Moh Moh Ke Dhaage Lyrics – Monali Thakur, Papon from Dum Laga Ke Haisha

Moh Moh Ke Dhaage Lyrics from Dum Laga Ke Haisha sung flawlessly by Papon and Monali Thakur. This song from Anu Malik stands apart from Dum Laga Ke Haisha collection. Moh Ke Dhaage song has two unique forms, the male adaptation sung by Papon and the female variant sung by Monali Thakur. The two adaptations are very comparative. Yeh Moh Ke Dhaage Lyrics from Dum Laga Ke Haisha (2015) sung by Monali Thakur, Papon. This song is made by Anu Malik with verses wrote by Varun

  • Song Credits:
  • Song: Moh Moh Ke Dhaage
  • Singer: Monali Thakur, Papon
  • Lyrics: Varun Grover
  • Music: Anu Malik

Moh Moh Ke Dhaage Lyrics – Monali Thakur, Papon

eh moh moh ke dhaage
Teri ungliyon se jaa uljhe
Yeh moh moh ke dhaage
Teri ungliyon se jaa uljhe
Koyi toh toh na laage
Kis tarah giraha yeh suljhe
Hai roam roam ek tara
Hai roam roam ek tara
Jo badalon mein se guzre

Yeh moh moh ke dhaage
Teri ungliyon se jaa uljhe
Koyi toh toh na laage
Kis tarah giraha yeh suljhe

Tu hoga zaraa paagal
Toone mujhko hai chuna
Tu hoga zaraa paagal
Toone mujhko hai chuna
Kaise toone an-kahaa
Toone an-kahaa sab suna
Tu hoga zaraa paagal
Toone mujhko hai chuna
Tu din chadhe, mein raat aana
Donon mil jaayein shamon ki tarah

Yeh moh moh ke dhaage
Teri ungliyon se ja uljhe
Koyi toh toh na laage
Kis tarah girha yeh suljhe

Yeh teri jhooti baatein
Main saari maan lu
Ke teri jhooti baatein
Main saari maan lu
Aankhon se tere sach sabhi
Sab kuch abhi jaan lu
Ke teri jhooti baatein
Main saari maan lu
Tez hai bhara, behate se hum awara
Aa thaam ke saasein le yahaan

Yeh moh moh ke dhaage
Teri ungliyon se ja uljhe
Koyi toh toh na laage
Kis tarah girha yeh suljhe

Review of this Song And his Film

short کتاریہ ke dam laga hish_h ka aik manzar hai jahan pareshan aur ziyada wazan wali سنڈھیا verma ( aik mutasir kin bhoomi پیڈنیکر ) pareshan pream prakash tiwari ( ایوشمن کھورانا ) se shadi karne se qabal khalis tark karne par chand minute par raqs karti hai. tarteeb khamoshi se mazahiy hai ؛ ہریدوار mein aik ٹیمنگ community center jahan سنڈھیا aur pream un bohat se jooray mein se aik hain jin ki shadi is din horahee hai. jis terhan is ke sasural walay pndal mein puhanche, سنڈھیا doosri dlhnon ke sath shaamil hogayi aur khushi se moseeqi mein گائریوں se mili : khud se lutaf andoz ho rahi hai aur is ke jism se shadeed be hosh hogayi, yahan taq ke pream, is ke dost aur sasural walay usay ghoortay hue dekh rahay hain. usay khaufzadah kya .

sandhya ke liye, is ke wazan mein koi barri rukawat nahi hai. lekin tamashaiyon ke nazdeek, is ke jism par yeh khud mukhtari hi un ki wazeh sharmindagi ki wajah hai. woh narazgi se daur nazar atay hain, lekin nuqsaan hochuka hai .

aik terhan se, yeh qeemti chhota sa manzar is baat ko mad e nazar rakhta hai ke کتاریہ ney dam laaga ki ہائشہ ke sath haasil karne ka kya iradah kya hai. is manzar ki terhan, film ko inqalabi bananay wali cheez sirf yeh nahi thi ke is ney ziyada wazan walay adakar ko apni wazan mein ziyada heroen ( ya filmi andaaz mein : aik” bahadur” film ) par mazmoon likha tha. yeh haqeeqat thi ke pehli baar, aik nojawan heroen ney is ko na kafi samajhney se inkaar kardiya ( shandaar ke bar aks ) .

aisa karte hue, doum laaga ki حیشہ ney chuup kar is mayusion aur ناراضگیوں par roshni daali ke khwahish mandana mardangi ka wazan poooray malik ke mutadid chhootay qasbay walay mardon par parta hai. yeh jora jo کٹاریہ ki herat angaiz tehreer se hai jo 90 ki dahai ke chhootay shehar ke zaiqay ko zindah rakhta hai thisishypenhere kumar sanoo ke tijarti nishaan” arrey arrey “, mohalla siyasat, dhool zada کیسٹوں ki kasrat se bharpoor hai, aur لمکا pareshan pait ki wajah se mntj kya gaya hai. yash raaj films ka sab se mazboot, aur Daleel hai ke aaj taq ka yeh behtareen romantic mazahiy hai. dam laaga ki hish_h ke sath, کتاریہ ney is namumkin ko qaboo kya : har is cheez ko purani yaado se nawazne walay kharaaj aqeedat ko ada karna jis ney’ ‘ 90 ki dahai ko woh sitam zrifi bana diya jis ki woh sitam zrifi nahi thi .

lekin doum laaga ki حیشہ ki herat angaiz wajah is ki herat angaiz film hai ke yeh studio se aaya hai jo romans ki ghulaab wali tasweer paint karne aaya hai, is ki Adam kamyabi ka jo –apne hero ko itna pareshan karta hai. yeh yash raaj naay qaim kardah har template ke anaaj ke khilaaf hai. yeh khobsorat khobsorat heroen ke daqyanoosi tasawwur ki khilaaf warzi karti hai jis naay usay bananay ke liye mustaqil mehnat ki hai. film ke baad ki film mein, chahay woh بفیکری mein vanee Kapoor , dhoom 3 mein Aishwariya raye bachchan, ya hum tum mein rani mkhrji, studio naay khoubsurti ke is tang nazri ko saadgi ka muzahira kiya hai. is se yash raaj ke studio tasawwur ko bhi roka jata hai ke” chhootay shehar” ki terhan nazar aana chahiye ( aisa nuqta nazar jo rab ni baana di Jodi mein itna daur tha ) aur darasal’ 90 ki dahai mein ہریدوار ke zaiqoon ko tehweel mein le jata hai .

is ke barey mein sochen, mein naay them laaga ki ہائشہ ko pasand kya hai yahan taq ke agar is naay sirf asbaq ko phelana hi chore diya hai ke aik ziyada wazan wali aurat ko dilkash ya mohabbat ke qabil honay ke liye apna wazan kam karne ki zaroorat nahi hai. lekin, کتاریہ is baat ki zamanat deta hai ke hum is film ko urooj taq pouncha kar pyar karte hain : jab pream سنڈھیا ko” dam lagey” muqaabla mein le janay mein kamyaab hojata hai to, is ka ehsas karne se pehlay, yeh un ka haqdaar ka boojh uthany ka aik shandaar isteara ban jata hai. zurori hai ke woh usay baha day .
saal 1995 hai, aur is film ki lead pream prkash tiwari, jis ka naam لپو hai, aik 25 sala ہارش bacha hai jo kumar sanoo ki sanjeeda aawaz suneney mein –apne guzaray mein گذارتا hai aur –apne najaaiz waalid ke zareya dhmkyan deta hai. pream, jo do baar –apne classe 10 ke amthanat ko do baar nakaam karne mein nakaam raha hai, aur aik chuuti si cassette shop chalanay par majaboor hai, woh bhi aik are s s شاکھا mein –apne din ke behtar hissay ko mardangi ki alamat barqarar rakhnay ke liye waqf kardaita hai. Dur haqeeqat, کتھاریا ka shakka Saqafat ka khamoshi se tanz, jahan bhak singh, bose, aur vajpyi ki zaati zindagi mein kam Umar darpook honay ki wajah se, bhagat singh, bose, aur vajpyi ki bahaduri par dhair saari fasahat ka dhair hai .

pream ka khuloos thisishypenhere chahay is ka baap is ke sath aik deendar bachay ki terhan bartao kar raha ho aur usay bees rupay jaib money ke tor par chore day ya is ki la ilmi na khuwandagi thisishypenhere jab is ke ghar walon ne zabardasti usay aik mouti larki ke sath shadi karli. unhon ne is khayaal par sakhti se ehtijaj kya, aur is ittehaad ki maali tijarat ke tor par ittehaad ke barey mein sochnay ke liye un ke ahal khanah ki darkhwaston ko zaya kardiya. سنڈھیا asatzh ki taleem haasil karne ke baad, is ke teacher ban’nay ke rastay par hain, aur is position mein hain ke woh kunba ki aamdani ko bahaal kar sakti hain. aur, aakhir is ke sath kya harj hai? lekin, pream ittehaad ki amli salahiyat ko hazem karne se qassar hain kyunkay yeh un ki apni khudmukhtaari ki qeemat par aata hai. is ke l- an, badsoorat, shadi se shadi karna aakhri tinka hoga, aur baar baar is ki hesiyat ko sara sar nakami ke tor par bahaal kere ga .

pream farakh dili se apni narazgi ka izhaar karta hai. woh apni Shaqeh doston ( larkoon ke club ka aik anmol takraar ) ke sath apni ghirmtmyn jinsi zindagi par tabadlah khayaal karta hai aur yahan taq ke is ke sath sonay ka” zindah jahannum” se taqabul karta hai. khwahish mandana mardangi ko roknay ke liye, pream ko mustaqil tor par is ke sath badtameezi karna padtee hai .

pream ko yeh sikahnay ke liye khud se aagah aur na qabil faramosh سنڈھیا ki zaroorat padtee hai ke agar woh –apne wazan se ziyada dekhnay ke qabil nahi hai to woh mardangi ka astana haasil nahi kar sakti hain. is ke bawajood, yahan taq ke jab is herat angaiz aagahi ki wajah se ke mohabbat is ki poanch se bahar hosakti hai, woh –apne size par boojh daalnay se inkaar karti hai. –apne shohar ki khoyi hui saakh, aur is ke bad sulooki ke bawajood, woh usay barqarar rakhnay, usay behkanay, samajhney aur yahan taq ke is se mohabbat karne ki koshish kar rahi hai. kyunkay, woh, is ke bar aks, is se agay dekhnay ke liye tayyar hai .

sandhya ko jis cheez ne sab se ziyada mutasir kya hai woh haqeeqat yeh hai ke bhomi پیڈنیکر sirf kirdaar nahi ada karti, balkay waqai kirdaar hai. isi terhan, ایوشمان کھورانا thisishypenhere jo ab bollywood ka zahreela mardana toar phore karne ka poster larka hai, khatray, ghalat ghusse, aur herat angaiz haqdaar ki numaindagi karta hai jis ne khawateen ke sath –apne taluqaat mein mutadid mardon ko apni girift mein le liya hai .

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