Listening to: Mere Apne (1971)

Talking to a friend about the films from the seventies which made an impression on me, I remembered Mere Apne and went searching for it on Youtube. Glad to find it, I sat down expecting a treat. I still loved the songs but the movie…hmmm…..

The film opens with an old lady, Anandi (Meena Kumari), who lives alone in a village. We see her being visited by a slimy man (Ramesh Deo) who claims to be a distant relative. He invites her to come and live with his wife and him in the city. Of course our antennas are up, expecting disaster, but Anandi quite innocently accepts his invitation. The director succeeds quite consciously or unconsciously to show us how very cynical we are, how our innocence has been lost.

Anandi is bewildered by the ways of the city. She realises only after being clued in by a servant that she has been brought by the couple to act as an unpaid nanny for their child. दूसरे को अपना कहे जब अपना काम पड़े she says to herself, understanding finally the ways of the world that she has come to. It is a dark world of disillusionment and the disillusioned, of joblessness and violence, of hunger and selfishness that the movie makers want to show us. She acts as our eyes as we are introduced to a world where family values have disappeared and selfishness rules, where the young are lost with none to guide them, where unethical politicians use strong arm tactics and violence rules the streets.

When she gets thrown out of her so called relative’s home, it is Shyam (Vinod Khanna), the leader of one gang, who takes care of her. She in her turn showers affection on the gang members and is slowly making progress in weaning them out of their destructive lives. But will she be able to turn them around? Or will she be destroyed herself? You’ll have to see the film to find out!

When I saw this movie in the eighties, it was already a decade old. It made an impact on me then. Now, in my advanced years, it seems to be too contrived. It is the script which I object to (sorry Gulzar, I do admire you normally!) The cast does a reasonably good job. Meena Kumari is competent if uninspired as the story teller. Vinod Khanna looks young and dashingly handsome and if he looks wooden at times, one is (well, I am) inclined to ignore it! Shatrughan Sinha is a strong and fascinating presence. Asrani, Danny Denzongpa, Paintal and Dinesh Thakur all have roles as gang members and make an impact in their own way. You’ll find many other well-recognizable faces in this cast rich film. Yet no one person stands out. Is that good or is that bad?

My issues with the script are manifold. Why is a woman praiseworthy when she puts up with a man threatening to beat her at every turn? Why is a woman bad because she dresses in western clothes and goes out to work? Why are old ways always better than new ones? Why is village life always better than city life? Why is being progressive evil? There are some skewed perceptions here…

The music by Salil Chowdhury is beautiful and Gulzar has written some memorable words. There are only three songs, all three very pleasing.

• Haal Chaal Thik Thak Hai – Kishore Kumar, Mukesh. This sarcastic and political song is very well crafted and sung. Interludes on the mouth organ and the whistling add a nice touch. Kishore does his trademark yodelling making me nostalgic for that era of music!
• Koi Hota Jisko Apna – Kishore Kumar. One of my all time favourites. Gulzar’s words touch the heart, see how well they are scripted!
  कोई होता जिसको अपना हम अपना कह लेते यारों |

  पास नहीं तो दूर ही होता लेकिन कोई मेरा अपना  ||

  आँखों में नींद न होती आँसूं ही तैरते रहते |
  ख्वाबों में जागते हम रात भर ||
  कोई तो ग़म अपनाता कोई तो साथी होता || (कोई होता)

  भूला हुआ कोई वादा बीती हुई कुछ यादें |
  तनहाई दोहराती है रात भर ||
  कोई दिलासा होता कोई तो अपना होता | (कोई होता)

  Salil Chowdhury’s music adds a melting pathos to the words but it is Kishore Kumar who raises the song from good to great. Superb.

• Roz Akeli Aayee – Lata Mangeshkar . This is somewhat of a hidden gem ; though I remembered the other two songs distinctly, I had forgotten about this one. A gentle and beautiful melody.

To hear the whole album, click here.

My today’s choice was a forgone conclusion, even before I sat down to see the film. Here is Kishore’s Koi Hota. Enjoy!

Listening to: Sachaa Jhutha (1970)

Since Rajesh Khanna passed away last month, I have wanted to review one of his films but have been deliberately procrastinating. I think perhaps I am having trouble coming to terms with his death. He represents an era in the Hindi film world which is personally meaningful to me. Through his films I passed from childhood to my early teenage years, learnt to appreciate filmi music and became more aware of the world in general. A coming of age as it were. With his passing away a bit of my world has passed away too. The sand castle of my life has already been assaulted as the tides have started coming in; this is one more step towards its destruction.

So when my husband picked up Sachaa Jhootha as our late night watch yesterday, I did have a few moments of reluctance. Surprisingly, I have never seen this film before! On the whole it was not a bad film; the first half was well-scripted and brisk but the director somewhat lost control of the plot in the second half.

Bhola (Rajesh Khanna) is a dirt-poor young man from a village. He lives with his disabled sister under the cruel treatment of his step-mother. Uneducated but with some musical skills, he decides to go to the city to earn a living. Good hearted but extremely naive, I could not find this character as appealing as the film makers wanted it to be.

Ranjit (also Rajesh Khanna) is a rich diamond merchant by day and a jewel-thief by night, a leader of his own gang. He is clever and cunning but ruthless, not stopping at even murder. Thankfully there is no background story to wring sympathy for him. Bhola and Ranjit look, as you can well guess, exactly alike. And no, they are not long lost twins, thank God!

When Bhola comes into town, he gets mistaken for Ranjit at a costume party. Ranjit, who is in disguise, sees this and immediately thinks of all the opportunities this presents. He cons Bhola into training to be his double. His in-house moll Ruby (a meaty role for Faryal) is Bhola’s trainer.

The police have suspicions that Ranjit is the jewel thief but have no proof; they make elaborate plans to trap him. The plot is devised by Inspector Pradhan (a very dashing young Vinod Khanna). Another officer, Rita (a gorgeous Mumtaz), is to act as the lure to catch Ranjit who has an eye for a pretty lady.

What follows is typical Bollywood fare of the 70’s. There are uses of unspecified chemicals by the thieves  – a truth serum and some kind of stunning mixture. There are police bugs and inefficient snipers. There is a clunky recording device. There is a sword fight. And best of all, there is a really clever dog chasing a car, two cars chasing the same dog, and the dog finding its way to the court to identify the bad man in the climax!!

Rajesh Khanna is adequate as Bhola but quite good as Ranjit. His representation of innocence and naiveté borders on imbecilic which I quite object to. His dancing has always been abysmal and surely he could have done better with his wardrobe choice? Red trousers with a bright red shirt, a bottle-green suit..honestly!! However he does know how to deliver dialogue and has his signature charm. And as Ranjit, he does ‘cold-hearted’ very well. This role won him a Filmfare award.

Mumtaz is not at all convincing as a police officer. But in her role within her role to attract Ranjit she just has to look pretty and she does that and how! This film was one of her stepping stones from being a supporting actress to a lead one, and she looks tentative at all times.

Vinod Khanna too seems somewhat amateurish at times but so very handsome that I didn’t much care! Again, this was before he started playing lead parts and his skills are obviously raw. The supporting cast members do reasonably well.

The music by Kalyanji-Anandji is not of uniform quality. There are two good songs but the others left me cold. The lyrics are by Indivar, Gulshan Bawra, and Qamar Jalabadi.

• Meri Pyari Behaniya – Kishore Kumar. The song which was to be played in thousands of baraats (marriage processions) in the future has a slightly melancholic air. Normally the baraat songs are cheerful and the bidai songs are sad, but this is a strange mixture of two emotions! Well tuned and well sung, I am unable to judge its true merit as it is overly familiar!
• Dil Ko Dekho Chehra Na Dekho – Kishore Kumar. Rajesh cannot dance but Kishore can certainly sing! The melody is not too bad but somehow doesn’t quite hit the mark.
• Duniya Mein Pyar Ki – Asha Bhonsle. A totally pedestrian tune warmed up slightly by Mumu’s wriggles. I am sorry to say that even her dancing at places is stiff and unconvincing. Don’t bother listening.
• Yunhi Tum Mujhse Baat – Mohammad Rafi & Lata Mangeshkar. This superb gem is a surprise in the otherwise middling album. Kishore Kumar was in his ascendency at this time yet it is Rafi who strikes a chord with this song. Melodious and beautifully sung.
• O Kehdo Kehdo – Kishore Kumar & Lata Mangeshkar. Another rather pedestrian song, I can’t recall this song ever playing in the radio. Did it? But this is at least well sung.

My song choice for the day is evident I guess. Enjoy !!

Listening to: Mera Gaon Mera Desh (1971)

I was eager to watch this film for some time now. It had been described to me as a ‘great film’ by more than one person and it starred two handsome gentlemen I admired much as a young woman. The few songs I remembered from my childhood triggered a nice response too.

The two handsome men did not disappoint; I am in awe of their looks and presence. And the acting is not too bad either! The songs I remembered were pleasing enough though not outstanding. However, perhaps thanks to over-expectation, I was mildly disappointed in the film as a whole.

This is a theme which has been done more number of times than I can count. A village cowed by evil-doers, one or a few handful of men protecting and leading the village to self-sufficiency. Wasn’t the Seven Samurai just fantastic?  For Bollywood fans, this film is particularly interesting because it was a precursor to the super-hit Sholay. In fact, I was shocked to see how much Salim-Javed have ‘lifted’ from the screenplay by G.R.Kamath.

MGMD	Sholay
The instigator of defence, Jayant with one hand missing	The instigator of defence, Sanjeev with two  hands missing
One petty crook, Dharmendra, roped in to defend the village	Two petty crooks, Dharmendra & Amitabh, roped in to defend the village
Dacoit leader played by Vinod Khanna is called Jabbar Singh	Dacoit leader played by Amjad Khan is called Gabbar singh
Dharm falls for feisty village belle Asha	Dharm falls for feisty village belle Hema
Jabbar stands his people in a row, questioning them, while loading one bullet in his gun.	Gabbar does this and more in the memorable ‘Kitne Aadmi The’ scene.

Ajit (Dharm) is a petty crook invited by Major Jaswant Singh (Jayant) to help him farm and at the same time make a new life for himself. He doesn’t mention the dacoits who keep the village under their thumb. Ajit settles down after a few slips and enjoys a nice romance with village belle Anju (Asha). The dacoits under their leader Thakur Jabbar Singh (Vinod Khanna) make their presence felt. In this village where everyone is cowed and fearful, only Ajit is willing to stand up to them. Munnibhai (Laxmi Chhaya) is the dancing girl who is a spy for the dacoits but she falls for Ajit and becomes a double-agent. With the odds stacked so heavily against him, will Ajit manage to rid the village of their terror?

Dharmendra has done a decent job of his role; in any case, I was too charmed to be unbiased! Vinod Khanna is excellent, menacing with his red rimmed eyes which always stare elsewhere with manic intensity. What a handsome man he is to be sure!! Asha Parekh’s role doesn’t have much meat and she is not in good looks; her costumes are very very unflattering. I wish they had chosen another female lead. Laxmi Chhaya is competent and has two lovely song-and-dance sequences to impress us with. Supporting actors such as Jayant and Asit Sen are dependably good.

So why was I disappointed? It always comes down to bad screenplay. I cannot deal with with melodrama (a drunk Dharm sleeping it off in the lap of a mad Ma, a dying Jayant asking to be called Papa), depiction of the police as nincompoops, Dharm beating up Laxmi Chhaya, Asha walking into a dacoit-infested forest on her own (is she mad?!!) – the screenplay just annoys. And the moralistic lectures at the end grate.

There is some decent enough music by Laxmikant-Pyarelal with pedestrian lyrics by Anand Bakshi (spelt mysteriously as Baxi in the titles).

• Sona Lai Ja Re – Lata Mangeshkar. A pleasant enough melody, but nothing extraordinary.
• Aya Aya – Lata Mangeshkar. Boring. Laxmi Chhaya dances well enough on screen.
• Kuch Kehta Hai Ye Sawan – Lata Mangeshkar, Mohammad Rafi. I remember this song well from my childhood; it still sounds as pleasing as it did then. Lyrics are so-so but Rafi and Lata sound very good.
• Hai Sharmaoon – Lata Mangeshkar. Laxmi Chhaya gets to dance to this nice song made more memorable by the on-screen drama. The melody has a hint of sadness which I like. 
• Maar Diya Jai – Lata Mangeshkar. Why not Asha? I think she would have put even more verve into this song. Still, I remember and like it.

To listen to the whole album, click here.

My selection today is Hai Sharmaoon, for Laxmi Chhaya’s dance and upper-lip adornment by the handsome male leads. Check out Vinod’s luxurious greying mouche and a more sedate one sported by Dharm!

Listening to: Amar Akbar Anthony (1977)

Clichés? No worries! The film provides Bollywood’s version of secular harmony, coincidences after coincidences with impossible odds,  tight shirts in myriad colours,  obviously staged fights in which opponents have time to make conversation, decorative ladies, disguises galore, miraculous cures  and an evil villain who even has a good twin! How could anyone not like it?

The storyline itself is a huge Bollywood cliché. A family is separated by evil machinations, poverty and bad luck. Three brothers are brought up following three religions. The evil man continues in his evil ways and even the good father seems to have become part evil – but then he is Pran, so what do you expect? There are three pretty ladies who look decoratively helpless on demand. But it all resolves itself after many unbelievable plot ploys with more holes than Swiss cheese! The pace of the film is brisk and there is never a dull moment.

Rishi and Neetu make a handsome young couple and they play their parts with ease. Vinod and Shabana make a rather mismatched couple. Vinod is good as a police officer but Shabana…I prefer her in her serious roles.  Amitabh has great comic timing and for his fans, there is even a dialogue with God! Parveen I am not a fan off but she looks quite beautiful and they make a good pair. Jeevan and Pran have undemanding and clichéd roles. Amitabh has the most screen time amongst the leads and he does a good job.

Watch this film with suspended judgement and a healthy sense of humour and you’ll have great fun!

The music by Laxmikant-Pyarelal has some numbers which made the charts at the time of release. It doesn’t really stand the test of time but provides good nostalgia value. Lyrics by Anand Bakshi are adequate.

• Khoon Khoon Hota Hai – Mohammad Rafi. Pedestrian.
• Pardah Hai Pardah – Mohammad Rafi. This very well-known  Qawwali deserves its success. Rishi and Neetu glow with youth and Rafi is very good even though he is past his best phase.
•  My Name is Anthony – Kishore Kumar. This fun song became very famous with Kishore’s voice suiting Amitabh’s comic timing and long-limbed prancing. A song to make you smile.
• Hum Ko Tum Se – Kishore Kumar, Lata Mangeshkar, Mohammad, Mukesh. A melodious song which is still very enjoyable. I like that it has three of the great male voices of that era singing the same song.
• Taiyabali Pyar Ka Dushman – Mohammad Rafi. Don’t remember this song and won’t in the future.
• Shirdi Wale Sai Baba – Mohammad Rafi. A song which used to be run often in the radio, it seems ordinary now. I am normally much attracted to Qawwalis but not this one.
• Amar Akbar Anthony – Kishore Kumar, Mahendra Kapoor, Shailendra Singh. Familiarity made me listen to the song with pleasure rather than it’s musicality.

To listen to the whole album, click here.

In honour of three great male singers of Bollywood, and to see all the leads on screen, here is Hum Ko Tum Se.

Listening to : Meera (1979)

If there was a popularity poll for Indian Saints, I reckon Meerabai (1498-1547) would do very well indeed! Her story has all the makings of a blockbuster – a beautiful princess, a handsome prince – or is he a heartless husband?, an evil priest, a conspiring sister-in-law, political machinations and war, murder attempts, rebellion, devotion, music and poetry  written so beautifully that they are still on the lips of Indians after 500 years – not historians and academics, but on the lips of the average man and woman.

There had been a Tamil film made in 1945 on Meera featuring the Carnatic singer M.S.Subbulakshmi as Meera, later dubbed in Hindi. My mother used to sing Meera bhajans from this film. I learnt चाकर राखो जी and पग घुँघरू बाँध मीरा नाची रे as an 8 year old at school. As I grew, I became attached to Lata Mangeshkar’s Meera bhajans as they were broadcast over morning radio in Delhi. Even now, I catch myself murmuring some bhajans to myself quite often. These songs have formed a musical background to my life.

So when Meera came out in 1979, I was very eager to see the film. The music was written by the renowned Ravi Shankar, the songs sung by Vani Jayaram, and the part played by Hema Malini. It seems interesting to me now that my filmi associations of Meera, a Rajasthani pricess, are with MSS, Hema and Vani – all Tamilian ladies. An example of national integration?

Unfortunately, the film fails, mainly I think because Hema is wrongly cast as Meera. The other cast are more impressive, Vinod Khanna in particular (well, I have a weakness for him!).  The music is excellent, I will not hesitate to recommend this album. The tracks are as follows:

• Mere to giridhar gopal
• Jago bansiwale
• Pyare Darshan Dijo
• Bala main bairagan hoongi
• Karna Fakiri
• Jo tum todo piya
• Karuna Suno Shyam
• Badal Dekh dari
• Main Sanvre ke rang ranchi
• Mere to giridhar gopal (duet)
• Shyam mane chakar rakhoji
• Ranaji main to govind
• Ayri main to prem diwani

I have found most of the lyrics online, please see footnote. I have yet to confirm if the film version matches the lyrics as listed on the site.

I present my favourite song (please ignore the subtitles, they don’t seem well done). I realised after I selected it that Vani Jayaram won a Filmfare award for this song; very well deserved!

Mere to giridhar gopal–Vani Jayaram

मेरे तो गिरधर गोपाल दूसरो न कोई |
जाके सर मोर मुकुट मेरे पति सोयी ||
मेरे तो…..
अंसुवन जल सींचि-सींचि प्रेम-बेलि बोई।|
अब तो बेल फैल गयी आणंद फल होई ||
मेरे तो…..
तात मात भ्रात बन्धु आपनो न कोई |
छांड़ि दई कुलकी कानि कहा करिहै कोई॥ ||
मेरे तो……
चुनरी के किये टूक ओढ़ लीन्ही लोई |
मोती मूंगे उतार बनमाला पोई |

The only one for me is Giridhar Gopal (=Krishna the cowherd, who held up a mountain)
the one with the crown of peacock feathers is my husband.

I watered the creeper of love with my tears,
now that the creeper has spread, there are flowers of happiness.

Father, mother, brother, friend – I have no one who is mine,
I have left the honour of my family, what can anyone do.

I have forsaken my head scarf and wrapped myself in rough clothing,
I have shed my jewels (pearls & ??) and wear a garland of forest flowers.

I transcribed it myself and then later found the site below which confirms my lyrics. There are a couple of words that I do not know, please do comment with the correct translation if you know it.

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Footnote (lyrics):

Here are the some of the lyrics of bhajans in this film from the site www.kavitakosh.org

Jago Bansi Wale :

जागो बंसी वारे जागो मोरे ललन।
रजनी बीती भोर भयो है घर घर खुले किवारे।
गोपी दही मथत सुनियत है कंगना के झनकारे।
उठो लालजी भोर भयो है सुर नर ठाढ़े द्वारे ।
ग्वाल बाल सब करत कोलाहल जय जय सबद उचारे ।
मीरा के प्रभु गिरधर नागर शरण आया कूं तारे ॥

Pyare Darsan Dijyo :

प्यारे दरसन दीज्यो आय, तुम बिन रह्यो न जाय॥
जल बिन कमल, चंद बिन रजनी। ऐसे तुम देख्यां बिन सजनी॥
आकुल व्याकुल फिरूं रैन दिन, बिरह कलेजो खाय॥
दिवस न भूख, नींद नहिं रैना, मुख सूं कथत न आवै बैना॥
कहा कहूं कछु कहत न आवै, मिलकर तपत बुझाय॥
क्यूं तरसावो अंतरजामी, आय मिलो किरपाकर स्वामी॥
मीरां दासी जनम जनम की, पड़ी तुम्हारे पाय॥

शब्दार्थ :- रजनी =रात्रि। सजनी =दासी। कलेजो खाय = बिरह कलेजे को मरण जैसी पीड़ा पहुंचा रहा है। बैना = बचन। पाय =चरण।

Bala Main Baragan Hoongi :

बाला मैं बैरागण हूंगी।
जिन भेषां म्हारो साहिब रीझे, सोही भेष धरूंगी।
सील संतोष धरूँ घट भीतर, समता पकड़ रहूंगी।
जाको नाम निरंजन कहिये, ताको ध्यान धरूंगी।
गुरुके ग्यान रंगू तन कपड़ा, मन मुद्रा पैरूंगी।
प्रेम पीतसूँ हरिगुण गाऊँ, चरणन लिपट रहूंगी।
या तन की मैं करूँ कीगरी, रसना नाम कहूंगी।
मीरा के प्रभु गिरधर नागर, साधां संग रहूंगी।

Jo Tum Todo Piya :

जो तुम तोडो पियो मैं नही तोडू। तोरी प्रीत तोडी कृष्ण कोन संग जोडू
॥ध्रु०॥
तुम भये तरुवर मैं भई पखिया। तुम भये सरोवर मैं तोरी मछिया॥ जो०॥१॥
तुम भये गिरिवर मैं भई चारा। तुम भये चंद्रा हम भये चकोरा॥ जो०॥२॥
तुम भये मोती प्रभु हम भये धागा। तुम भये सोना हम भये स्वागा॥ जो०॥३॥
बाई मीरा कहे प्रभु ब्रजके बाशी। तुम मेरे ठाकोर मैं तेरी दासी॥ जो०॥४॥

Karuna Suno Shyam Mori :

करुणा सुणो स्याम मेरी, मैं तो होय रही चेरी तेरी॥

दरसण कारण भई बावरी बिरह-बिथा तन घेरी।
तेरे कारण जोगण हूंगी, दूंगी नग्र बिच फेरी॥
कुंज बन हेरी-हेरी॥

अंग भभूत गले मृगछाला, यो तप भसम करूं री।
अजहुं न मिल्या राम अबिनासी बन-बन बीच फिरूं री॥
रोऊं नित टेरी-टेरी॥

जन मीरा कूं गिरधर मिलिया दुख मेटण सुख भेरी।
रूम रूम साता भइ उर में, मिट गई फेरा-फेरी॥
रहूं चरननि तर चेरी॥

शब्दार्थ :- बावरी =पगली। सुणी =सुनी। जोगण = योगिनी। नग्र बिच = नगर में भभूत =भस्म, राख। यो तन =यह शरीर। टेरि-टेरि = पुकार-पुकारकर सुख भरि = सुख देने वाले। रूम-रूम =रोम-रोम। साता =शांन्ति। फेरा-फेरी =आना-जाना, जनम-मरण।

Badal Dekh Dari :

बादल देख डरी हो, स्याम, मैं बादल देख डरी
श्याम मैं बादल देख डरी
काली-पीली घटा ऊमड़ी बरस्यो एक घरी
जित जाऊं तित पाणी पाणी हुई सब भोम हरी
जाके पिया परदेस बसत है भीजे बाहर खरी
मीरा के प्रभु गिरधर नागर कीजो प्रीत खरी
श्याम मैं बादल देख डरी

Chakar Rakho Ji :

स्याम! मने चाकर राखो जी
गिरधारी लाला! चाकर राखो जी।
चाकर रहसूं बाग लगासूं नित उठ दरसण पासूं।
ब्रिंदाबन की कुंजगलिन में तेरी लीला गासूं।।
चाकरी में दरसण पाऊँ सुमिरण पाऊँ खरची।
भाव भगति जागीरी पाऊँ, तीनूं बाता सरसी।।
मोर मुकुट पीताम्बर सोहै, गल बैजंती माला।
ब्रिंदाबन में धेनु चरावे मोहन मुरलीवाला।।
हरे हरे नित बाग लगाऊँ, बिच बिच राखूं क्यारी।
सांवरिया के दरसण पाऊँ, पहर कुसुम्मी सारी।
जोगी आया जोग करणकूं, तप करणे संन्यासी।
हरी भजनकूं साधू आया ब्रिंदाबन के बासी।।
मीरा के प्रभु गहिर गंभीरा सदा रहो जी धीरा।
आधी रात प्रभु दरसन दीन्हें, प्रेमनदी के तीरा।।

Ranaji Mhain Tho :

राणाजी, म्हे तो गोविन्द का गुण गास्यां।
चरणामृत को नेम हमारे, नित उठ दरसण जास्यां॥

हरि मंदर में निरत करास्यां, घूंघरियां धमकास्यां।
राम नाम का झाझ चलास्यां भवसागर तर जास्यां॥

यह संसार बाड़ का कांटा ज्या संगत नहीं जास्यां।
मीरा कहै प्रभु गिरधर नागर निरख परख गुण गास्यां॥

शब्दार्थ :- गास्यां =गाऊंगी। दरसण जास्यां =दर्शन करने जाऊंगी। निरत =नृत्य। झाझ =जहाज। ज्या =जिस।

Mere Tho Girdhar Gopal full version :

मेरे तो गिरधर गोपाल दूसरो न कोई॥
जाके सिर है मोरपखा मेरो पति सोई।
तात मात भ्रात बंधु आपनो न कोई॥
छांड़ि दई कुलकी कानि कहा करिहै कोई॥
संतन ढिग बैठि बैठि लोकलाज खोई॥
चुनरीके किये टूक ओढ़ लीन्हीं लोई।
मोती मूंगे उतार बनमाला पोई॥
अंसुवन जल सींचि-सींचि प्रेम-बेलि बोई।
अब तो बेल फैल गई आणंद फल होई॥
दूधकी मथनियां बड़े प्रेमसे बिलोई।
माखन जब काढ़ि लियो छाछ पिये कोई॥
भगति देखि राजी हुई जगत देखि रोई।
दासी मीरा लाल गिरधर तारो अब मोही॥

शब्दार्थ :- कानि =मर्यादा, लोकलाज। अंसुवन जल = अश्रुरूपी जल से। आणद =आनन्दमय। फल =परिणाम। राजी =खुश। रोई =दुखी हुई।