Abhas Kumar Ganguly was born in Khandwa, now in Madhya Pradesh, to Kunjilal Ganguly, a Brahmin lawyer by profession, and Gouri Devi, both of whom came from wealthy landowning families. Kishore was the youngest in the Ganguly family, preceded by Ashok, Sati, & Anoop. While Kishore was still a child, his brother Ashok became a Bollywood actor. Later, Anoop also ventured into cinema with Ashok's help. Post Ashok Kumar's stardom, the Ganguly family shifted base to Mumbai. This was also the time when Abhas Kumar Ganguly changed his name to Kishore Kumar. His first venture into the big cinema career was as a chorus singer in the film "Bombay Talkies". His first film as an actor was in the film called "Shikari" which was released in the year 1946, wherein Ashok Kumar was the lead hero. In 1948, Kishore Kumar got a chance to sing the song "Marne Ki Duayen Kyon Mangu" for the film "Ziddi". After this, he got many other assignments, but he was not very serious about a film career. Although his films flopped initially, he achieved success as a comic hero with movies like "New Delhi", "Half Ticket" and "Padosan". All the praise and honor for his acting skills was still not the platform for his successful throne. He achieved his varied and unrivalled fame only after he was recognized as an established singer. Spending time with his brothers, Kishore became interested in films and music. He became a fan of singer-actor K. L. Saigal—whom he considered his vocal guru—and tried to emulate his singing style.The popular music director Sachin Dev Burman, who was impressed by his singing skills, advised him not to copy Saigal but develop and condense his own style. Kishore kept this advice in mind and eventually developed his own style of singing, prominently featuring the yodelling that he had heard on some records bought by his brother Anoop. In the Bollywood music circles, yodelling became Kishore's trademark.
With time, music directors started recognizing the potential of Kishore Kumar and he became one of the leading singers in the Indian film industry. The 1960s was a lean patch in Kumar's career graph. Most of his films bombed at the box office. However, in 1969 the tables turned once again, as R. D. Burman took over the recording initiatives after S. D. Burman fell ill for the film "Aradhana". R. D. Burman deployed Kishore Kumar to sing the songs "Mere Sapno Ki Rani" and "Roop Tera Mastana", both of which gained instant recognition and success at the box-office. Kishore Kumar also won his first Filmfare award for the song "Roop Tera Mastana". During the 1970s and 1980s, he sang for Rajesh Khanna, Amitabh Bachchan, Dharmendra, Jeetendra, Sanjeev Kumar, Dev Anand, Shashi Kapoor, Randhir Kapoor, Rishi Kapoor, Mithun Chakraborty, Sanjay Dutt, Sunny Deol, Anil Kapoor and Jackie Shroff.
With R. D. Burman, Kishore delivered great hits "O Maanjhi Re" from Khushboo, "Yeh Shaam Mastaani" and "Yeh Jo Mohabbat Hai" from Kati Patang (1971), "Kuchh To Log Kahenge" from Amar Prem (1972), "Raat Kali Ek Khwab Mein Aayi" from Buddha Mil Gaya (1971), "Musafir Hoon Yaaron" from Parichay (1972), "Diye Jalte Hain" from Namak Haraam (1973), "Meri Bheegi Bheegi Si" from Anamika (1973), "Zindagi Ke Safar Mein" from Aap Ki Kasam (1974), "Agar Tum Na Hote", "Humein Tum Se Pyaar Kitna" from Kudrat, "Mere Naina Saawan Bhadon" from Mehbooba, and "Chingari Koi Bhadke" (Amar Prem), "Jab Bhi Koi Kangana" from Shaukeen. Apart from the Burmans, Kishore Kumar worked with other music directors such as Laxmikant-Pyarelal, Rajesh Roshan, Sapan Chakravarty, and Bappi Lahiri.
His low-profile marriages to some of the most popular and attractive Bollywood actresses (Madhubala, Yogeeta Bali, Leena Chandavarkar) raised eyebrows, but added to his witty, eccentric persona although close friends and colleagues remember him as being reticent and sentimental.
During the Indian Emergency in 1975-77, Kishore refused to sing for Indira Gandhi's 'Emergency Propaganda'. In retaliation, she banned his songs on all national media. When Amitabh Bachchan refused to do a guest appearance in a film produced by him, Kishore stopped singing for the actor, which affected the latter's future film endeavours immensely. By the late 1980s, Kishore had grown tired of the type of songs he was singing and decided to retire from the industry. Later in the 1970s and early 1980s, Kishore Kumar produced and directed movies such as "Badhti Ka Naam Daadhi" (1978), "Zindagi" (1981) and "Door Wadiyon Mein Kahin" (1980). His last appearance as an actor was in "Door Wadiyon Mein Kahin". In the mid-1980s, Kishore Kumar sang for Anil Kapoor in Kapoor's debut film as a leading man, "Woh Saat Din" and also recorded "Mr. India". He sang a duet with Alka Yagnik, "Tumse Badhkar Duniya Mein Na Dekha" for "Kaamchor". He also recorded some songs for the film "Saagar" with R. D. Burman.
On October 13th 1987, co-incidentally also the birthday of his elder brother Ashok Kumar, Kishore suffered a heart attack and breathed his last. His untimely and unexpected death shocked the entire nation. He left behind a rich vocal and visual legacy and millions of fans who still prefer his rich-coffee baritones over present-day playback singers.
Pyar Diwana Hota Hai
Kishore Kumar Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
हर ख़ुशी से हर गम से बेगाना होता है
प्यार दीवाना होता है मस्ताना होता है
हर ख़ुशी से हर गम से बेगाना होता है
शमा कहे परवाने से परे चला जा
मेरी तराह जल जायेगा यहाँ नहीं आ
शमा कहे परवाने से परे चला जामेरी तराह जल जायेगा यहाँ नहीं आ
वो नहीं सुनता उसको जल जाना होता है
हर ख़ुशी से हर गम से बेगाना होता है
प्यार दीवाना होता है मस्ताना होता है
हर ख़ुशी से हर गम से बेगाना होता है
सुनो किसी शायर ने ये कहा बहुत खूब
मना करे दुनिया लेकिन मेरे मेहबूब
सुनो किसी शायर ने ये कहा बहुत खूब
मना करे दुनिया लेकिन मेरे मेहबूब
वो छलक जाता है जो पैमाना होता है
हर ख़ुशी से हर गम से बेगाना होता है
प्यार दीवाना होता है मस्ताना होता है
हर ख़ुशी से हर गम से बेगाना होता है
The song Pyar Diwana Hota Hai from the movie Kati Patang (1971) is a romantic number sung by the legendary playback singer Kishore Kumar. The song speaks about how love makes people crazy and carefree, as it transcends emotions of happiness and sorrow. As the song progresses, it also brings out the pain of not being reciprocated by the beloved. The lyrics convey feelings of deep passion, longing, and helplessness, which make the song a universal favorite among listeners.
The song begins with "Pyar Diwana Hota Hai Mastana Hota Hai," which translates to "Love makes one crazy and carefree." The lyrics indicate that love has its way of taking a toll on our emotional state, and one can even lose their sanity in the process. The next line, "Har khushi se har gham se begana hota hai," translates into "Love makes one indifferent to both happiness and sorrow." It indicates that love is a driving force that makes us oblivious to both good and bad experiences and only drives us towards the person we love.
The song's next verse talks about the singer's pain and how they are so consumed by love that even if they try to live without it, it is impossible. "Shama kahe parwane se pare chala ja, meri tarah jal jayega yahan nahi a" translates to "The light warns the moth to stay away as it will burn like how he burns when he is not here." The singer is seeking the love of his life and is imploring them to come back as they cannot live without them. The next verse speaks about a shayar who says that even if the world objects to their love, they cannot stay away from each other because love is like a overflowing glass that spills over naturally.
Overall, the song Pyar Diwana Hota Hai is a beautiful melody that remains timeless even today. Its lyrics express how love can make one feel, and the music takes listeners on a journey of emotional intensity. Kishore Kumar's unmatched voice further adds depth to the song, making it a treat for music lovers.
Line by Line Meaning
प्यार दीवाना होता है मस्ताना होता है
Love makes you crazy, it makes you intoxicated.
हर ख़ुशी से हर गम से बेगाना होता है
Every happiness and sorrow become insignificant in the face of love.
शमा कहे परवाने से परे चला जा
The flame tells the moth to leave, for it will burn like I do.
मेरी तराह जल जायेगा यहाँ नहीं आ
Like me, it will burn and there will be no escape.
वो नहीं सुनता उसको जल जाना होता है
But like the stubborn moth, it will not listen and will have to face the consequences.
सुनो किसी शायर ने ये कहा बहुत खूब
As a poet once beautifully said:
मना करे दुनिया लेकिन मेरे मेहबूब
The world may object, but my beloved
वो छलक जाता है जो पैमाना होता है
Is like a glass overflowing when filled with love.
Lyrics © O/B/O APRA AMCOS
Written by: UTTAM SINGH, ANAND BAKSHI, ANANDSHI BAKSHI, R D Burman
Lyrics Licensed & Provided by LyricFind
@sudiptobanerjee1328
The context is so soft and tender.
Asha Parekh introduces herself as Rajesh Khanna's friend's widow. Rajesh Khanna is trying to hold himself by not falling in love for a woman who has made a deep soulful connection. But he wants his feelings to be known. He has to be subtle to nurture and curate such delicate situation. He chooses poignant poetry and delivers in a melodious joyous notes.
He uses uncanny parallels in his poetry. Shama or flame burns and kills the parwana or moth alive. Yet, even knowing the inevitable the moth still let's itself be pulled into the flame to death, offering no recourse or retreat.
More parallels are made, all leading to the same outcome. Hiding feelings, can only last for sometime. It is bound to overflow and show up at one point. He is making factual appeals.
Asha Parekh's situation is different. She is embarrassed. She is guilt conscious. She is also kind, loving and trusting. She finds in Rajesh Khanna the friend and confidant, she once unknowingly had betrayed.
The connection and the possibilities are hinted or expressed, in words, gestures and with unbashfull eye contact, the only means available to send any message.
"Teri nazar ban ke zuba
Lekin tere pygam diye jaye."
But all of that had to be made with in the confines of the social boundaries of those generations.
This is Kishore Kumar's one of his best and RDs musical creativity at his peak. The composition and the rendition that seems so easy is actually extremely complex. The vibrato followed by occasional falsetto makes the movement of the tune very absorbing. This is in D major with occasional E minor that makes the melody upbeat happy with some sad interludes.
Overall, such a beautiful composition, taking a new way of appreciating.
@S.1998Patil
Kaka ke chehre ki masumiyat ...❤❤❤0:36😢😢😢
@abdulharithibrahim4733
I am Malaysian🇲🇾...I watched this film when I was in my teens without understanding the language. It was a hit in Malaysia among the people here back then...Hindi films very popular here from the 60s until now
@dhanashrimatondkar3008
So happy to hear this!! Are Bollywood films still popular in Malaysia?
@abdulharithibrahim4733
@@dhanashrimatondkar3008 yes still...
@dhanashrimatondkar3008
@@abdulharithibrahim4733 🙂💐
@a_true_devotee_of_kk_sir
Believe me man. You have a very great taste of music ❤❤❤. Thanks for supporting the Indian music culture ❤️❤️❤️
@archanamande3206
Bas ye gana suno and feeel the love ...and be happy
@19891214ful
Music : 100%
Acting: 100%
Awesomeness : 100%
Good old days man
@THEGAMERBOY909
Yes❤️❤️
@mwm78
Yes 🥰