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Abhilasha (1968) | Hindi Movie Videos - Bollywood MuVyz
Abhilasha: 1968, / Meena Kumari, /Nanda,/ Sanjay Khan ...
Abhilasha : Lyrics and video of Songs from the Movie ...
song Wadiyan Mera Daman - film Abhilasha [1968]. - YouTube
ABHILASHA-1968 - YouTube
Abhilasha 1968 Movie News, Wallpapers, Songs & Videos ...
Banner
- R D Production
Release Date
- 1 Jan 1968
Genre
- Family Drama
Abhilasha 1968: Movie Review And Old Hindi Songs Online ...
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Abhilasha (1968) - IMDb
Director:
Amit BoseCast
| Cast overview, first billed only: | |||
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Meena Kumari | ... |
Meena R. Singh
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Nanda | ... |
Ritu
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Sanjay Khan | ... |
Lt. Arun R. Singh
(as Sanjay)
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Rehman | ... |
Major General Ranjit Singh
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Kashinath Ghanekar | ... |
Dr. Ajay R. Singh
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Sulochana Latkar | ... |
Geeta - Daulatram's Wife
(as Sulochana)
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Tabassum | ... |
Dr. Madhu
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Murad | ... |
Rai Bahadur Daulatram
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Agha | ... |
Singing College Student
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Jagdish Raj | ... |
Arun's Commanding Officer
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Polson | ... |
Singing College Student
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Mohan Choti | ... |
Singing College Student
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Johnny Whisky | ... |
Sunderlal Kadwani
(as Johny Whisky)
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Tun Tun | ... |
Singing College Student
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Harindranath Chattopadhyay | ... |
Albert D'Souza
(as Harindranath Chattopadhyaya)
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Storyline
Certificate:
UCountry:
IndiaAlso Known As:
Desire See more »Company Credits
Technical Specs
Runtime:
Sound Mix:
Mono (RCA Sound Recording)Color:
ColorDid You Know?
Soundtracks
Munne Mere AaMusic by Rahul Dev Burman
Lyrics by Majrooh Sultanpuri
Performed by Asha Bhosle
See more »
Abhilasha : Lyrics and video of Songs from the Movie ...
| Song Heading | Singer(s) | Music Director | Lyricist | Movie / Album | Actor(s) |
| Wadiyan Mera Daman Raaste Meri Baahen | Mohammed Rafi | R D Burman | Majrooh Sultanpuri | Abhilasha (1968) | Sanjay Khan, Nanda |
| Video Playlist of all the songs of this movie from youtube | Advertisements |
Legend / symbol used on this page |
 Abhilasha (1968) |
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Lyrics of Wadiyan Mera Daman Raaste Meri Baahen - वादियाँ मेरा दामन रास्ते मेरी बाहें
vaadiyaa mera daaman, raaste meri baahejaao mere sivaa, tum kahaan jaaoge
vaadiyaa mera daaman, raaste meri baahe
jaao mere sivaa, tum kahaan jaaoge
vaadiyaa mera daaman
jab churaaoge tan tum kisi baat se
jab churaaoge tan tum kisi baat se
shaakh-e-gul chhed degi mere haath se
apni hi zulf ko aur ulajhaoge
vaadiyaa mera daaman, raaste meri baahe
jaao mere sivaa, tum kahaan jaaoge
vaadiyaa mera daaman
jabse milne lagi tumse raahe meri
jabse milne lagi tumse raahe meri
chaand suraj bani do nigaahe meri
tum kahi bhi raho, tum nazar aaoge
vaadiyaa mera daaman, raaste meri baahe
jaao mere sivaa, tum kahaan jaaoge
vaadiyaa mera daaman, raaste meri baahe
jaao mere sivaa, tum kahaan jaaoge
vaadiyaa mera daaman
Abhilasha: 1968, / Meena Kumari, /Nanda,/ Sanjay Khan ...
song Wadiyan Mera Daman - film Abhilasha [1968]. - YouTube
Abhilasha 1968 # Full Hindi Classical Movie || Meena ...
ABHILASHA-1968 - YouTube
ABHILASHA-1968 - YouTube
Wadiyan mera daman - Abhilasha (1968) -KARAOKE song ...
FILM abhilasha ....song Wadiyan mere daman ...singerLata ...
Waadiyaan Mera Daman by M Rafi (Abhilasha 1968 ...
"wadiyaan mera daman"by mohd.rafi,m:r.d ... - YouTube
Wadiyan Mera Daman - Mohammad Rafi - Abhilasha [1968 ...
"wadiyaan mera daman"by lata mangeshker,m:rd burman - Tune.pk
Abhilasha 1968 Wadiyaan Mera Daman Mohammad Rafi x264 ...
https://www.youtube.com/watch?v=ZpvVlr2wa8M
Lyrics of Pyar Huwa Hai Jab Se Mujhko - प्यार हुआ है जब से मुझको
pyar huwa hai jab se mujhko nahi chain aatachhup ke najar se bhi too dil se nahi jata
pyar huwa hai jab se mujhko nahi chain aata
chhup ke najar se bhi too dil se nahi jata
lipati hai too meri hi baho se
phir hai sajna ojhal kyu meri nigaho se
lipati hai too meri hi baho se
phir hai sajna ojhal kyo meri nigaho se
mai hu tere dil me hay phir bhi meri ja
tune hi mujhko nahi dekha, mai karu kya
are pyar huwa hai jab se mujhko nahi chain aata
chhup ke najar se bhi too dil se nahi jata
are pyar huwa hai jab se mujhko nahi chain aata
chhup ke najar se bhi too dil se nahi jata
rakhna dil ko lekar in hatho me
dil hai pagal aana na too iski bato me
rakhna dil ko lekar in hatho me
dil hai pagal aana na too iski bato me
lekin iss dil pe, arre kabu kis ka
yeh toh hai tera diwana, mai karu kya
are pyar huwa hai jab se mujhko nahi chain aata
chhup ke najar se bhi too dil se nahi jata
are pyar huwa hai jab se mujhko nahi chain aata
chhup ke najar se bhi too dil se nahi jata
luta tere gesu bikharane me
milata hai kya ai jalim mujhe satane me
luta tere gesu bikharane me
milata hai kya ai jalim mujhe satane me
tujhako ulajha ke mujhko meri jan
achchhi lagti hai teri surat, mai karu kya
are pyar huwa hai jab se mujhko nahi chain aata
chhup ke najar se bhi too dil se nahi jata
Pyar Hua Hai Jabse ....... Abhilasha 1968 - YouTube
Lyrics of Ek Janib Shamme Mehfil - एक जानिब शम्म-ए-मेहफिल
ek janib shamm-e-mehfilek janib shamm-e-mehfil, ek janib ruhe jana
girta hain dekhe kaha parwana
ek janib shamm-e-mehfil
ek janib shamm-e-mehfil, ek janib ruhe jana
girta hain dekhe kaha parwana
ek janib shamm-e-mehfil
ek su ek shola charago ki anjuman men
ek su range jalwa kisi buth ke pakpan men
ek shola ek jalwa aur iname ek diwana
ek janib shamm-e-mehfil, ek janib ruhe jana
girta hain dekhe kaha parwana
ek janib shamm-e-mehfil
usaki kya hai manjil nahi itna bekhabar bhi
aaya dilbaro men to hain kafi ek najar bhi
inn najro ko yaro kya janu mai anjana
ek janib shamm-e-mehfil, ek janib ruhe jana
girta hain dekhe kaha parwana
ek janib shamm-e-mehfil
kya kya rang nikale hasino ki sadagi se
itni hai shikayat ke milte hain ajnabi se
jo aisa beparwah kya use dil uljhana
ek janib shamm-e-mehfil, ek janib ruhe jana
girta hain dekhe kaha parwana
ek janib shamm-e-mehfil, ek janib ruhe jana
girta hain dekhe kaha parwana
ek janib shamm-e-mehfil
Lyrics of Munne Mere Aa Sadke Tere Aa - मुन्ने मेरे आ सदके तेरे आ
munne mere aa sadke tere aaek hansi deke le ja ye umariya
munne mere aa sadke tere aa
ek hansi deke le ja ye umariya
munne mere aa sadke tere aa
aaja re chhup ja meri aanchal ki chhaiya tale
mukh se tere pahle pahal angana mere
dip jale tere bina suni phire
ye nagariya munne mere aa sadke tere aa
ek hansi deke le ja ye umariya
munne mere aa sadke tere aa
munne mere aa sadke tere aa
ek hansi deke le ja ye umariya
munne mere aa sadke tere aa
ek hansi deke le ja ye umariya
munne mere aa sadke tere aa
tere mukh se aanchal bhara mamta ko geet mila
pathar pe tuti kali dharti pe chaand khila
aaj mere taaron bhari hai dagariya
munne mere aa sadke tere aa
ek hansi deke le ja ye umariya
munne mere aa sadke tere aa
pyari si chhoti si ye moorat hai mn me basi
man mera dole jahan tu hai aur teri hansi
dam se tere swarg bani meri dunia
munne mere aa sadke tere aa
ek hansi deke le ja ye umariya
munne mere aa sadke tere aa
ek hansi deke le ja ye umariya
munne mere aa sadke tere aa
Lyrics of Yaaro Humara Kya - यारो हमारा क्या
yaaro hamara kya chal de jidhar chaahebottle ki gardan mein daale huye baahe
naa hamara koi jora naa hamari koi joru
naa hamara koi jora naa hamari koi joru
yaaro hamara kya chal de jidhar chaahe
bottle ki gardan mein daale huye baahe
hey hum nahi sunte baat kisi ki aadar ho ya laama
aa gaye pehanke kisi ka ho payjama
are hum nahi sunte baat kisi ki aadar ho ya laama
aa gaye pehan ke kisi ka ho payjama
are taay kisi ki gale baandh ke phirte hai aawara
taay kisi ki gale baandh ke phirte hai aawara
naa hamara koi jora naa hamari koi joru
naa hamara koi jora naa hamari koi joru
yaaro hamara kya chal de jidhar chaahe
bottle ki gardan mein daale huye baahe
sone ki zanjeer badalke na muththi mein paise
are phir koi dilbara ruke paas to kaise
sone ki zanjeer badalke na muththi mein paise
phir koi dilbara ruke paas to kaise
are dilbar humko gaye chhod ke ab tak to das baara
dilbar humko gaye chhod ke ab tak to das baara
naa hamara koi jora naa hamari koi joru
naa hamara koi jora naa hamari koi joru
yaaro hamara kya chal de jidhar chaahe
bottle ki gardan mein daale huye baahe
hey hey hey maal jidhar hai yaar abhi to haath udhar fekenge
sar kahi pad gayi kabhi to phir dekhenge
are maal jidhar hai yaar abhi to haath udhar fekenge
are sar kahi pad gayi kabhi to phir dekhenge
are aaj talak jo gujar rahi hai karke lappa laara
aaj talak jo gujar rahi hai karke lappa laara
naa hamara koi jora naa hamari koi joru
naa hamara koi jora naa hamari koi joru
yaaro hamara kya chal de jidhar chaahe
bottle ki gardan mein daale huye baahe
Munne Mere Aa Sadke Tere Aa Lyrics - Abhilasha (1968)
Movie/album: Abhilasha (1968)Singers: Asha Bhosle
Song Lyricists: Majrooh Sultanpuri
Munne Mere Aa Sadke Tere Aa Song Lyrics
(1 votes, average: 1.00 out of 5) Munne mere aa sadke tere aa
Ek hasi deke le ja ye umariya
Munne mere aa sadke tere aa
Ek hasi deke le ja ye umariya
Munne mere aa sadke tere aa
Tere mukh se aanchal bhara
Mamta ko geet mila
Pathar pe tuti kali
dharti pe chaand khila
Aaj mere taaron bhari hai dagariya
Munne mere aa sadke tere aa
Ek hasi deke le ja ye umariya
Munne mere aa sadke tere aa
Pyari si chhoti si ye murat hai mann me basi
Man mera dole jahan tu hai aur teri hansi
Dam se tere swarg bani meri dunia
Munne mere aa sadke tere aa
Ek hasi deke le ja ye umariya
Munne mere aa sadke tere aa
Ek hansi deke le ja ye umariya
Munne mere aa sadke tere aa.
Abhilasha (1968) | Dustedoff
Abhilasha (1968)
A lot of my memories of 50s and 60s cinema date back to the 1980s, when almost all the films I watched were those shown on Doordarshan. In the early years, with Doordarshan being the sole channel, my sister and I (our parents were rather more discerning) watched every single Hindi film that was telecast, down to painful stuff like Jai Santoshi Ma and the thoroughly obscure Fauji, with Joginder Singh (who, if I remember correctly, also produced and directed it) in the lead role.
But, to get around to the topic of this post: Abhilasha, not a very well-known film but one which made an impression on me because of two songs I liked a lot. And because it depicted a mother-son relationship that was a little different from the usual.
That was all I remembered of the film, but I’d been wanting to watch it ever since. Fortunately, it’s now available on (a sadly scratchy) VCD by Priya, versions of which are to be found on Youtube.
The film begins at a party at the home of Brigadier Ranjit Singh (Rehman) and his wife Meena (Meena Kumari, in an awful wig). While their parents dance and chat, the children gorge on ice cream and look on. Meena, going to a little girl, gathers her up in her arms, rubs away the melted ice cream smeared over the kid’s face, and generally coos over the child. Ranjit glances towards them, and there’s an exchange of understanding smiles. It’s a sweet little domestic scene.
Except, as it turns out moments later, this isn’t Meena and Ranjit’s child. She’s a guest’s daughter. Ranjit and Meena don’t have any children.
There is, too, a sad tale behind that. Meena had given birth, and one day, playing on the rooftop with her baby, tossing it up in the air, she had tossed it right over the parapet [Yes, just the thought of it makes my hair stand on end, so you can imagine what it does to Meena]. Meena, no matter how much she is told that it was an accident, cannot forgive herself.
This, says the doctor to whom Ranjit takes Meena for a gynaecological examination, is the cause of Meena’s inability to conceive. She has convinced herself she can never be a good mother, which is why she is unable to conceive. Until Meena can forgive herself and accept that she can be a good mother, the chances of her conceiving are slim.
One evening, while some friends are over at their home, Meena receives the surprising news that Ranjit has been promoted to Major General, and has been transferred to Poona. While the sahibs and memsahibs are celebrating, Ranjit and Meena’s butler D’Souza (Harindranath Chattopadhyay, looking far too old—despite the black wig—to be husband to a relatively young woman) is in hospital, pacing about anxiously while his wife gives birth to a son. She dies soon after, and D’Souza is left—literally—holding the baby.
That night, Meena hears the wailing of the baby from D’Souza’s little room beside their bungalow. He’s trying to quieten the baby, and the baby refuses to be quietened. Meena becomes increasingly distressed at the distress of the child, and finally rushes down and calms the baby. Then, realizing that D’Souza might not welcome this intrusion, she comes back to her room.
But the baby starts crying all over again, and Meena goes all to pieces. Ranjit, unable to do anything to comfort her, takes matters into his own hands and goes down to D’Souza’s room.
There, while D’Souza is blabbering apologies for the baby’s disturbing their sleep, Ranjit takes the baby from him and, having reassured D’Souza, takes the infant up to Meena. Within moments, her cooing to the baby, giving it its milk bottle, and singing to it makes the baby quieten down. Ranjit realizes that D’Souza’s baby is a Godsend: the baby needs a mother, and Meena needs a child. If D’Souza—who anyway seems incapable of looking after the baby [though Ranjit is too tactful to say so] is amenable, can Ranjit and Meena adopt the child, bring him up as their own?
D’Souza readily agrees; that his son be brought up as such a
high-ranking officer’s, to be given the education and upbringing that
will entitle him to a better life than his biological father can
provide: what could be better? Ranjit also proposes that this remain a
secret between D’Souza and the Singhs, and D’Souza agrees.
So the baby becomes Ranjit and Meena’s son [it’s never shown how
they account for the sudden appearance of this baby, though it’s
possible that the shift to Poona might have helped]. Both Ranjit and Meena dote on him.
Shortly after, Meena gets pregnant [Yup, that doctor had been right]. She has a son, and the two boys—Arun (who is actually D’Souza’s son) and Ajay grow up together. We have a brief interlude with a kiddie party (the boys’ birthdays are celebrated on the same day) where it’s apparent that Ranjit and Meena love both boys equally…
… and then we flash-forward to 15 [or whatever; oddly enough, it’s not explicitly stated] years later. Arun (now Sanjay Khan) and Ajay (now Kashinath Ghanekar, who starred in the only Marathi film I’ve reviewed so far, Pathlaag) are—respectively—in the final year of BA and two years from becoming a doctor. They have been sent to the airport to receive Ranjit’s best friend, Rai Bahadur Daulat Ram (Murad), his wife (Sulochana Latkar) and their daughter Ritu (Nanda), who are returning to India after having spent the last 20 years in London.
On their way home, Daulat Ram asks the young men what they’re doing; on discovering that Arun is in college, he asks Arun to get Ritu admitted to the same college.
Ritu, being driven to college by Arun the next day, is puzzled (and piqued) by his reticence: is he always this quiet, she asks. Arun, unlike the outgoing Ajay, is the strong, silent type. Ritu is not; she’s vivacious and mostly feisty, giving back as good as she gets when someone in college pastes a cheeky note on her back.
The only time Ritu is cowed down is when a group of young men gang up
on her in college and start ragging her. To her surprise (and it seems,
to his own) Arun springs to her defence and hits out at his classmates.
It’s not long before Ritu and Arun have fallen in love, though it’s
shown in an odd sort of way—choppy and not very coherent dialogues, long
silences and what seems like friendly teasing, followed by the ethereal
Waadiyaan mera daaman.
Arun now shares a bit of news with Ritu: he’s off to Dehradun (presumably to the IMA) to join the army. He’ll be gone for two years; will she wait for him? Of course she will, says Ritu. And she will miss him every moment of every day.
Which she does, even dreaming of him at night, with his photograph tucked under her pillow…
… a photograph her father finds and smiles at knowingly.
He decides (in a discussion with his wife, and later, after talking to a shy Ritu) that he should talk to his friend Ranjit and fix up a match between Arun and Ritu. It’s almost time for Arun to come back, too, after getting his commission. (In the meantime, by the way, old D’Souza has died; Arun receives the news in a letter from home and is sad, but of course has no idea that the old man was his father).
Back to Poona, where Ritu, now that she knows her parents know (and approve of) her love for Arun, is very happy. She goes on a drive with Ajay to the very place she had gone to with Arun just before he left. There, remembering her parting with Arun, she sings (imagining Arun beside her, no doubt) the same song he had sung to her. She’s unaware, all this while, that Ajay thinks her song is addressed to him. She is blissfully unaware, too, that he is in love with her and doesn’t have the slightest inkling that Ritu’s sweetheart is Arun.
It seems Ajay isn’t the only one under the impression that Ritu is in love with him. When Daulat Ram and his wife come to Ranjit and Meena, asking for Arun’s hand in marriage for Ritu, Ranjit and Meena are surprised. They agree, but when they’re on their own, they puzzle over this: isn’t Ajay in love with Ritu? And Ritu in love with him?
Ajay too receives a rude shock a few days later. While he’s been out, Arun has come home—and Ajay arrives to find Ritu and Arun sitting cozily in front of a fire, whispering sweet nothings to each other. His dreams are all shattered, but Ajay is mature enough to not show any trace of his disappointment when Arun meets him.
Everything looks rosy for the young couple. Their parents are pleased; Ajay (whose feelings neither Arun nor Ritu are aware of) has reconciled himself to a life in which Ritu will be bhabhi rather than wife. The only obstacle is that since Arun has just got his commission, he’ll have to wait two years before he can marry—or he’ll need permission from his CO to marry now. Even that is, all said and done, nothing to be really worried about. After all, the CO may well give his permission. If he doesn’t, all they’ll have to do is be patient.
But Ranjit Singh’s conscience won’t let him rest. This is a matter of
marriage, of two lives—even two families—being bound together. It’s
important that Daulat Ram (whom Ranjit knows to be a man very strict
about ‘blood’ and ‘breeding’ and ‘lineage’) know the truth.
Before he can tell Daulat Ram who Arun really is, Ranjit has to tell Arun the truth. It is the young man’s right [why Ranjit did not think it important to spring this on Arun earlier is anybody’s guess].
… and the truth, when revealed, shatters Arun. In ways, too, that Ranjit and Meena could not have imagined. Suddenly, from being the ‘well-bred son of a wealthy and esteemed Hindu family’, Arun has gone to being the poor son of a Christian servant. In his own eyes, and in the eyes of Ritu’s parents—who will no longer even dream of letting him anywhere near their daughter.
Abhilasha doesn’t tread new ground when it comes to plot; this trope about the ‘high and low’, about barriers built by society, has been used in countless films, some good (Sujata comes to mind), many forgettable. Abhilasha manages to be, to my mind, somewhat in the middle. It has its good points and its bad.
What I liked about this film:
The somewhat unusual way in which the last half-hour plays out. True, there is a good bit of melodrama here (and a climax reminiscent of Sujata), but some of the conversations and the reactions came as a pleasant surprise. The fact, for instance, that Ranjit and Meena, even when they discover that Ajay loves Ritu, love Arun enough to not want him to give up his love for his foster brother. This love for one who is not of their blood, but still of their family, is one carried through very convincingly: even for Ajay, who is privately anguished, but outwardly happy for Arun and Ritu.
Arun’s reaction to the news that he’s not whom he’s believed himself to be all these years is interesting (I won’t say good to watch, because Sanjay Khan does get rather hammy in these scenes). He goes to bits, and lashes out at both Ranjit and Meena, insisting on calling them ‘Sir’ and ‘Memsahib’ respectively, and letting them know that he is from now on never going to forget that he’s D’Souza’s son (he also rubs it in that if they’d told him the truth earlier, at least he’d have had the chance to treat his ‘real’ father with the respect he deserved—which I can understand). One especially poignant scene between Meena Kumari and Sanjay Khan where she tries to tell him that he is her son, no matter what, is memorable.
And the music, composed by RD Burman to lyrics by Majrooh Sultanpuri. The sublime Waadiyaan mera daaman (the male version, by Rafi) is perhaps Abhilasha’s greatest claim to fame, but there are a few other songs that I like: the peppy Pyaar hua hai jabse, the lullaby/birthday party song, Munne mere aa sadke tere aa, and Ek jaanib shamm-e-mehfil.
What I didn’t like:
The stilted, not too convincing romance between Arun and Ritu, which is just pure badly scripted, with poor dialogues and sudden, unexplained falling in love, even though the film would have us believe it’s happened gradually.
And, as I’d mentioned, the predictable, rather melodramatic end.
Despite that, however, this, I thought, was a film that deserves to be better-known. It’s pleasant, the songs are nice, and the message is a sweet one.
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Abhilasha (1968) - Hindi Movie Song Lyrics | LyricsBogie
Abhilasha (1968) Songs Lyrics
Director: Amit Bose
Producer(s): Ramniklal J. Dave
Music Director(s): Rahul Dev Burman, Sachin Dev Burman
Lyricist(s): Majrooh Sultanpuri
Composer(s): Rahul Dev Burman, Sachin Dev Burman
Release on: 10th July, 1968
Abhilasha (1968) Songs Lyrics
aaro Hamara Kya
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Johnny Whiskey, Mohan Choti, Dhumal, Tun Tun, Agha, Polson- comedians
Videos
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Mohan Choti
Indian film actor
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Description
Tun Tun was the screen name of Indian playback singer and actress-comedian, Uma Devi Khatri, who was called "Hindi cinema's first-ever comedienne". Wikipedia
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Description
Agha was an Indian film actor of Bollywood films of Persian descent. He was known for comic roles and modeled himself on Bob Hope's style of acting. He appeared in over 300 Hindi films in his career between 1935 and 1986. His son, Jalal Agha, also became an actor, most known for the song Mehbooba Mehbooba in Sholay. Wikipedia........................................
Polson
