An uran khatola (Hindustani: , ) is a flying vehicle in the traditional folktales of North India and Pakistan.[1] The term literally means 'flying bedstead' or 'flying cot' but in folklore the term is used more expansively to cover any flying vehicle. In modern-day Indian and Pakistani slang, it can refer to any vehicle that flies (such as a helicopter or an airplane) or appears to glide through the air (such as a gondola lift).[2][3][4]
The direction was by SU Sunny but the moving spirit was Naushad, old Bade Miyaan (whom I worship and for whom I went home to take a bath on coming to know of his death), who produced the film and also gave the songs (lyrics by Shakil Badayuni) their delectable tunes. Every song is a gem. I am not sure how Uran Khatola fared commercially.
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Sounds like a story Rider Haggard would write (except for the tragic part) - though the planes there would definitely crash over Africa, not unknown land in India! I love the songs in this one - especially O door ke musafir and Mohabbat ki raahon pe.
my god such a long description. i think the songs were important so just tell their situations. as far as reasoning is concerned the best of movies will have some flaws. and considering this is just a 1955 you can say fantasy movie i think it is o.k.
At one time frustrated with the music in the industry Rafi wanted to return to Punjab and his classical music roots. Naushad told him that he would compose songs rooted in classical ragas for him. There are traces of raga Malkauns in this song from Baiju Bawra (1952).
The other lasting collaboration Naushad formed was with lyricist Shakeel Badyuni. While Naushad worked with other popular lyricists at the time such as Majrooh Sultanpuri. The Shakeel-Naushad team gave the industry some memorable songs.
Naushad and Shakeel created timeless melodies like "Pyaar Kiya toh Darna Kya", "Teri Mehfil Mein" and the iconic song "Naina Lad Jaihen" from Ganga Jamuna (1961). This is one of their early songs from Uran Khatola (1955) filmed on Dilip Kumar.
Dilip was a great actor and lucky to have worked in an era when some of our BEST films were being made. These films had songs that were the best of all times too. Hence, it is hard to DISLIKE any Dilip song.
Aah, Madhu. What a lovely, lovely post and with some of my favourites too. Does it surprise you that where you had two favourites from a film, the song you picked would have been my choice too? :) (Not to mention that I would have dithered between the same two songs?)
It may be a trifle too difficult to list out ten really (as good as his pathos songs) light solos, but for that obviously he can not be held responsible. It is for the director to create such a situation and then music director to pick up the challenge.
I am quite surprised that no one at all has mentioned Naya Daur or its songs. A search of the page reveals not one mention of the film at all, which comes a shock to me, I love the film and its songs. I would have recommended it to bombaynoir as one of those lighter Dilip Kumar films you were talking about.
>SanjeevSo, according you: formal knowledge or training in Hindustani
classical has the consequence of SUPPLANTing one's keen interest
in film music!I think there is lot of merit in what you say. It perhaps
explains the strange taste in some film songs and singers
often exhibited by RMIMers such as Rajan, Vish, Surajit,
and yourself!So, it should serve as a warning to all those RMIMers--especially
on the California coast--who have started learning HCM: Stop
before it is too late!
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