|Cast:||Rajesh Khanna, Mumtaz, Sanjeev Kumar, Jay Shree T, Ranjeet, Rehman, Dina Pathak, A K Hangal, Jr Mehmood, Sulochana, Asrani, Satyen Kappu, Keshto Mukherjee, Murad, Sunder, V Gopal, Lolita Chatterjee, Ratna|
|Singers:||Kishore Kumar, Lata Mangeshkar|
|Music Director(s):||R D Burman|
|Movie Director(s):||J Om Prakash|
|Movie Producer(s):||J Om Prakash|
|Karavate Badalate Rahe Sari Raat Ham
by Lata Mangeshkar, Kishore Kumar
What amount would music be able to rescue a film was exhibited adequately in “Aap Ki Kasam” (AKK) where sentiment followed by a harsh separation made it a normal story. The story line was very common. A rich young lady and a working class kid meet up through conditions made by unsurprising occurrences and their partition is set apart by one of the characters falling a casualty to doubt. Rajesh Khanna, Mumtaz and Sanjeev Kumar structure the triplet around whom the film is turned yet lyricist Anand Bakshi and artist R. D. Burman get out of the foundation at continuous spans to add to the speed of the film with their breathtaking work.
Sunita (Mumtaz) is a fresher and Kamal (Rajesh Khanna) a senior. Both were in the sundown of their vocations as driving craftsmen and barely fitted the part of understudies. That they figured out how to convey represented their type. The heartfelt talk prompts Sunita and Kamal succumbing to one another as the story removes a jump from school into marriage at a quick speed with melodies like “Suno kaho kaha suna” and “Paas nahi aana” illuminating the brilliant feelings that Rajesh Khanna and Mumtaz brought to their characters when together.
Kamal is a hovering spouse. Sunita is similarly warm. Lilting numbers like “Karvaten badalte rahe saari raat murmur” and “jai shiv shankar”, a hymn melody for revelers, show them at their best, the last especially. The marriage is on a happy track when Mohan (Sanjeev Kumar) enters the scene. He is Kamal’s companion and assists him with getting a new line of work and house. Two or three episodes, very harmless however, plant the seeds of doubt to Kamal. He starts to question Sunita’s devotion without putting forth an attempt to comprehend their relationship. Seeing an outsider getting out of his home misdirects Kamal further and the ensuing separation gives the story another wind.
In an astounding scene, where Rajesh Khanna, his outrage stewing, stands up to Mumtaz, the chief, J. Om Prakash, draws out the entertainer in both. Mumtaz carries convincing articulations to her face as her underlying mistrust at being questioned by her significant other is changed from agony to wrath instantly. This remaining parts the champion snapshot of the film separated from the tune “Zindagi ke safar mein guzar jate hain jo maqaam”. In a dismal portrayal, Kamal is displayed to encounter the different periods of a daily existence, changing from a humble youthful spouse to an elderly person, meandering carelessly before fortunately finding a declaration in a paper that requires some investment; back to his relationship with Sunita.
It happens that Sunita, pregnant with Kamal’s kid at the hour of partition, demands Mohan to follow her previous spouse, expected to favor his little girl. Kamal meets Mohan to know about his girl’s wedding yet picks to remain behind the scenes. At the setting, a fire breaks out and Kamal saves his girl at the expense of his life.
The chief couldn’t have summoned an alternate finish to the film since Sunita had hitched again to bring up her girl.
Delivered in a year that likewise saw films like “Benaam”, “Heera Panna”, “Kora Kagaz”, “Majboor”, “Roti Kapda aur Makan”, “Kasauti” and “Haath ki Safai”, riding on the strength of the Kaka-Mumu pair, AKK turned into a success basically because of its mixing music. Mumtaz thought of one of her best heartfelt exhibitions however watched out of sync when consenting to a two sided connotation story as a ladies’ inn detainee. Another modest connection between the main pair was an affront to their picture as quality entertainers.
The saving grace of AKK was Mumtaz, a dazzling 27 during the creation of this film that affirmed she was at her best when matched with Rajesh Khanna. The film had Rehman, Asrani, Ranjeet, A.K Hangal, Jr. Mehmood, Dina Pathak and Jaishree T in brief jobs.
It was basically Mumtaz and Rajesh Khanna, not to fail to remember Sanjeev Kumar thinking of a significant presentation regardless of a short part in the film. Yet, for Mumtaz and the tunes, AKK may well have ended up being a forgettable endeavor.
Aap Ki Kasam is a Hindi Movie released in the year 1974. It has a star cast of Rajesh Khanna, Mumtaz, Sanjeev Kumar, Jay Shree T, Ranjeet, Rehman, Dina Pathak, A K Hangal, Jr Mehmood, Sulochana, Asrani, Satyen Kappu, Keshto Mukherjee, Murad, Sunder, V Gopal, Lolita Chatterjee, Ratna. It’s Music Album was composed by R D Burman. The movie was directed by J Om Prakash. The songs were sung by singers such as Kishore Kumar, Lata Mangeshkar. The lyrics of the songs from the Aap Ki Kasam were penned by artists such as Anand Bakshi. , To view the song lyrics and details visit the links below.
Apart from providing the Lyrics for the Aap Ki Kasam, we have also taken an effort to make the movie Aap Ki Kasam works with all the necessary details you might be interested to know, ranging from Cast, Director, Composer, Lyricist and a lot more.
How to see the lyrics of Aap Ki Kasam songs from the year 1974.
1. For any Movie, you can search in google the movie name with lyrics , or the song name with lyrics as keyword.
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3. IF you want to see the lyrics of the Individual songs, or watch the video song, or know the details of the Individual songs from the Aap Ki Kasam,
Click the link of the Song you want to know about, which will take you to the Song Post.
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If the video was not allowed to embed on other websites, We would have provided direct links to the websites., which you can click and watch it directly from youtube.
5.For the lyrics for the songs, If we could find them, we would have added them for each songs. You can just view them below the youtube emmbed or direct links for the youtube song.
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