi). wait.Director:
K. A. AbbasMusic:
N. DuttaGenre:
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dil ki tamanna thi film gyarah hazar ladkiyan - YouTube
www.youtube.com/watch?v=Thr2KyvdpkU
Apr 27, 2012 - Uploaded by Abdul Khan
dil ki tamanna thi film gyarah hazar ladkiyan. Abdul Khan ... Gyara Hazaar Ladkiyan Full Hindi Movies ...Download Gyara Hazar Ladkiyan (1962) free hindi mp3 songs
indiamp3.com/music/index.php?action=album&id=2684Gyarah Hazaar Ladkiyan (1962) - IMDb
www.imdb.com/title/tt0056047/Director:
Khwaja Ahmad AbbasCast
| Credited cast: | |||
 |
Bharat Bhushan | ... |
Puran
|
| |
Helen | ||
| |
Imtiaz Khan | ||
| |
Murad | ||
| |
Mala Sinha | ... |
Asha
|
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See full technical specs »
Details
Country:
IndiaLanguage:
HindiAlso Known As:
Eleven Thousand Girls See more »Company Credits
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on
IMDbPro »
Technical Specs
Runtime:
Sound Mix:
MonoColor:
Black and White
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Sung by Rafi-Asha
Lyrics by Majrooh
Music by Narayan Dutta
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Soundtracks
DIL KI TAMANNA THI MASTI MEINSung by Rafi-Asha
Lyrics by Majrooh
Music by Narayan Dutta
See more »
Gyara Hazar Ladkiyan : Lyrics and video of Songs from the ...
hindigeetmala.net/movie/gyara_hazar_ladkiyan.htm
Lyrics and video of songs from Movie / Album : Gyara Hazar Ladkiyan (1963); Music by: N Dutta; Singer(s): ... Dil Ki Tamanna Thi Masti Me Manzil Se (By Rafi).
Dil Ki Tamanna Thi - GYARA HAZAR LADKIYAN 1962.Solo ...
www.youtube.com/watch?v=qOY57nLpO0AJun 14, 2011 - Uploaded by TheJigneshDalwadiFilm & Year :- Gyara Hazar Ladkiya 1962 ... gyarah hazar ladkiyan dil ki tammana happy version ...''Gham Gaya Toh Gham Na Kar'' (Gyarah Hazar Ladkiyan ...
www.youtube.com/watch?v=1QWTsAyJCToApr 26, 2011 - Uploaded by 1arshiakhanFilm: Gyarah Hazaar Ladkiyaan, 1962. This very beautiful and lovely dance was chreographed by the very ...dil ki tamanna thi film gyarah hazar ladkiyan - YouTube
www.youtube.com/watch?v=Thr2KyvdpkUApr 27, 2012 - Uploaded by Abdul Khandil ki tamanna thi film gyarah hazar ladkiyan. Abdul Khan ... Gyara Hazaar Ladkiyan Full Hindi Movies ...Dil ki tamanna thi masti mein Rafi Gyarah hazar ladkiyan ...
www.youtube.com/watch?v=4IVCdVJ9rUkFeb 15, 2010 - Uploaded by khurshid khanDil ki tamanna thi masti mein Rafi Gyarah hazar ladkiyan. ... Gyara Hazar Ladkiyan (1962), Director ...(1962): Dil ki tamanna thi masti mein - YouTube
www.youtube.com/watch?v=mgsPCjE5ZpAJul 26, 2009 - Uploaded by Alaknanda2007Gyaara hazaar ladkiyaan (1962): Dil ki tamanna thi masti mein ... K.A.Abbas-directed film Gyaara ... gyarah hazar ladkiyan dil ki tammana happy version rafi and ...
www.youtube.com/watch?v=79OwsKywnG4Jan 16, 2009 - Uploaded by Madhu Nairgyarah hazar ladkiyan dil ki tammana happy version rafi and asha ... GYARA HAZAR LADKIYAN (1962 ...GYARAH HAZAR LADKIYAN-1962 - YouTube
www.youtube.com/watch?v=tSZRMu_W92oJan 3, 2010 - Uploaded by Rajeev PradhanGYARAH HAZAR LADKIYAAN-1962,BHARAT BHUSHAN,MALA SINHA ... "BEAUTIFUL MEXICAN ... Dil ki Tamanna thi- Mohammad Rafi - YouTube
www.youtube.com/watch?v=QdrwjJAq3FMNov 23, 2008 - Uploaded by KJAANRafi from film Gyarah Hazar Ladkiyaan 1962. ... GYARA HAZAR LADKIYAN (1962) BHARAT BHUSHAN ... Radio Ceylon 22-03-2015~Sunday Morning~01 Film Sangeet
www.youtube.com/watch?v=ahps1meuiycMar 21, 2015 - Uploaded by eraksoldiesGyarah Hazar Ladkiyan (1962) – Rafi & Asha – O … dil ki tamanna thi masti mei.n manzil se bhi door ... Meri mehboob mere sath hi chalna hai tujhe (Muhammad ...
www.youtube.com/watch?v=ugCaxiAGvJAJan 4, 2010 - Uploaded by Khurram ImtiazMeri mehboob mere sath hi chalna hai tujhe (Muhammad Rafi) Film: Gyarah Hazar Ladkiyan.
songs:-
SINGER : RAFI SAHEB LYRICS : MAJROOH SULTAN PURI MUSIC : N DUTTA MOVIE : GYARAH HAZAAR LARKIYAN (1963)
The noted Urdu poet Ali Sardar Jafri co-wrote and produced Abbas film set among journalists. Puran (Bhushan) rebels against his
The noted Urdu poet Ali Sardar Jafri co-wrote and produced Abbas film set among journalists. Puran (Bhushan) rebels against his
Song: Gham Gaya To Gham Na Kar Cast: Helen, Bharat Bhushan, Nadira Music: N.Dutta Singer: Asha Bhonsle Lyrics: Majrooh
The noted Urdu poet Ali Sardar Jafri co-wrote and produced Abbas film set among journalists. Puran (Bhushan) rebels against his
The noted Urdu poet Ali Sardar Jafri co-wrote and produced Abbas film set among journalists. Puran (Bhushan) rebels against his
The noted Urdu poet Ali Sardar Jafri co-wrote and produced Abbas film set among journalists. Puran (Bhushan) rebels against his
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Dil Ki Tamanna Thi - GYARA HAZAR LADKIYAN
Film : GYARA HAZAR LADKIYAN Year : 1962 Singer : Mohd Rafi Song : Dil Ki Tamanna Thi.- HD
Pehchano Hum Wohi Hai - Lata Mangeshkar - GYARA HAZAR LADKIYAN - Mala Sinha, Bharat Bhushan
The noted Urdu poet Ali Sardar Jafri co-wrote and produced Abbas film set among journalists. Puran (Bhushan) rebels against his ...- HD
Gyara Hazaar Ladkiyan Full Hindi Movies | Bharat Bhushan | Helen | Murad | Hindi Movies
Movie : Gyara Hazaar Ladkiyan (1962) Star Cast : Bharat Bhushan, Helen, Murad, Mala Sinha Music : Narayan Dutta Lyricist ...Mere Mehboob Mere Saath Hi Chalna - Mohammed Rafi - GYARA HAZAR LADKIYAN - Mala Sinha, Bharat,Song
The noted Urdu poet Ali Sardar Jafri co-wrote and produced Abbas film set among journalists. Puran (Bhushan) rebels against his ...- HD
kaam ki dhun mein hain rawaan-Gyara Hazar Ladkiyan
Mahendra Kapoor Kaifi Azmi Narayan Datta.Dil Ki Tamanna Thi Masti Mein (Male) - Mohammed Rafi - GYARA HAZAR LADKIYAN - Mala Sinha, Bharat
The noted Urdu poet Ali Sardar Jafri co-wrote and produced Abbas film set among journalists. Puran (Bhushan) rebels against his ...- HD
Gyara Hazar Ladkiyan Mahinder Kapoor Music N.Dutta (1962)
GYARA HAZAR LADKIYAN (1962) BHARAT BHUSHAN, MALA SINHA, DAVID, MUKRI, MURAD, MADHVI, IMTIYAZ, NADIRA,
Sab Log Jidhar Woh Hai - Asha Bhosle - GYARA HAZAR LADKIYAN - Mala Sinha, Bharat Bhushan
The noted Urdu poet Ali Sardar Jafri co-wrote and produced Abbas film set among journalists. Puran (Bhushan) rebels against his .Mere Mehboob Mere Saath Hi - GYARA HAZAR LADKIYAN 1962
Song :- Mere Mehboob Mere Saath Film & Year :- Gyara Hazar Ladkiya 1962 Singer :- M.Rafi Music By :- N.Dutta.- HD
Sab Log Jidhar Woh Hain Asha Bhosle Film Gyara Hazar Ladkiyan (1962) Music N.Dutta
GYARA HAZAR LADKIYAN (1962) BHARAT BHUSHAN, MALA SINHA, DAVID, MUKRI, MURAD, MADHVI, IMTIYAZ, NADIRA, ...
Feel the love! Ted Lyons & His Cubs | MemsaabStory
memsaabstory.com/2010/01/25/feel-the-love-ted-lyons-his-cubs/Jan 25, 2010 - He told me that he also had a small role in the Mehmood film Bhoot ...... the same film as the Helen video (Gyarah Hazar Ladkiyan, 1962)—it is ...
GYARA HAZAR LADKIYAN - Mala Sinha, Bharat Bhushan
The
noted Urdu poet Ali Sardar Jafri co-wrote and produced Abbas film set
among journalists. Puran (Bhushan) rebels against his ...
Hindi Film Songs - Gyara Hazar Ladkian (1962) | MySwar
myswar.com/album/gyara-hazar-ladkiyan-1962
Gyara Hazar Ladkian (1962) by Datta Naik, GHL - Complete information including lyricist, singers and ... Gyara Hazar Ladkiyan (Kaam Ki Dhun Mein Hai Ravan) ...Bharat Bhushan - Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Bharat_Bhushan
His elder brother was film producer R. Chandra, who owned the Ideal Studio at Lucknow. ... He wrote scripts and stories for Barsat Ki Raat, Nayi Umar Ki Nayi Fasal, ... Sangeet Samrat Tansen (1962); Gyarah Hazar Ladkiyan (1962); Jahan Ara ...- Bharat BhushanFilm actor
- Bharat Bhushan was an Indian Bollywood actor, scriptwriter and producer, who is best remembered for playing Baiju Bawra in the 1952 film of the same name. He was born in Meerut, and brought up in Aligarh, Uttar Pradesh. Wikipedia
- Spouse: Ratna Bhushan (m. 1967–1992), Sharadha Bhushan
Bharat Bhushan
From Wikipedia, the free encyclopediaThis article needs additional citations for verification. (November 2011)
Bharat Bhushan (June 14, 1920 – January 27, 1992) was an Indian Bollywood actor, scriptwriter and producer, who is best remembered for playing Baiju Bawra in the 1952 film of the same name.[1] He was born in Meerut, and brought up in Aligarh, Uttar Pradesh.Bharat Bhushan Born 14 June 1920
Meerut, Uttar Pradesh, British IndiaDied 27 January 1992 (aged 71)
Bombay, Maharashtra, IndiaNationality Indian Occupation Actor Years active 1941–1992 Known for Baiju Bawra Home town Aligarh, Uttar Pradesh, India Religion Hindu Awards Filmfare Best Actor Award, 1954
Personal life
Bharat Bhushan was born in 14 June 1920 Meerut, Uttar Pradesh.
His father, Raibahadur Motilal, was the government pleader of Meerut. His mother died when he was two years old. His elder brother was film producer R. Chandra, who owned the Ideal Studio at Lucknow. The brothers left for Aligarh to stay with their grandfather after their mother's death. He did his studies and took a graduate degree from Aligarh. After this he took to acting against his father's wishes. He first went to Calcutta to join cinema and later established himself in Bombay.
He married into a prominent family in Meerut, Zamindar Raibahadur Budha Prakash's daughter Sharadha. They had two daughters, Anuradha and Aparijitha. Anuradha had polio-associated complications. Sharadha died of labour complications after delivering their second child in the early 60s, soon after the film Barsaat ki raat. In 1967, he married actress Ratna, his co-star in the movie Barsaat Ki Raat.
Bharat Bhushan owned bungalows in Bandra, Bombay and other areas. He was a avid reader and boasted of his collection of books which too he had to sell of like his cars and bungalows in the bad times He died when he was managing to finally get rid of financially bad times , on January 27,[2] 1992.[1]
Professional life
He made his debut with the Kidar Sharma hit, Chitralekha (1941).[3] However, he struggled for over a decade to make a mark in Hindi movies till Baiju Bawra (1952), which gave him instant stardom and legendary status along with Mohammad Rafi, Meena Kumari and Naushad Ali. Though a very talented actor and a prominent star of the 1950s and 1960s in Bollywood, he often took on roles of tragic musicians in the movies. Films in which he starred as lead actor include Basant Bahar.
"He portrays historical and mythological characters the best in Hindi movies," states contemporary actor-producer Chandrashekar. He wrote scripts and stories for Barsat Ki Raat, Nayi Umar Ki Nayi Fasal, Basant Bahar, Dooj Ka Chand, etc. He was the producer of Dooj Ka Chand. His brother R. Chandra made many films such as Bebus, Minar, and Basant Bahar.
He was the recipient of the second Filmfare best actor award for the film Shri Chaitanya Mahaprabhu in 1954. Most of the great songs of major singers of that period Rafi, Manna Dey, Talat, and Mukesh were pictured on him. He was the first chocolate-faced good-looking star of Hindi films. He was one of the few actors who had a good sense of music, so most music-based movies were made with him in lead roles in the 50s and 60s.
He acted in Bollywood movies until the 1990s. He is still loved and revered by the Indians for the great movies and great songs that he gave in spite of personal tragedies and stiff competition from his contemporaries. He is considered to be one of the greatest stars and legends of Hindi cinema.
Selected filmography
- Chitralekha (1941)
- Suhaag Raat (1948)
- Baiju Bawra (1952)
- Anand Math (1952)
- Maa (1952)
- Mirza Ghalib (1954)
- Shabaab (1954)
- Shri Chaitanya Mahaprabhu (1954)
- Basant_Bahar_(film) (1956)
- Kavi Kalidas(1959)
- Pardesi (1957)
- Rani Roopmati (1957)
- Champakali (1957)
- Gateway of India (1958)
- Phagun (1958)
- Samrat Chandragupt (1958)
- Sohni Mahiwal (1958)
- Saawan (1959)
- Angulimaal (1960)
- Barsaat Ki Raat (1960)
- Mud Mud Ke Na Dekh (1960)
- Ghunghat (1960)
- Sangeet Samrat Tansen (1962)
- Gyarah Hazar Ladkiyan (1962)
- Jahan Ara (1964)
- Taqdeer (1967)
- Pyar Ka Mausam (1969) .... Gopal
- Jai Santoshi Maa (1975)
- Meera (1979)
- Umrao Jaan (1981 film) (1981)
- Hero (1983)
- Adi Shankaracharya (1983) as Shivaguru
- Kala Dhanda Goray Log (1986)
- Rehguzar (1985)
- Awwal Number (1990)
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Gyaarah Hazaar Ladkiyaan
madhulikaliddle.com/2010/09/01/gyaarah-hazaar-ladkiyaan-1962/
Sep 1, 2010 - After we'd indulged in much speculation about the film's plot (what an ..... Ooooops, and I thought both of them (in gyarah hazaar ladkiyan and ...
Gyaarah Hazaar Ladkiyaan (1962)
What is a writer without readers? What is a blogger without people
who stop by to read, comment, suggest, recommend, and encourage?
So, in gratitude to everybody who’s been visiting this blog over the months: this month on Dusted Off is dedicated to you. All through September 2010, the posts here will be connected in some way or the other to the readers of Dusted Off. The film reviews will be of films that have been recommended, given, or otherwise suggested by readers; and the lists—those ‘top tens’ I’m so fond of—will be of requests made by readers.
To begin with, this film. When I posted a review of Bhai Bahen a while back, it sparked off a discussion on N Dutta’s music—and reader Ash mentioned Gyaarah Hazaar Ladkiyaan, for which too the score had been composed by Dutta. After we’d indulged in much speculation about the film’s plot (what an intriguing title, right?!), another reader, Shalini, was kind enough to say that she had a copy, and was even more kind enough to share it. Therefore…
The credits roll to the first song of the film. The lyrics tell about, and the screen shows, nurses caring for patients, secretaries typing, telephone operators working at exchanges, and girls working in offices, schools and factories. The 11,000 girls of the title are the 11,000 working girls of Bombay, we are told: hard-working, conscientious girls who take upon themselves the task of providing for their families.
One of these has just landed herself in a great deal of trouble. Asha Premchand (Mala Sinha) is being tried in court for the murder of the manager of the Shangri La Club.
Asha pleads guilty, but has just admitted that she has no lawyer to argue her case, when Puran Chand (Bharat Bhushan), lawyer and journalist, arrives and introduces himself as Asha’s counsel. The prosecutor seems scornful of a colleague so gullible that he’ll plead a case for someone who’s obviously guilty. The judge is sceptical too. “Do you have any witnesses to prove that Asha Devi’s innocence?” he asks, and Puran Chand’s answer is dramatic: “Yes. I have 11,000 witnesses.” Not wholly accurate, but certainly dramatic.
We now go into swift and sudden flashback, to the good old days when Asha herself was one of those 11,000 working girls. We see Asha sitting at her desk at the Rationing Office, chatting with her friends (Achla Sachdev is one of them) and reading a newspaper article in the Naya Sansar (‘New World’) newspaper. The article is by the Naya Sansar’s correspondent, Puran Chand, who’s spent the last few months touring everywhere from Cambodia to Canada to Cairo, and has only recently returned. His piece in the Naya Sansar is about the working girls of Bombay.
It’s a sympathetic article, and the girls at the Rationing Office warm to the writer. So much so that Asha decides she’d like to meet the man. Fortunately, there’s a valid excuse—Puran Chand has been abroad, but in the interim his servant (never named, but would probably be Ramu Kaku; the actor’s Nazir Kashmiri) has been drawing rations. Asha sends a letter summoning Puran Chand to the office.
Puran Chand turns up at the office, meets Asha, has a minor altercation with her, and finally agrees to write a letter for the office, explaining matters and promising future toeing of the line.
In the process—what with the mess on Asha’s desk, and the papers that spill out of Puran Chand’s briefcase when he writes the letter—there’s an inadvertent mix-up. Asha’s pay envelope ends up in Puran Chand’s briefcase and one of his envelopes ends up in her bag.
Office over, Asha goes back home. This is where we meet the rest of her clan—six younger sisters, of whom the eldest, Uma (Madhavi, in her debut) is still at school, though she’s perennially donning Asha’s saris, using her lipstick and powder, and pretending to be all grown up.
The girls’ mother died years ago, and since their father passed on two years back, Asha has been the breadwinner. It’s hard going (even with giving tuitions and working at the Rationing Office, Asha only manages to scrape together Rs 200 a month). And now Asha discovers that she’s lost the month’s pay. Disaster!
—But no. Of course she guesses where it must be, and she manages to track Puran Chand to the Shangri La Club, where he’s gone for a meal. Asha meets Puran Chand and having explained things, exchanges envelopes with him.
While they’re getting to know each other better (and, over a few more meetings, inevitably falling in love), we get to know Puran Chand a bit better too.
Puran Chand
(though for no reason that is divulged)is estranged from his millionaire father, Mool Chand (Murad) because
(and I have another reader, pacifist, to thank for this clarification)
Puran, as a journalist, goes about exposing the misdeeds of greedy
businessmen, one of whom is Mool Chand, greedy and crooked as they come.
Mool Chand spends all his time trying to somehow bully, coax, or trick
Puran into returning to Mool Chand Mahal, to stay with dad. He even
purchases the building in which Puran rents a flat, and evicts Puran.
Puran refuses to buckle under, and his father, after some cajoling,
finally manages to get Puran to agree to have lunch with him—at a club.
At the club, Mool Chand’s devious ways are further revealed: he’s also invited an old and equally wealthy pal, Lakshmi Das along with his daughter Mohana (Nadira). The two old fogies soon make themselves scarce and Mohana, who’s a chatterbox and seems a bit of an airhead, latches on to Puran.
So we have Puran in love with Asha, Asha in love with Puran, and Mohana attracted to Puran and his wealth, with Mool Chand trying to work things so he can get his son back, preferably with Mohana as bahu.
But Puran has no intentions of either returning to Mool Chand Mahal or of marrying Mohana. He doesn’t even cow down when Mool Chand purchases the Naya Sansar and tries to make Puran the editor. Instead, Puran resigns, and sets up his own small newspaper, Aazaad, which he brings out with the help of Asha and an ex-colleague from Naya Sansar.
Meanwhile, remember Asha’s precocious sister, Uma? Uma is as fond of partying as anybody else, and one day, she sneaks off to a friend’s party at the Shangri La Club. There, the manager of the club notices Uma dancing, and approaches her with an offer: he’ll give her a job as a dancer at the Shangri La, and she’ll be able to make pots of money and go places.
When Uma tells Asha, Asha flies into a rage. Good girls do not dance in clubs. How could Uma! Asha takes the Rs 100 Uma has been given as an advance, and goes and flings it back at the manager, who, undeterred, makes a pass at Asha.
But times have turned seemingly irrevocably harrowing for the Premchand girls. Shortly after, one evening when Asha is all by herself at the Aazaad office, Mool Chand arrives, and without much preamble, offers her money to let go of Puran. (Which, of course, Asha politely refuses to do, causing him to leave in a huff).
Then, one day, rationing is abolished. In one fell swoop, hundreds of women who work in rationing offices—Asha among them—lose their jobs. Now what?
And, as if that wasn’t bad enough, Asha’s littlest sister Baby is kidnapped one day on her way back from school. Asha receives a ransom note, asking for Rs 5,000 to be brought to the Bassein Fort. Asha rushes off to Puran’s house to ask him for help, but he isn’t home, and in any case, the kidnapper follows her there and sends in a note telling her to keep her mouth shut or Baby will be killed.
Asha’s by now in a panic, and goes to Mool Chand to ask for a loan of Rs 5,000. This strikes me as silly; after all, if that note has put her off going to Puran, then shouldn’t she not go to Puran’s father, too? But she does go to him, and he does agree to let her have the 5K—provided she signs a note to the effect that she’s taking this money in return for breaking off all relations with Puran.
Just as Asha’s leaving with the money, Puran comes to meet his dad, who shows him the note. And Asha, clutching all that money, remains silent, leaving Puran to think her faithless.
Asha hands over the money to Baby’s kidnapper, and Baby is returned safe and sound. We also discover (as I’d suspected all along; this Mool Chand is a bad egg) that Mool Chand is the one who’d engineered Baby’s kidnapping, just to break up Asha and Puran. The henchman comes to return the Rs 5,000 to Mool Chand, who’s very pleased with himself.
And very soon, poor Asha, now desperate for a job, is reduced to taking up a position as the personal secretary of a very wealthy woman, who happens to be Lakshmi Das’s daughter, Mohana. One day Asha accompanies Mohana on a shopping spree, and Mohana drags her off to a club, where Mohana is supposed to meet her fiancé.
… who turns out to be Puran.
Poor Asha. Life is not kind to a working girl.
But how did Asha get to be in the dock? How did she—if she’s telling the truth—get to murder the manager of Shangri La? Where do those 11,000 girls fit in?
Watch. This isn’t one of those all-time greats that mustn’t be missed, but it’s a pleasant and entertaining little film, and good timepass, as they say.
By the way: if you like Mukri, he has a briefish role too, as the Premchand girls’ comic and thoroughly henpecked neighbour.
What I liked about this film:
The music! Oh, the music. N Dutta—considered the man who brought the sound of rock and roll to Bollywood—scored the music for Gyaarah Hazaar Ladkiyaan. My absolute favourite is Dil ki tamanna thhi masti mein, which has two versions, one a duet and the other a male solo in Rafi’s voice, both equally memorable tunes. Also especially lovely are Gham gaya toh gham na kar and Sab log jidhar woh hain idhar. The latter included a discovery: part of the music in the verses is pretty obviously from the famous Never on a Sunday.
Ted Lyons! I’d never have known there’d been a Ted Lyons sighting in this film, if the man himself hadn’t told me. In the flamenco (or whatever it is) that Madhavi performs at the Shangri La, the tall young man playing the guitar is Terence ‘Ted’ Lyons. Minus the Cubs, but it’s good to see him, looking so dashing, and in a closeup too.
What I didn’t like:
The scripting could’ve been much better. The story’s engaging enough, and the main theme—of the working girls of Bombay—is sufficiently unusual to make this a somewhat offbeat film. (That theme does remain somewhat superficial, but never mind). What does irk me is the negligence with which parts of the script are treated. At the end of the film, though the main problem is resolved, other subsidiary issues are left hanging in the air. Yes, I don’t expect each end to be neatly tied up, but here I get the distinct impression that someone forgot that there were X, Y and Z problems too…
Still, enjoyable enough. And the music is worth it.
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So, in gratitude to everybody who’s been visiting this blog over the months: this month on Dusted Off is dedicated to you. All through September 2010, the posts here will be connected in some way or the other to the readers of Dusted Off. The film reviews will be of films that have been recommended, given, or otherwise suggested by readers; and the lists—those ‘top tens’ I’m so fond of—will be of requests made by readers.
To begin with, this film. When I posted a review of Bhai Bahen a while back, it sparked off a discussion on N Dutta’s music—and reader Ash mentioned Gyaarah Hazaar Ladkiyaan, for which too the score had been composed by Dutta. After we’d indulged in much speculation about the film’s plot (what an intriguing title, right?!), another reader, Shalini, was kind enough to say that she had a copy, and was even more kind enough to share it. Therefore…
The credits roll to the first song of the film. The lyrics tell about, and the screen shows, nurses caring for patients, secretaries typing, telephone operators working at exchanges, and girls working in offices, schools and factories. The 11,000 girls of the title are the 11,000 working girls of Bombay, we are told: hard-working, conscientious girls who take upon themselves the task of providing for their families.
One of these has just landed herself in a great deal of trouble. Asha Premchand (Mala Sinha) is being tried in court for the murder of the manager of the Shangri La Club.
Asha pleads guilty, but has just admitted that she has no lawyer to argue her case, when Puran Chand (Bharat Bhushan), lawyer and journalist, arrives and introduces himself as Asha’s counsel. The prosecutor seems scornful of a colleague so gullible that he’ll plead a case for someone who’s obviously guilty. The judge is sceptical too. “Do you have any witnesses to prove that Asha Devi’s innocence?” he asks, and Puran Chand’s answer is dramatic: “Yes. I have 11,000 witnesses.” Not wholly accurate, but certainly dramatic.
We now go into swift and sudden flashback, to the good old days when Asha herself was one of those 11,000 working girls. We see Asha sitting at her desk at the Rationing Office, chatting with her friends (Achla Sachdev is one of them) and reading a newspaper article in the Naya Sansar (‘New World’) newspaper. The article is by the Naya Sansar’s correspondent, Puran Chand, who’s spent the last few months touring everywhere from Cambodia to Canada to Cairo, and has only recently returned. His piece in the Naya Sansar is about the working girls of Bombay.
It’s a sympathetic article, and the girls at the Rationing Office warm to the writer. So much so that Asha decides she’d like to meet the man. Fortunately, there’s a valid excuse—Puran Chand has been abroad, but in the interim his servant (never named, but would probably be Ramu Kaku; the actor’s Nazir Kashmiri) has been drawing rations. Asha sends a letter summoning Puran Chand to the office.
Puran Chand turns up at the office, meets Asha, has a minor altercation with her, and finally agrees to write a letter for the office, explaining matters and promising future toeing of the line.
In the process—what with the mess on Asha’s desk, and the papers that spill out of Puran Chand’s briefcase when he writes the letter—there’s an inadvertent mix-up. Asha’s pay envelope ends up in Puran Chand’s briefcase and one of his envelopes ends up in her bag.
Office over, Asha goes back home. This is where we meet the rest of her clan—six younger sisters, of whom the eldest, Uma (Madhavi, in her debut) is still at school, though she’s perennially donning Asha’s saris, using her lipstick and powder, and pretending to be all grown up.
The girls’ mother died years ago, and since their father passed on two years back, Asha has been the breadwinner. It’s hard going (even with giving tuitions and working at the Rationing Office, Asha only manages to scrape together Rs 200 a month). And now Asha discovers that she’s lost the month’s pay. Disaster!
—But no. Of course she guesses where it must be, and she manages to track Puran Chand to the Shangri La Club, where he’s gone for a meal. Asha meets Puran Chand and having explained things, exchanges envelopes with him.
While they’re getting to know each other better (and, over a few more meetings, inevitably falling in love), we get to know Puran Chand a bit better too.
Puran Chand
At the club, Mool Chand’s devious ways are further revealed: he’s also invited an old and equally wealthy pal, Lakshmi Das along with his daughter Mohana (Nadira). The two old fogies soon make themselves scarce and Mohana, who’s a chatterbox and seems a bit of an airhead, latches on to Puran.
So we have Puran in love with Asha, Asha in love with Puran, and Mohana attracted to Puran and his wealth, with Mool Chand trying to work things so he can get his son back, preferably with Mohana as bahu.
But Puran has no intentions of either returning to Mool Chand Mahal or of marrying Mohana. He doesn’t even cow down when Mool Chand purchases the Naya Sansar and tries to make Puran the editor. Instead, Puran resigns, and sets up his own small newspaper, Aazaad, which he brings out with the help of Asha and an ex-colleague from Naya Sansar.
Meanwhile, remember Asha’s precocious sister, Uma? Uma is as fond of partying as anybody else, and one day, she sneaks off to a friend’s party at the Shangri La Club. There, the manager of the club notices Uma dancing, and approaches her with an offer: he’ll give her a job as a dancer at the Shangri La, and she’ll be able to make pots of money and go places.
When Uma tells Asha, Asha flies into a rage. Good girls do not dance in clubs. How could Uma! Asha takes the Rs 100 Uma has been given as an advance, and goes and flings it back at the manager, who, undeterred, makes a pass at Asha.
But times have turned seemingly irrevocably harrowing for the Premchand girls. Shortly after, one evening when Asha is all by herself at the Aazaad office, Mool Chand arrives, and without much preamble, offers her money to let go of Puran. (Which, of course, Asha politely refuses to do, causing him to leave in a huff).
Then, one day, rationing is abolished. In one fell swoop, hundreds of women who work in rationing offices—Asha among them—lose their jobs. Now what?
And, as if that wasn’t bad enough, Asha’s littlest sister Baby is kidnapped one day on her way back from school. Asha receives a ransom note, asking for Rs 5,000 to be brought to the Bassein Fort. Asha rushes off to Puran’s house to ask him for help, but he isn’t home, and in any case, the kidnapper follows her there and sends in a note telling her to keep her mouth shut or Baby will be killed.
Asha’s by now in a panic, and goes to Mool Chand to ask for a loan of Rs 5,000. This strikes me as silly; after all, if that note has put her off going to Puran, then shouldn’t she not go to Puran’s father, too? But she does go to him, and he does agree to let her have the 5K—provided she signs a note to the effect that she’s taking this money in return for breaking off all relations with Puran.
Just as Asha’s leaving with the money, Puran comes to meet his dad, who shows him the note. And Asha, clutching all that money, remains silent, leaving Puran to think her faithless.
Asha hands over the money to Baby’s kidnapper, and Baby is returned safe and sound. We also discover (as I’d suspected all along; this Mool Chand is a bad egg) that Mool Chand is the one who’d engineered Baby’s kidnapping, just to break up Asha and Puran. The henchman comes to return the Rs 5,000 to Mool Chand, who’s very pleased with himself.
And very soon, poor Asha, now desperate for a job, is reduced to taking up a position as the personal secretary of a very wealthy woman, who happens to be Lakshmi Das’s daughter, Mohana. One day Asha accompanies Mohana on a shopping spree, and Mohana drags her off to a club, where Mohana is supposed to meet her fiancé.
… who turns out to be Puran.
Poor Asha. Life is not kind to a working girl.
But how did Asha get to be in the dock? How did she—if she’s telling the truth—get to murder the manager of Shangri La? Where do those 11,000 girls fit in?
Watch. This isn’t one of those all-time greats that mustn’t be missed, but it’s a pleasant and entertaining little film, and good timepass, as they say.
By the way: if you like Mukri, he has a briefish role too, as the Premchand girls’ comic and thoroughly henpecked neighbour.
What I liked about this film:
The music! Oh, the music. N Dutta—considered the man who brought the sound of rock and roll to Bollywood—scored the music for Gyaarah Hazaar Ladkiyaan. My absolute favourite is Dil ki tamanna thhi masti mein, which has two versions, one a duet and the other a male solo in Rafi’s voice, both equally memorable tunes. Also especially lovely are Gham gaya toh gham na kar and Sab log jidhar woh hain idhar. The latter included a discovery: part of the music in the verses is pretty obviously from the famous Never on a Sunday.
Ted Lyons! I’d never have known there’d been a Ted Lyons sighting in this film, if the man himself hadn’t told me. In the flamenco (or whatever it is) that Madhavi performs at the Shangri La, the tall young man playing the guitar is Terence ‘Ted’ Lyons. Minus the Cubs, but it’s good to see him, looking so dashing, and in a closeup too.
What I didn’t like:
The scripting could’ve been much better. The story’s engaging enough, and the main theme—of the working girls of Bombay—is sufficiently unusual to make this a somewhat offbeat film. (That theme does remain somewhat superficial, but never mind). What does irk me is the negligence with which parts of the script are treated. At the end of the film, though the main problem is resolved, other subsidiary issues are left hanging in the air. Yes, I don’t expect each end to be neatly tied up, but here I get the distinct impression that someone forgot that there were X, Y and Z problems too…
Still, enjoyable enough. And the music is worth it.
Gyarah Hazar Ladkiyan | Upperstall.Com
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8889 films, 16633 profiles, and counting. films · people · blogs ... Gyarah Hazar Ladkiyan. Hindi, Drama, 1962, 152 min. Cast And Crew. Starring. Mala Sinha ...On Request: Gyarah Hazaar Ladkiyan - Hamara Forums
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Nov 22, 2007 - 1 post - 1 author
NDutta-Gyarah Hazar Larkiyan(1962)-Dil Ki Tamana Thi(Rafi_MSul).rar 128/2:55 NDutta-Gyara Hazar Ladkiyan(1962)-Gham gaya to gham na kar(AB_MSul).rar 128/3:30 ... Any other film in which they collaborated?N. Dutta - Movies & Music of India - WordPress.com
https://iyerbhaskar.wordpress.com/2011/.../movies-music-of-india-n-dutt...
Dec 18, 2011 - The first film as an independent music director for N. Dutta was Milap in ... and Kala Samundar (1962) to name a few, gave evidence of N. Dutta's genius. ... Other Dutta gems are from Dharamputra, Gyarah Hazar Ladkiyan, ...Datta Naik - Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Datta_NaikDatta Naik (12 December 1927 – 30 December 1987), also credited as N. Dutta, is a Hindi film music director. Born in the then Portuguese colony of Goa, Naik, ...Milestone Songs of N. Dutta. (Music Director) - YouTube
www.youtube.com/watch?v=-VlxVa47u8EMay 6, 2011 - Uploaded by IMIRZA777Roop Naik: +IMIRZA777 hi everybody...this is roop naik & im N.Datta's son. My father's full name ...N. Dutta - IMDb
www.imdb.com/name/nm0244896/N. Dutta (–1987). Composer | Soundtrack | Music Department. Contribute to IMDb. Add a bio, trivia, and more. Update information for N. Dutta » ...
