Song Title: Ek Nazar Ek Ada, Keemat-e-Dil Aur Hai Kya
Singer: Mohammad Rafi
Film: Raat Ke Raahi (1959)
Lyrics: Vishwamitra Adil
Music: Bipin Dutt-Babul Bose
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“Ek Nazar Ek Ada, Keemat-e-Dil Aur Hai Kya” is a captivating romantic and playful song from the 1959 film Raat Ke Rahi. This piece beautifully captures the essence of love at first sight and the irresistible allure of a beloved’s glance and demeanor. It delves into themes of attraction, flirtation, and the intoxicating power of new love. With poetic lyrics by Vishwamitra Adil and a melodious, evocative score by Bipin Dutt-Babul Bose, the song is brought to life by Mohammad Rafi’s soulful and charismatic rendition, cementing its status as a timeless Bollywood classic.
Vishwamitra Adil’s Poetic Lyrics
Vishwamitra Adil, a skilled lyricist, consistently crafted poetic and emotionally resonant verses. In “Ek Nazar Ek Ada,” his writing shines with vivid imagery and rich metaphors that express the protagonist’s deep admiration and yearning. The lyrics truly capture the joy and excitement inherent in falling in love.
The song centers on the profound theme of love and attraction. The protagonist finds himself utterly captivated by just a single glance (ek nazar) and the captivating charm (ada) of their beloved. The lyrics convey the idea that the heart’s value (keemat-e-dil) becomes immeasurable when touched by love. The song also explores the playful and flirtatious dance of budding romance, as the protagonist both teases and adores their beloved. This rich tapestry of romantic imagery and metaphors vividly paints the magic of love at first sight.
Bipin Dutt-Babul Bose’s Melodious Direction
Bipin Dutt and Babul Bose, the music directors, consistently crafted melodies that perfectly harmonized with the lyrical mood. For “Ek Nazar Ek Ada,” they fashioned a soft and romantic orchestration, utilizing gentle strings and delicate percussion to create a dreamy and emotional backdrop. The melody itself is a blend of soothing tranquility and stirring intensity, mirroring love’s dual nature—its inherent beauty and its profound capacity to overwhelm.
Mohammad Rafi’s Expressive Vocal Artistry
Mohammad Rafi, recognized as one of Indian cinema’s greatest playback singers, delivers an enchanting performance in this song. His voice embodies a delightful blend of playfulness and passionate devotion, perfectly conveying the protagonist’s admiration and longing. Rafi’s nuanced vocal artistry elevates this song to a masterpiece. Let’s explore the vocal expressions he infused into each line.
Initial Verse: A Captivating Introduction
- Ek nazar ek ada, keemat-e-dil aur hai kya (One glance, one charm, what is the value of the heart?): Rafi’s vocal delivery here is gentle and contemplative, conveying the protagonist’s awe and wonder. The drawn-out pronunciation of “keemat-e-dil” suggests a deep, immeasurable emotional impact.
- Haha, ek nazar ek ada, keemat-e-dil aur hai kya (Haha, one glance, one charm, what is the value of the heart?): A distinct playful shift emerges in Rafi’s voice, reflecting the protagonist’s amusement and joy. The emphasized “haha” adds a touch of lighthearted charm.
- O ho ek nazar (Oh, one glance): Rafi’s vocalization here is tender and imbued with yearning, highlighting the protagonist’s deep fascination with their beloved’s initial glance. The stress on “ek nazar” conveys a sense of utter enchantment.
First Stanza: Observant Admiration
- Gaal surkh hai, chup zubaan hai (The cheeks are red, the tongue is silent): Rafi’s voice adopts an observant, hushed quality, conveying the protagonist’s quiet admiration for the beloved’s captivating beauty. The accent on “gaal surkh” suggests a feeling of tender wonder.
- Ho na ho koi meherbaan hai (Perhaps someone is kind): A teasing, flirtatious nuance enters Rafi’s vocal performance. The emphasis on “meherbaan” adds a hint of humor and playful insinuation.
- Kaun hai wo kaho jaan-e-jigar (Tell me, who is that, oh beloved of my heart?): Rafi’s voice becomes tender and infused with longing, expressing the protagonist’s curiosity and burgeoning affection. The gentle stress on “jaan-e-jigar” communicates a profound emotional connection.
Second Verse: Playful Inquiry
- Uljhi saans kyun, dil pe haath kyun (Why is the breath tangled, why is the hand on the heart?): Rafi’s voice is softly inquisitive, conveying the protagonist’s perception of the beloved’s nervousness. His articulation of “dil pe haath” suggests empathy and tender concern.
- Dil diya to phir, aisi baat kyun (If you have given your heart, then why such hesitation?): A playful, challenging tone characterizes Rafi’s rendition, reflecting the protagonist’s teasing and flirtatious approach. The phrasing of “aisi baat kyun” adds humor and gentle coaxing.
- Aankh ladegi to hoga asar, haay (If our eyes meet, there will be an effect, oh my): Rafi’s voice conveys tender anticipation and desire. His emphasis on “hoga asar” builds a sense of enchantment and exciting inevitability.
Third Verse: Delight in Reciprocation
- Zulf mein hai kya, arre gaalon par hai kya (What is in the tresses, what is on the cheeks?): Rafi’s delivery maintains an observant, admiring quality, expressing the protagonist’s fascination with the beloved’s physical beauty. His articulation of “gaalon par” suggests fond wonder.
- So gayi hai jo, wo nazar hai kya, ha ha ha ha (What is that glance that has fallen asleep, ha ha ha ha): Rafi’s vocalization here adopts a teasing, mirthful quality, portraying the protagonist’s playful taunt. The laughter, “ha ha ha ha,” underlines the lighthearted charm.
- Chhed chhaad kya, kaam kar gayi (What is this teasing, it has worked): A soft, self-satisfied amusement colors Rafi’s voice. His stress on “kaam kar gayi” conveys a feeling of joy and success in the flirtation.
- Honth khil gaye, lat bikhri gayi (The lips have blossomed, the tresses have scattered): Rafi’s voice becomes more tender and appreciative, reflecting the protagonist’s delight in the beloved’s visible response. The special emphasis on “lat bikhri gayi” communicates a sense of enchantment and burgeoning intimacy.
- Lena ji ab zara apni khabar, haay (Now take care of yourself, oh my): Rafi’s delivery here is soft and genuinely caring, conveying the protagonist’s affection and a hint of playful warning. The phrasing of “apni khabar” suggests warm concern and endearment.
Fourth Verse: Confident Assertions
- Chhodo in adaon mein dam nahin (Leave these charms, there is no strength in them): Rafi’s voice is gently challenging and reflective, conveying the protagonist’s playful bravado. His emphasis on “dam nahin” adds a touch of witty humor.
- Tum haseen ho, hum bhi kam nahin (You are beautiful, but I am not less): Rafi’s vocalization here exudes confidence and self-assurance, portraying the protagonist’s charming reciprocation. He expresses a sense of playful pride.
- Ho na yaqeen to milao nazar, haay (If you don’t believe, then meet my glance, oh my): Rafi’s voice becomes tender and laden with invitation, reflecting the protagonist’s desire for a deeper connection. His stress on “milao nazar” creates a moment of enchantment and romantic challenge.
- Ek nazar ek ada, keemat-e-dil aur hai kya (One glance, one charm, what is the value of the heart?): The refrain’s return sees Rafi’s voice growing more emphatic and deeply emotional. This repetition reinforces the protagonist’s admiration and longing, with his delivery conveying both vulnerability and romantic triumph.
In conclusion, “Ek Nazar Ek Ada, Keemat-e-Dil Aur Hai Kya” stands as a timeless ode to the captivating power of new love and the magic sparked by a single glance. Vishwamitra Adil’s poetic lyrics, Bipin Dutt-Babul Bose’s melodious composition, and Mohammad Rafi’s heartfelt rendition converge to create a song that deeply resonates with listeners. Rafi’s exceptional ability to convey admiration, yearning, and playful charm through his singing cements this song as a true masterpiece. It beautifully reminds us of love’s inherent beauty and the sheer joy of falling in love at first sight.
Our valued non-Hindi readers are advised to go through the translation for better understanding of the song.
~ Balwant S. Wadhwani