bekhudi me sanam_Hasina Maan Jayegi1968_Babita& Shashi Kapoor_ Lata_Rafi_AkhtarRomani_Kji-Aji_a tri.

Song: Bekhudi me sanam uth gaye jo qadam.. aa gaye ..aa gaye paas ham... Movie : Haseena Maan Jaayegi,1968, Singers: Lata Mangeshkar, Mohammad Rafi, Lyricist: Akhtar Romani, Music Director: Kalyanji Anandji, Director: Prakash Mehra, Cast: Shashi Kapoor, Babita, Sapru, Ameeta, Amar, Johny Walker, Manmohan, Naranjan Sharma, Production Co: Mangatram Films, Lyrics:- bekhudi mein sanam uth gaye jo qadam aa gaye aa gaye aa gaye paas ham aa gaye paas ham bekhudi mein sanam uth gaye jo qadam bekhudi mein sanam uth gaye jo qadam aa gaye aa gaye aa gaye paas ham aa gaye paas ham ho bekhudi mein sanam uth gaye jo qadam aa gaye aa gaye aa gaye paas ham aa gaye paas ham bekhudi mein sanam uth gaye jo qadam aag ye kaisi man mein lagi hai man se badi to tan mein lagi hai aag nahin ye dil ki lagi hai jitni bujhaayi utni jali hai dil ki lagi naa ho to kyaa zindagi hai saath ham jo chale mit gaye faasle aa gaye aa gaye aa gaye paas ham aa gaye paas ham bekhudi mein sanam uth gaye jo qadam khoyi nazar thi soye nazaare dekhaa tumhen to jaage ye saare dil ne kiye jo dil ko ishaare mil ke chale ham saath tumhaare aaj khushi se meraa dil ye pukaare teraa daaman milaa pyaar meraa khilaa aa gaye aa gaye aa gaye paas ham aa gaye paas ham bekhudi mein sanam uth gaye jo qadam dil ki kahaani pahunchi zubaan tak kisko khabar ab pahunche kahaan tak pyaar ke raahi aaye yahaan tak jaayenge dil ki hadd hai jahaan tak tum saath do to chalen ham aasmaan tak dil mein armaan liye laakhon toofaan liye aa gaye aa gaye aa gaye paas ham aa gaye paas ham bekhudi mein sanam uth gaye jo qadam bekhudi mein sanam uth gaye jo qadam bekhudi mein sanam uth gaye jo qadam.. Haseena Maan Jayegi is a 1968 Hindi movie directed by Prakash Mehra. The film stars Shashi Kapoor, Babita, Ameeta, Yunus Parvez and Johnny Walker. The film’s music, composed by Kalyanji Anandji has songs which are quite memorable, with the melodious Lata-Rafi duet ’Bekhudi Mein Sanam’ being the most popular of them all. Prakash Mehra made his debut with “Haseena Maan Jayegi“ (HMJ) in 1968. Storyline :- Indian Army Officer, Kamal (Shashi Kapoor), and Archana (Babita) get married but shortly thereafter he is called to the front as war has broken out. Once there, he meets with Rakesh - his look-alike - who plans to kill Kamal and take his place, but Kamal resists and emerges as the winner. To escape prosecution/court martial, he runs from the front and returns home. Army personnel think Rakesh has become a deserter and also think that Kamal is missing in action and believed dead. The army personnel notify Archana, who is thrown in a dilemma, is it Rakesh or Kamal that she has been spending time with? Written by rAjOo Plot :- Shashi Kapoor essaying a double role -- of a straightforward, studious Kamal and his look-alike, the rakish Rakesh, who aspires for the same lady, Babita as Archana, who is to marry Kamal. Kapoor displays panache and élan in both roles, with his dashing and debonair looks, which endowed him with a great screen presence, although his lack of histrionic depth made the portrayal of Kamal and Rakesh almost identical but for a peculiar whistling style that Rakesh had. The story revolves around how Rakesh plans to kill Kamal and take his place while they are facing the Chinese in war. In the ensuing duel, it is Kamal who emerges victorious although he feels the weight of his act on his conscience at having killed Rakesh. Fearing the consequences, he deserts the flanks, and returns home, leaving the authorities to think that actually Rakesh has become a deserter, and Kamal has become a martyr. What follows is a protracted legal battle with a rather predictable ending. In keeping with the trend of the day, the comic element was provided by the antics of Johnny Walker, Ameeta and Yunus Parvez, although, the angle did hardly anything to raise the film’s level in any significant way. Babita as Archana fails to impress, though the film gave her an ample chance to demonstrate her skills. She is neither convincing in her petulant reactions to Rakesh’s overtures nor as Kamal’s wife. Nor is she able to bring forth the angst and moral dilemma of a woman who realizes that the man she thinks to be her husband might actually be his look-alike.