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Yeh Duniya Agar Mil Bhi Jaaye Tho Kya Hai

This article is written by Ms. Utthara Kumari B, a member of the Baar Baar Rafi club in Bangalore.

Mohd Rafi with S.D.Burman and Guru Dutt

Mohd Rafi with S.D.Burman and Guru Dutt

There is one song of Mohd Rafi which I consider the best among his bests. This is one of those classics where the immortal Rafi sahab, the romantic rebel Sahir Ludhianvi, the song king S D Burman and the brooding genius Guru Dutt combined to make one of the most powerful song sequences in cine history. It is that thought-provoking song from the black-and-white classic Pyaasa. To attempt to review the song is a tall order. I have only poured out my feelings, I wouldn’t dare call it a review.


Yeh mahalon, yeh takhton, yeh taajon ki duniya….
yeh duniya agar mil bhi jaye toh kya hai…

Wah kya lyrics, kya music, kya acting and above all kya singing! I have watched this song sequence countless times. Each time this song stirs me and I go numb with its tremendous impact. What Sahir had written 50 years ago, still holds good today – this cruel word has not changed.

Rich and pure, Rafi’s voice is tinged with the kind of magic that is guaranteed to get to the heartstrings. He stresses a word here or goes slightly high pitch there or drawls a word here with his andaz and adas he gives that something extra to the song.

Just one line Yeh duniya agar mil bhi jaye toh kya hai. See how differently Rafi sings this line each time. It may sound monotonous… but he brings variations even in monotony. Only God can sing like that. The way he says `kya hai’ in a heavy drawl tells you what an unparalleled singer he is.

Listen to Yeh Duniya Agar Mil Bhi Jaaye

Guru Dutt after making frothy entertainers like Aar Paar and Mr and Mrs 55, stopped laughing, took life seriously when his relationships broke. His disillusionment is mirrored in subsequent films like Pyaasa, Kagaz Ke Phool and Sahib Bibi Aur Gulam.

I have outlined the film’s story to better appreciate this mind-blowing song. Pyaasa reveals a haunting and aching sadness. Guru Dutt plays Vijay, the frustrated and angry-with-society poet, a rebel without a pause. Rebellion yes, but self-defeating. Vijay’s growing disenchantment with the people and society is crushing. The defeated and broken man shuns the hypocritical society – a society which eulogises the dead and ignores the living. 

Mohd Rafi with O.P.Nayyar and Guru Dutt

Mohd Rafi with O.P.Nayyar and Guru Dutt


Inspired by Sarath Chandra’s novel Srikant, Guru Dutt’s Pyaasa (1957) examines the plight of the poet in a highly opportunistic world. In a world where romance sells, Vijay’s realistic poems are too bitter and pessimistic. Shunned by family, girlfriend and society, a frustrated Vijay does everything to get his poems published, but in vain. Defiant, angry and heartbroken, Vijay rejects the society. The movie depicts an artiste’s struggles to make it in a man-made harsh world.

The song highlights the ultimate achievement of this all-time loser – a slap in the face of the society. After a dead beggar wearing his coat is mistaken for him, his love Gulab, a prostitute, gets his poems published with her earnings. When Gulab finds Vijay is alive, she organizes a function to present the real Vijay to the world.

When the netas pay him handsome tributes believing him to be dead, Vijay rejects the society and Rafi brings to life Vijay’s disillusionment and his disgust and contempt for the hypocritical society.
Yeh mahalon, Yeh takhton, Yeh taajon ki duniya Yeh duniya agar mil bhi jaaye to kya hai! 

(These palaces, these kingdoms, this land of power… What do I gain by winning this worthless world?)
Mere saamne se hataado yeh duniya! (Remove this world from my sight)

Now that the world is willing to accept him and his popular writings, Vijay has no desire to attain the world anymore. Why revel in a shallow world that ignores the living? 

Mohd Rafi with S.D.Burman and Guru Dutt

Mohd Rafi with S.D.Burman and Guru Dutt


S D Burman’s tunes, Sahir’s profound poetry and Rafi’s intense singing bring this song alive in its stark reality.

In this riveting climax – in cold black and white – you see the silhouette of Guru Dutt which gradually comes into focus and by the end of the song you see a larger-than-life Dutt. The reaction shots of each character,especially of Gulab (Waheeda Rehman), are captivating. There is the unforgettable image of Vijay standing in the doorway with a world-weary look on his face. Alone and dejected, he looms large over a morally bankrupt world.

The elite who lavish praises on him thinking he is dead, now throw him out when they realise he is alive.

Rafi proves why he is the best – the song begins as a murmur, gradually rises in tone and pitch and finally explodes into all frustrated glory - jalado jalado ise phoonk dalo ye duniya tumhari hai tumhi sambhalo ye duniya (burn this world, blow it out, take back your world, I care nothing for it).

Rafi pours all the pain, inner traumas, anger, frustration and disgust of Vijay – he makes you feel Vijay’s pain. That is the greatness of a singer. As the song reaches a crescendo, Rafi’s voice soars giving one goose bumps. The song, the singing, the words haunt you. It takes sometime to come back to earth.

Only Sahir could have written such a scathing commentary on the society.

Ye mahalon, ye takthon, ye taajon ki duniyaa
Ye inasaan ke dushman samaajon ki duniyaa
Ye daulat ke bhuukhe rivaazon ki duniyaa
Ye duniyaa agar mil bhii jaaye to kyaa hai

Yes, why do we need such a world which bows to the rich and treats the underprivileged with utter contempt?

The first stanza is almost inaudible. Yet, Rafi conveys a wealth of meaning with his slow murmur

Har ek jism ghaayal, har ek ruh pyaasi
Nigaahon mein uljhan, dilon mein udaasi
Yeh duniyaa hai yaa aalam-e-badhavaasi
yeh duniyaa 

Here, the song rises a little in tone to show the disgust of the poet. And Rafi excels in conveying the udasi and uljhan. Each word falls like a heavy stone into the chilling silence.

Jahaan ek khilonaa hai inasaan ki hasti
Ye basti hai murdaa-paraston ki basti
Jahaan aur jivan se hai maut sasti
yeh duniyaa …

The song rises further in tempo in this stanza

Javaani bhatakti hai bezaar bankar
Javaan jism sajate hai baazaar bankar
Jahaan pyaar hotaa hai vyaapaar bankar
ye duniyaa 

Here you see Rafi singing in a slightly higher pitch to show the injustice of the society where even human beings are treated like commodities.

Yeh duniyaa jahaan aadami kuchh nahin hai
Vafaa kuchh nahin, dosti kuchh nahin hai
Jahaan pyaar ki kadr hi kuchh nahin hai
ye duniyaa …

In this stanza, Rafi’s voice soars a little, hinting that the song is hurtling towards a shattering climax.

Jalaa do, jalaa do ise phoonk daalo ye duniyaa
Mere saamne se hataa lo ye duniyaa
Tumhaari hai tumhi sambhalo ye duniya, ye duniyaa … 

The song ends with these soaring notes, which touch every cord in you, leaving you in helpless anger at the society. 

I don’t want a world which doesn’t give a damn to a person or loyalty or friendship or love – a world where everyone is deeply hurt, faces only problems – where beauty is sold in open market – where death is cheaper than living.  

Mohd Rafi with Sahir Ludhianvi, Jaan Nisar Akhtar, Madan Mohan, Minoo Karthik

Mohd Rafi with Sahir Ludhianvi, Jaan Nisar Akhtar, Madan Mohan, Minoo Karthik


What profound lyrics. Only Sahir’s pen could have come out with such bitter truths. The song is a telling comment on the commodification of people in the quest for money and power. Fifty years after the film’s release, today’s market economy too reflects this – where everything comes with a price tag.

S D Burman, the master, has given non-intrusive music. You only hear Rafi’s voice, the musical score is minimal. Dada’s music raises the song to sublime heights. 

With four greats coming together – Rafi, Sahir, Burman and Guru Dutt – is it any surprise that this song – can we merely call this a song? – this musical soul-stirrer is considered the best in cine history?


In 2005, Time Magazine selected Pyaasa as one of the all-time 100 movies of 20th century.
Nargis and Madhubala were originally pencilled in to act but were too busy. Mala Sinha and Waheeda Rehman, relatively newcomers then, stepped in. 

Waheeda’s character Gulab is based on real-life Gulabo, a prostitute whom Guru Dutt’s friend-director befriended once.

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126 Blog Comments to “Yeh Duniya Agar Mil Bhi Jaaye Tho Kya Hai”

  1. a r modak says:

    ..both great at enacting tragic roles…..
    what effect did Guru have on Dilip as a tragedy star himself?
    can one say that when Guru departed, Dilip filled the gap as tragedy king…………..
    ..although Dilip also started his career about the same time

    there is a common thread here,
    both were besotted with Waheeda Rehman………
    ……only Guru, twice suicidal could not bear both that loss, plus an unhappy marriage……………. whilst Dilip marshalled on, only to marry a younger Saira

  2. a r modak says:

    the awesome foursome, sahir, rafi, guru and SD.
    this combined effort makes this song a masterpiece-words, music, the singer and the directors input (also as an actor), to give audiences a memorable take on indian society in the fifties……………..brilliant
    the pain of indias history under british rule, and subsequent independence, laid bare the rawness of a society that was somewhat jusxtaposed between decadence (british “chamchay” who enjoyed being part of the glamor, and the subjects who suffered immensely…………….
    Dutt explored this journey and showed audiences a glimpse of india and the falseness of a society who took advantage of the poor………………

  3. limeflow says:

    listen this guy…he is a rafian too… listen him at this link on youtube

  4. Suresh Heblikar says:

    Hello Uttharaji
    I read your review and it’s really excellent.Honestly,I had no idea that you also were blessed with such a precious gift for exploring the deeper layers and subtle influences the lyrics and the music could make on the human psyche.Your song review of Ye duniya agar mil bhi jaye…brings back to our numbed minds and fading memories the mellifluous tunes and the soulful lyrics the particular song created.

    Going through your review I especially felt how important it is to comprehend the uncanny strengths and abilities of the lyricist and the music composer and bring them together in producing a desired impact -appropriately as you analyse in the film Pyassa.
    And now we realise that because of these rare talents which the filmmakers,the lyricists and the music composers possessed the songs and the films became immortal.

    Your review of Ye duniya agar mil bhi jaye …sets many a sensitive mind on a soul-searching path.And at a time when brashness of present
    music goes as a modern trend your attempt in bringing back the immortal lore is very timely and appreciative.Please keep it up.
    Suresh Heblikar

  5. SANJAY ARORA says:

    ref post 121,haldar sahab,i fully endorse your views opn had the guts & the courage to defy everbody,and he composed only on his terms & conditions,i fully remember opn charged a cheverlot for `johny walker` from the producer.
    these days i am listening to`kabir dohe `rendered by the master of rythm Nayyar saab.

  6. P. Haldar says:

    ref post 113:

    utthara ji, in my quiz question, I didn’t mention which burman I was speaking of. The popular song in pyaasa that I was referring to was the one that gave fillip to the telmalish profession. Anyway, let me share with you something about one sd song for which I had once cursed the old man. (God, forgive me for I knew not what I was doing.) Much later, I learnt that his son had recorded the song with kishore. I should have known from the electronic intrusions into this beautiful composition that rd must have recorded the song. Kishore sang it as well as he could, but nowhere near the heights rafi would have taken this song to. I’m not sure if sd would have given the song to rafi even if he was fit, but deep inside the old man must have definitely known that his biological son and adopted son had jointly spoiled a gem of a composition. I speculated on this four-five years ago on this forum (I think myk and sudip were involved in the exchanges). you’ll find corroboration of this theory in the following excerpt from an interview that the lyricist yogesh gave to a film magazine last year:

    About the other father and son pair he has worked with, he recalls
    with affection the quirks of Dada (S.D.Burman) who worked with him in
    Us Paar and Mili. “When Basuda first sent me to him for Us Paar, Dada
    warned me that he would throw me out if I was not good! Later, he
    gave me the tunes of Mili before he fell seriously ill. R.D.Burman
    recorded Maine kaha phoolon se and Badi sooni sooni hai and Dada
    would mock-criticise Pancham’s treatment of the songs!” smiles Yogesh.

    Now contrast “badi sooni sooni” with “tere bin sooni” delivered on screen by kishore’s brother and recorded by rd’s father. What a difference the presence of an md or singer in a recording room can make!

  7. P. Haldar says:

    ref post 118:

    Dear nadkarni ji:

    i just copied the comments that I read in an op interview (probably in the screen magazine). as i’ve said before, some of these articles are not worth the paper they are printed on. That said, I have to admit that I like to read such gossip from time to time. But there are facts for which you don’t have to interview anyone, and they are:

    1. sd never worked with sahir after pyaasa
    2. op never worked with sahir after pyaasa
    3. op never worked with b. r. chopra after naya daur
    4. op never worked with yusuf khan after naya daur.

    Given the success of these two films, you cannot have us believe that nothing happened, and that sahir and op were the best of friends. Also that, after such a long association with sahir, sd suddenly woke up one morning and decided to switch to majrooh and shailendra. To make inferences on these events, you don’t have to be an industry insider. I have no doubts in my mind that the fallout from pyaasa was the result of ego tussles between various strong personalities. What amazes me is how sd, who was charging around Rs. 25,000 at the time of pyaasa and never uttered a word about making this person or that person becomes the villain of the piece, when the other folks involved were either demanding more money, cars and what not (based on your and binu nair’s comments).

    To me, the real stars in the hindi film industry have always been the music directors, lyricists and singers. So if given a choice between meeting op and yusuf khan, I’d go for the former in an instant. Between sd and amitabh bachchan, I’d again go for sd. If I really wanted to meet any film personalities, it’d be people like bimal roy, raj kapoor, guru dutt and vijay anand to ask them how they picturised their songs.

    Most of the musicians involved with pyaasa are gone, and from what I recollect, you joined the industry a few years later. Manohari singh probably joined the sd team the following year (kala pani) and he wouldn’t know. But if you have any knowledge of the song recordings for pyaasa, I’d request you to provide answers for the following questions:

    1. Did sd set the meter for sahir to write his lyrics, or was it the other way round?

    2. Who translated sahir’s lofty urdu poetry to sd so that he could understand? Did guru dutt translate it to bengali first?

    3. How many rehearsals took place for “yeh mahalon yeh takhton” and “jinhe naaz hai”?

    These are the questions that journalists should have asked when they interviewed sd, but instead they kept focusing on the aradhana saga, kishore-rafi, etc. The person who would have been able to answer these questions in detail left us 15 years ago; as you know, he was heavily involved in the film and got an offer to direct the music for guru dutt’s raaz when he was still in his teens. What pains me most is that none of the journalists ever asked him anything about these details; all they wanted to write about was what he (allegedly) said about rafi.

  8. Manish Kumar says:

    post 115 “Mr Haldarjee do you think OR believe that OPN had that level of guts to speak a word against Yusuf Khan”

    if i understand the question clearly, then my answer is a loud, resounding *yes*! op nayyar had the guts to ditch lata mangeshkar in an time and industry that he was just starting out lata could supposedly make or break established MDs. when op replaced roshan as MD during the middle of the movie, lata said she had agreed only to the initial terms. op told her that she never asked her opinion. hahaha, you have to love op. if op can stand up to lata mangeshkar, he can more than stand up to dilip kumar. secondly, op was so proud that he was even willing to part with the singer whom he loved & had great chemistry for 10+ years. this shows that op was willing to put everything on the line, even if ill advised, for his pride. that includes speaking out against dilip kumar regardless of the circumstances. by the way, i’m glad op stood up to dilip kumar. the compositions of naya daur were oustanding. op nayyar was a trendsetting titan in the industry and i’ll always be grateful for his immortal association with mohammed rafi.

  9. Mr Sandeep Nadkarni says:

    Post 105 dear P Haldaree.
    Do you think what you have written in respect of O P Nayyar & Dilip Kumar is true and that too based on OPN interview?
    Like-wise Sahir & OPN were two typical birds of a feather and on several occassions they both even flocked together in various parties & other concerts even after their fight. They both were typical filmy personalities and used to enjoy their togetherness in several filmy parties. Hope you know what i meant by filmy parties Mr Haldarjee. Ye log duniya ko kuch aur tamasa dikha te rahte thhe jaise khane aur dikhane ke daat alag.
    Naya Daur was indeed a collosal film which initially had Madhubala in the star cast, but the way she was thrown out of this film would hardly be anyones guess or for that matter of fact cup of tea.
    Mr Haldarjee do you think OR believe that OPN had that level of guts to speak a word against Yusuf Khan and that too by way of an interview. Never because OPN had a typical nakhra of boasting and especially more when he used to consume overdose of Johny Walker either Red OR Black.
    Yusuf Khan was the uncrowned king of the Industry and i have already mentioned that B R Chopra had indeed paid him his rate of Rs 40.00 lacs.
    Mr Haldarjee ye filmy duniya hai and please do not read & above all believe in such gimmics mainly because you write so well and i always read your small articles & enjoy them a lot.
    Good Day Mr Haldarjee & Thank You
    Please keep writing

  10. toufique says:

    Post 85 mr. haldar,
    “this is op’s own explanation of the events leading to his rift with sahir:

    “In one of the filmi parties, I heard song-writer Sahir Ludhiyanvi telling somebody that he had made S.D.Burman. I got very angry. If this man could say such a thing for a great composer like S.D.Burman, then what was there to prevent him from saying the same about me? I just cut off relations with that man.””

    Probably in the same interview OP was saying how the credits of a song should be distributed and according to him the lyricist should get the highest credit. op always had some problems — with everyone at some points (including his wife&children, asha, rafi, sahir, chopra, dilip etc).

    about pyasa, i think sahir was right, it was due to sahir. just sing the songs, u will feel the poetry. does that demean sdb? i don’t think so. this is because of the story of the film.

    now about sdb. in one comment i read someone saying sdb is god. how great is he as a music director? manna dey accuses him of copying from tagore’s songs. i have found that usually 1/2 songs in every movie are direct copy of some bengali songs — tagore’s, nazrul’s and folk songs. here are some examples: jaye to jaye kaha (taxi driver), gun guna rahi (aradhana), tere mere milan ki (abhiman) are copy of tagore’s songs. Puchhona kaise maine (meri surat tere aankhi) is copy of a Nazrul Sangeet. And folk? — a lot of them. in his initial years sdb collected almost 250 folk songs (from bengal and tripura/comilla). in an interview sdb himself said this and also mentioned that he still had many unused tunes. even the roop tera mastana (aradhana) — is from a tripura folk song. usually i don’t listen to tagor’s, nazrul’s or folk songs. but still i was able to find those copies. i think more knowledgeable people would be able to find a lot. in an interview rdb was asked what he learned from his father. rdb replied that he learned how to catch tunes. how true he was!

    also, i find sdb’s classical knowledge (on the basis of what he composed) very meager. rdb knew classical better than sdb.

    still sdb is a successful music director, may be a giant. but overrated like his son.

  11. MV Chandrashekar says:

    The review touches ones raw nerve, so also the song, lyrics and music which is beyond description. I agree that Rafi is at his melodious best in this song.

    It also suits the lyrics of “Mere awaz suno”… kyun nahi… one should keep listening to his awaz.

  12. utthara says:

    Ashokji, do I deserve so much praise? And equating me with Sahir? Sahir toh gagan ke chandrma aur mein dhara ki dhool hoon. If my article is good, then it is thanks to Guru Dutt, Rafi saab, Sahir and SD Burman.

    Ashokji, acutally your high praise has inspired me to attempt Hum bekhudi mein..wah! Rafi saab ka singing! It is one of his best songs.

    Thank you very much for having the patience to read all the 100 posts.

    A very humble Utthara

  13. Ashok Parekh says:

    what one can write after 111 posts (have read each and every one) except to cheer uttharaji with the words fantastic, fantabulous, ming blowing, superb (though each and every praise seems incompetent). can’t wait for many more reviews to follow.
    post 92:”Burman dada loved to sail with rafi saab on the low waves of the arabian sea rather than on the rough waters of the bay of bengal”. with haldarsaab’s these words the song immediately came to my mind was none other than ‘hum bekhudi me tum ko pukare chale gaye’ from the film ‘kala pani’ and had thought to request uttharaji to write review for this song. lo and behold, uttharaji herself mentioned this song as her favourite in post 96. i have no dobut then that next song in her agenda is this song only.

    many many heartlfelt thanks once again uttharaji for offering such a beutyful jugalbandi of words (sahirsaab & uttharaji) and voice (our beloved rafisaab).

    with warm regards

  14. utthara says:

    Haldarji, I thought Sahir and SDB parted ways after Pyasa. Which is this song you are referring to? Was some song recorded before Pyasa and used in a movie after Pyasa?
    Waiting eagerly for your answer.


  15. Mohammed Irfan says:

    answer to post 111- sar jo tera chakraye ?? I wasn’t brn then but I guess this should have been

  16. P. Haldar says:

    Time for a quiz question:

    Which was the next sahir-burman-rafi song after the popular pyaasa song?

  17. utthara says:

    Dear Ravi, you must be having a lot of work to catch up on after your one week absence. In spite of that you have taken some time off to read this write up and give your views. I am very grateful to for your response. Too much praise. Thank you, Ravi


  18. utthara says:

    Dear Ashok, I am elated that you have written. Raj, the group’s president, and you, the secretary, have made BBR a fine forum. I am proud to be part of this big family. Kya tareef ki aap hamari. bahut shukriya.

    As Binuji and you suggested, will try writing about Abhi na jao __ our favourite song. And of course who can forget the pretty Sadhana?



  19. P. Haldar says:


    you had informed me earlier that leslie godinho and narinder kaka are no more. I found out recently that annibal castro, the regular guitarist for rafi saab’s concerts, has given an interview to a foreign journalist. Could you please try to trace him? He will be a source of valuable information, given that he has travelled with rafi saab on many world tours. I have a feeling that nadkarni saab would know mr. castro, because both of them were in pancham’s team. mr. shahid rafi might also know about his whereabouts.

    P. Haldar

  20. narayan says:

    post 98
    Bijoorbhai… Few years ago Haldar da had written a great article on Rafi sahab’s Kolkata show which was published in the Sargam magazine of Rafi Foundation

  21. Uttarajee as I have already mentioned earlier Sahir Ludhianvi had a typical nature & above all he was very arrogant & possessed a stiff attitude.
    I would like to narrate a small incidence which had occurred when “Hum Dono” was being made by Dev Anand under his Navketan banner and was directed by Amarjeet (Probably Vijay Anand with other name)
    This film was entrusted to Jaidev for his music composition and when he approached Sahir to pen down the lyrics for this film the smart & arrogant Sahir went all the way out and told Jaidev “aap apna baja aur petee lekar mere ghar aajawo”
    Friends this peculiar nature of this greatest Sahir led to be the main reason for his own ultimate downfall, but still he never ever changed his stiff attitude and what a pity the same went away with him everlastingly.
    In-spite of all the facts as mentioned above I personally feel that Sahir Ludhianvi was one of the greatest ever find of the industry and hence one should indeed salute the legend!!!

  22. P. Haldar says:

    utthara ji, if you want some more spicy stuff, here it is (from an op interview):

    At the screening of Naya Daur, Dilip needled me – “Johnny,
    your songs are very good but background score is pretty weak.” I got
    my revenge in the Naya Daur celebration party. There Dilip came and
    boasted, “Johny, did you see how well I have danced on your songs?” I
    shot a quick repartee, “O.P.Nayyar’s music makes even a third rate
    actor dance. It has such energy!” He got so bugged that he totally
    avoided me in future.

    I thought that (Naya Daur) was a ridiculous film – a Tonga versus motor car
    theme. I did it because one of my benefactors- one film distributor
    Mr. K.K.Kapoor told me to do it as a favour. So even when my then
    market rate was Rs.35,000/-, I just charged Rs.18,000/- for that film.
    Once the film was released, all the major reviews headlines
    highlighted my music. “Nayyar Novelty in Naya Daur” and the likes!
    Chopra did not like this focus on me and the result was same- we never
    worked together!

  23. s.Ravishankar says:

    A great song with great combinations from a great writer like Sahir, a great composer like SDB, a great actor/director like Gurudutt and a great singer like Rafi Saab, sounds incomplete without a great writer like Utthara. You have pressed the right buttons at the right time. Great review friend!! Keep ’em flowing.

  24. Ashok Dalmia says:

    dear Utthara,

    Adaab Rafi,

    If only Rafi could sing a “yeh duniya agar mil ..”, toh phir only our own Utthara could write such an indelible review.

    Indeed Utthara, you have picked up a perfect song sung by the legend. Be it a romantic, desh bhakti, joshila or is Rafi who give “life to lyrics”. sahir, Gurudutt and dada were blessed, that Rafi sang the song created by them. Who else could have given life to the song….

    Each song of Rafi is a gem, is timeless in itself. At what ever juncture of life you are in, you can relate to a Rafi song. As Utthara aptly reviews, in the current senario, this song points out how badly we are in need of a much more beautiful world.

    in my opinion, its not only the song which is famous, who can forget the amazing scene of the silhouette of Gurudutt wearing the shawl, starts with brief breeze…both the hands on the door frame…oh god…its so unforgettable moments…and who else has made the scene a memorable one…its our Rafi saab.

    signing off, as Utthara mentioned, only God can sing such a song….hmmmm…i am not trying to be an atheist, but i dont think God Himself could sing better…..

    waiting for more reviews…i agree with Binu ji s suggestion on trying a review on “abhi na jaao…” Sadhana dev starrer…

    lots of love
    Ashok Dalmia, Secretary, Baar Baar Rafi, Bangalore

  25. utthara says:

    Irfanji, bahut shukriya. It is people like you who encourage and support me.


  26. utthara says:

    xxxji, jinhe naaz hai from the pen of Sahir, the golden voice of Rafi saab and the baton of SD Burman is another golden oldie. Thank you


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