O P Nayyar did magic with his music and Asha Bhonsle elevated it to the level of a miracle. One such song is Ankhonse jo utri hai dil mein…
Movie: The 1963 movie Phir Wohi Dil Laya Hoon (I have returned with the same heart) was produced and directed by Nasir Hussain. The star-cast includes, late Joy Mukherjee, Asha Parekh, late Rajendra Nath, late Pran, Veena and Tabassum.
Marital discord increases between Jamuna (Veena) and her husband Colonel Mahendranath and she leaves him. He does not give her their son, so she gets him kidnapped. Mother and son go and live in Srinagar. Mahendranath then brings up Mona, his friend’s daughter as a niece.
Many years later Jamuna’s son Mohan (Joy Mukherjee) has grown up and they have been living in a lower middle class locality. One day Mohan meets Mona (Asha Parekh) and they fall in love with each other. But Mahendranath wants her to marry Biharilal alias Difu, who has been to a foreign country and belongs to a wealthy family. Mona and her friends decide to go on a trip to Srinagar and Mohan follows them there.
It is during this trip that Mona sings this song. She would not have expressed her feeling if not for an intoxicating fruit, which she eats before the song.
Song: O P Nayyar composed the music and Majrooh Sultanpuri wrote the lyrics.
The song goes thus, “It is the picture of a stranger that has been captured by my heart through my eyes. The flame itself is looking for the moth, what shall I say about him?”
In Hindi poetic literature, the flame and the moth are considered lovers. Here 2 figures of speech Double Metaphor and Personification have been used. The Double Metaphor is in the indirect comparison of the flame with the girl and the moth with the boy. The Personification is in that the flame is considered as looking for someone, while in actuality; the girl is looking for the boy.
The song continues with, “The beautiful smile on his lips, the colorful mischief in his eyes, the fragrance of love in his breath, the beats of love in his speech; have changed my world and he has become a cloud and left. O the sight of the happy-go-lucky person.”
There is another Metaphor here saying the boy had changed her life and left like a cloud.
The last stanza expresses thus, “The style of his coming is like the spring comes silently. He was with me only for a very short time. But it felt like I had lived my entire life with him. I will not live without him. If luck would have it and now I find that madman’s trace, (I would not let him go).”
There is a simile here directly comparing the boy’s style of coming with spring, which comes silently. There is a Paradox as well in this stanza, where the girl says, “He was with me only for a very short time. But it felt like I had led my entire life with him.” The boy was with her for a short while, but it felt like he was with her for her entire life. Short while and entire life are 2 opposing situations, which have been used here.
Video: Choreography is by late Gopi Krishna. Director of Photography is Marshal Braganza.
The song begins with the close-up of Asha Parekh on the bank of a river. The hair style is typical of the 1960s and the 2 large pearls stuck in her hair bun, is also fascinating. And so is the tight fitting salwar kameez. Her dress color compliments the color of the natural setting that has been taken for this song. The landscape in which the song has been shot is very pleasing to the eyes.
The gestures resemble that of a mother, who describes her girl child. But what Asha Parekh tries to say is something altogether different. Asha Parekh is a versatile Bharatanatyam dancer and her dance looks like how a Bharatanatyam dancer caresses her child. The choreography changes and suddenly she moves her hands up and down like a traffic policeman!
Suddenly again, the dance changes style into a puppetry act, with broken gestures and a photograph in her hands. Joy Mukherjee, who was watching her from his hiding place behind a hay bundle, moves the hay bundle with him, so that he is not seen. The song finishes as Asha Parekh walks on the dry stones on the river.
Artists: Asha Bhonsle sings the song and Asha Parekh lip-synchs, while Joy Mukherjee, Tabassum and others look on.
Cultural Influence: Here cinematic liberty prompts the heroine to reveal her feelings through a song. Otherwise, girls of that age even today speak to their friends about their relationships or their fascination for someone. They don’t actually sing it out.