Haseenon se koi poochhey
Posted on: April 28, 2024
- In: Duet | expression of love | Feelings of heart | Guest posts | Lalita Deulkar songs | Post by Arunkumar Deshmukh | Rare song | Song sung by relatives | Song sung by spouses | Songs of 1950s (1951 to 1960) | Songs of 1956 | Sudhir Phadke songs as a singer | Sudhir Phadke-Lalita Deulkar duet | Yearwise breakup of songs
- Leave a Comment
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5763 | Post No. : | 18288 |
Today’s song is a duet from the film Sajni-1956. This song is of some significance. It is a song sung by a pair of Husband-wife. Of course this is not unique. Earlier also there were a few such songs by Husband-wife pairs. What is significant is that this was their last duet in a film. The pair was Sudhir Phadke and Lalita Deulkar Phadke. What’s more, with this song Lalita ended her film singing career also !
Film Sajni-1956 was not a famous film. In fact it was an obscure film, hardly known to most people. Produced by a couple – P.R.Patkar and Isabel Clifford, the film was directed by Vasant rao Painter. He was the nephew (son of Anandrao Painter) of the famous Kala Maharshi Baburao Painter, owner of the Maharashtra Film Company, Kolhapur. Many stalwarts of the early Silent and Talkie films emerged from this film company, where they got an all round training in filmmaking. Some of the famous names are V.Shantaram, Master Vinayak, Baburao Pendharkar, Fattelal, Damle, Dhaibar etc.
Vasant Anandrao Painter was born in a village near Kolhapur on 13-8- 1913. His father Anandrao, along with cousin Baburao Painter wanted to make films. Anandrao had bought a second hand Projector, which he turned into a Camera and shot a short film also. Unfortunately, Anandrao Mistry or Anandrao Painter died suddenly on 22-10-1915.Vasant Painter was only a 2 year old baby at that time. Baburao Painter went on to become the famous founder of Marathi films in the Silent Era.
By the time Vasant became 16 year old,the Silent film era was in full swing and many films were made in Kolhapur, Poona and Bombay. He had a liking for painting,so he picked up poster painting work,first in Maharashtra Film company and later in Prabhat film company when it was started in Kolhapur. Actually Damle and Fatelal were keen on helping him as he was the son of Anandrao, from whom they had learnt so many things. They called him to work in Prabhat. He did all jobs,including assisting in cinematography and direction.
His first break came when he was 33 year old. He got an opportunity to direct Prabhat’s film ” Gokul”-46 and later on ” Seedha Raasta”-47. After V.Shantaram had left Prabhat to start his own Rajkamal,Vasnt painter remained in Prabhat loyally, so he got the reward. Prabhat decided to make the film “Namdev” and Vasant was selected as a director. The cast was fixed and other arrangements done, but due to financial reasons the film was cancelled. Anyway, he got another opportunity. Actress Kamala Kotnis had floated a production company,Kamala Chitra Ltd..She invited Painter to direct her film,’Sati Ahilya’-49. Snehal Bhatkar was the MD.
Painter directed ‘Bhishma Pratignya’-1950. This was, probably,the only Mythological film Nargis had acted in, with Shahu Modak. His other films were, Murliwala-51, Devyani-52, Sajni-56, Patit paawan-55, Gokul ka chor-59, Pyar ki jeet-62 . Meanwhile he was producing and directing several Marathi films too. He won 9 awards,including the prestigious ” V.Shantaram Award”. Vasant painter died on 31-5-2006, leaving behind him 6 daughters and 1 son.
The film had music by Sudhir Phadke and his assistant for this film was Vishnu Govind Jog, who became a world famous Violinist in his later life. He played in several concerts all over the world, including the Madison Square Garden in New York. He was a Sangeet and Natak Academy Award winner in 1980 and Padma Bhushan in 1983. The cast of the film was Sulochana, Anup Kumar, Lalita Pawar, Sapru, Krishna Kumari, Gope, Maruti, Nimbalkar and many others. The songs were written by Narendra Sharma (5 songs) and today’s song was by Nakshab Jarachavi.
Like any other language, there are writers and authors in Marathi too, who write on old films and old actors etc from the vintage Hindi films. One such author calls himself ” Babu Moshoi “. His articles are published regularly in newspapers, magazines etc. He has written several books. His real name is Hemant Desai. Another such writer in Hindi and Gujarati is Vithal Pandya. I have many such books in my library. Through these books I get to know old actors and their information, sometimes. I get surprised at many names as I read about some names about whom I had never known. For example, do you know who did King Dashrath’s role in films Bharat Milap-42 and Ramrajya-43, or the role of Kanva Muni in film Shakuntala-43 ? Who was the actress in Kaushalya’s role in Ramrajya-43 or Ram Vivah-49 ?
This actor was I. T. Nimbalkar and this actress was Shanta Kothari (nee Shanta Kumari). These were artistes from Silent film era, spilled over the Talkie films. They started as Hero and Heroine, but shifted to character roles, as the time went by. In our film industry, such cases are not new. In fact such type of actors who remained practically unknown to later generations of audiences, were highly respected by film people during shootings. Their seniority and work was respected.
This is a very good practice in the industry, by directors and other actors to give respect to old timers. Raj Kapoor used to send his car to fetch Bhudo Advani for shootings of film Boot Polish scenes. Hrishikesh Mukherjee kept special chair for Master Shiraz, during the shooting of film Guddi. He also ensured to feature Shiraz in the film credits. These are only samples to stress what I have said. Not every such matter is published but it is a special feature of the industry.
I try to gather information on such unknown and forgotten artistes and write on them. Not everytime I am successful, but I have written about many such actors, directors, Music Directors etc. Some of them are Omkar Devaskar, Zunzar rao Pawar, Ganapat rao Bakare, Shankar rao Vazare, Naseem Junior, Shamim Jr, Altaf, Urmila, Ranjana, Kusum Deshpande, Vasant rao Thengadi, Jamshed ji etc etc. Today, we will know more about one such old time actor who was prolific and worked in films of Bombay and Calcutta.
I.T.Nimbalkar aka Indurao T. Nimbalkar ( he was always credited as only ‘Nimbalkar’ in all films) was born on 6-12-1893, in Kolhapur state. This was the time Kolhapur was slowly developing as Kalapur (hub of arts) and the seeds of film making were being planted there. Baburao Painter, one of the original film makers had started his ” Maharashtra Film Company” on 1-12 1917.
Baburao, Damle, Fattelal etc were taught painting By Anandrao Painter, who was an extraordinary painter of those times. All these people, along with V Shantaram, Keshavrao Dhaiber and few more also joined Baburao Painter’s Maharashtra Film company. True that, film making had started even earlier in Maharashtra, but Baburao Painter is credited with making films a form of art and spreading it on a larger canvas of India.
Indurao Nimbalkar grew up in this atmosphere in Kolhapur. He passed his Matriculation exam and also did a diploma in Printing. Nimbalkar was six feet tall and had a good physique. He was expert in riding, swimming and wrestling. He did 1000 sit-ups every day. Shahu Maharaj, the king of Kolhapur encouraged all arts as well as development of lower castes. Arya Samaj had a ‘ Gurukul’ in Kolhapur. Impressed with Nimbalkar’s education and body, Shahu ji appointed him as Editor of the weekly ‘ Arya’ and secretary of Gurukul.
One day Baburao Painter, along with assistant V Shantaram visited his press and offered Nimbalkar a role in his proposed film Sairandhri. Shahu Maharaj also permitted and encouraged him ,so Nimbalkar joined the film line. He was already famous due to his fiery editorials and now people came to see his shootings too. However, due to money shortage, the film did not complete. ( It was later made in 1919, but with different cast. V Shantaram made coloured Sairandhri in 1933 with Nimbalkar again).
Nimbalkar acted in many silent films like Baji Deshpande, Khazanchi (directed by Moti gidwani- England returned), Lanka, Kismet (directed by Baburao Patel) etc etc. After the closure of Maharashtra F. Co., Nimbalkar was invited by V Shantaram to do Vishvamitra’s role in its first Talkie film ” Ayodhya ka Raja” -1932, in Hindi and Marathi. After this, he did Jalti Nishani-32, Sairandhri-33, Maya Machhindra-32, Sinhagadh-23 etc.
After this, Nimbalkar went to Calcutta on invitation and worked in films made by Radha Films, Laxmi Studios, Devdatta films and New Theatres. From 1934 to 1938, he acted in 12 Hindi films. He was provided a Bungalow, car with driver, servants etc. His son studied in local school there. Returning to Bombay he worked as an assistant director to Keshavrao Dhaiber for film ‘Nandkumar’-38, made by his Jayashree Films. Next 2 years he shuttled between Calcutta and Bombay. He did King Dashrath’s role in Prakash films’ Bharat Milap-42 and Ramrajya-43 in this period.
He was invited by V Shantaram for acting in his first film under banner of Rajkamal- Shakuntala-43. Nimbalkar did the role of Kanva Muni in it. He later also acted in Jeevan yatra-46, Subah ka tara-54, Parchhain-52, Teen batti char rasta-53, Toofan aur Diya-56, Z Z Payal baje-55. Earlier he did Aapki sewa mein-47, Prarthana-44,Nal Damayanti-45, Seedha Rasta-41, Gokul-46, Apna Ghar-42, Maharathi karna-44, Seeta Swayamvar-48. He worked in Pyasa-57, Mera Naam Joker-70, Amar Prem-60 etc etc. From 1928 to 1970 he acted in over 250 films.
His wife Sushila was also educated and looked after his home and children. She never visited any sets in her life time. Nimbalkar died on 17-1-1973 at Kolhapur. (Thanks to an article in book Chandraat-चांदरात by Babu Moshoi, in addition to my notes, HFGK, muVyz, CRTWF, Encyclopedia of Indian Cinema and Film India magazines).
Two interesting trivias before I conclude this post. The first is Sudhir Phadke and Lalita Deulkar got married on 29-5-1949. Phadke’s close friend Mohd. Rafi did one wonderful thing. He sang a specially prepared and well rehearsed ” Mangalashtak” (an 8 stanza Marriage song in Marathi) in their marriage !
The second trivia is, Lalita became a famous singer with a duet with Rafi “Hum ko tumhara hi aasra” from film SAAJAN-1947 and she ended her career with a duet from film SAJNI-1956 !
(Acknowledement- I sincerely thank Shri Syed Zafar Shah ji for making the above very rare song available to us for discussion, on my request. He has always been very helpful.)
With today’s song, all songs of this film are covered and the film is YIPPEED !
Song- Haseenon se koi poochhe (Sajni)(1956) Singers- Lalita Deulkar, Sudhir Phadke, Lyricist- Nakshab Jarachavi, MD- Sudhir Phadke
Both
Lyrics
Taqdeer ka likha hua
taula nahin jaataa
dil hai ke sambhaale se
sambhaalaa nahin jaataa
sambhaalaa nahin jaataa
haseenon se koi poochhe
sataa kar humko kya logey
haseenon se koi poochhe
sataa kar humko kya logey
jalaa kar humko kya logey
mitaa kar humko kya logey
jahaan tak jaan baaqi hai
likhaa qismat ka bharte hain
aa aa aa aa aa
jahaan tak jaan baaqi hai
likhaa qismat ka bharte hain
o o o o
ye soorat hai
ye haalat hai
na jeete hain
na marte hain
na jeete hain
na marte hain
marte hain
mitaa kar humko kya logey
sataa kar humko kya logey
jalaa kar humko kya logey
haseenon se koi poochhe
sataa kar humko kya logey
jalaa kar humko kya logey
mitaa kar humko kya logey
wahaan majboor paa kar
dekh tum par julm hote hain
wahaan majboor paa kar
dekh tum par julm hote hain
yahaan taqdeer ke maare
na hanste hain
na rotey hain
yahaan taqdeer ke maare
na hanste hain
na rotey hain
rote hain
rulaa kar humko kya logey
jalaa kar humko kya logey
mitaa kar humko kya logey
haseenon se koi poochhe
sataa kar humko kya logey
jalaa kar humko kya logey
mitaa kar humko kya logey
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5762 | Post No. : | 18287 |
Today’s song is a song sung by Kishore kumar in his inimitable style, from the film Dilli Ka Thug-1958.
1958 was the year when so many musical films came. One could see the excellence of lyricists and the art of the Music Directors making those songs popular. In those days the active lyricists were Shakeel Badayuni, Sahir Ludhianvi, Shailendra, Majrooh, Hasrat Jaipuri, Bharat Vyas, Rajendra krishna, Prem Dhawan, Kaifi Azmi, Pradeep to name a few.
Composer kalyan ji debuted as an independent MD, for the film ‘Samrat Chandragupt’, in which a song written by Nirupa Roy was used. Iqbal Qureshi entered films with ” Panchayat”. Anand Bakshi debuted with ‘Bhala Aadmi’ and continued for another 45 years, becoming one who wrote maximum number of songs for Hindi films.
This was also the year in which, due to a misunderstanding, the long standing bond between Rajendra krishna and C.Ramchandra was broken and it became an additional reason for C Ramchandra’s downfall from his successful musical career. In this year 3 Qawalis became Hits. First was ‘Sadhana’s ‘ Aaj kyun humse parda hai’. The other 2 qawalis were from B and C grade fils. ‘Jungle Princess’ had the first ever qawali’ Adaayen teer hain’, which was a competition between Males and females. The third one was a real surprise. Film ‘Al Hilal’ gave ” Hamen to loot liya hai milke husn walon ne”, composed by Bulo C Rani.
Nargis- Sunil Dutt got married on 11th March and Shashi Kapoor- Jeniffer got married on 2nd July. Old time actors Gope and Yaqub expired. Devika Rani got Padmashree.
Some of the popular and Hit films were Aakhri Dao-Madan Mohan, Aji Bas Shukriya – Roshan, Amar Deep-C.Ramchandra, Chalti ka naam gaadi, Kala pani, Sitaron se aagey and Solva Saal – S.D.Burman, Dilli ka Thug-Ravi, Howrah Bridge, Phagun and Ragini- O.P.Nayyar, Lala Rukh and Phir Subah Hogi- Khayyam, Madhumati-Salil Chaudhari, Parvarish-Dattaram, Sadhana-N.Datta, Yahudi-Shankar-Jaikishen etc etc.
Dilli ka Thug-1958 was prodominently a Kishore Kumar film.
Kishore Kumar came to Bombay to become a singer, but he was forced by the circumstances to become a comedy actor. For Kishore Kumar, his dream of becoming a singer was looking bleak. Instead of singing, he was getting offers to do comic roles in films. It was only Dada Burman who dared to cast Kishore as the Playback singer for Dev Anand. The first ever song he sang for Dev Anand was ” Mere labon mein chhipe”-Baazi-51. However, it was not until his song in Munimji-55 ” Jeevan ke safar mein raahi” that he proved he was a singer first and actor next. Out of all 12 songs of Munimji, only this song was the most popular and hummable. In Funtoosh-56,Dada gave him ” Dukhi man mere”.By now Kishore was out of Saigal’s shadow. The song clicked, but not Kishore, because in that period he had heaps of acting offers and there was no time for concentrating on singing. He settled for singing his own songs and those songs for Dev which Dada gave him occasionally.
When Kishore kumar was trying very hard to establish himself in the film industry, at least as a comedy hero-if not a singer, it was Dada Burman who helped him by giving him songs in almost every film of his in the 50s.
Dada was an experimentalist and had judged Kishore very well. He knew that Kishore was a talented artiste, though without formal training in music. In the days when the music was serious and classical oriented, there were no takers for Kishore except Dada Burman. Kishore had a plain voice and had nothing else except his spontaneity in front of the mike to help him.
S D Burman was a path breaker. There are few instances of Dada going against the tide and winning ! The trend in the film industry was to use one singer for one actor in one film. Like, Mukesh for Raj Kapoor, Kishore for Rajesh khanna or Rafi for Dilip or later on for Shammi kapoor etc. Dada did not subscribe to this theory. He would use the singer depending on the mood of the song and situation of the song in the film. No matter if he has to use more singers for one Hero in One film.
Thus, Manhar, Kishore and Rafi sang for Amitabh in Abhimaan and Rafi, Kishore and Manna Dey sang for Dev Anand in Manzil. He had tried Kishore on Raj Kapoor in Pyar-50. In Sagina, Kshore sang for Dilip Kumar.
Kishore Kumar is the only singer in the world to have sung songs for three generations of actors from one family-TWICE !
He sang song “Bainya chhodo” for Mumtaz Ali, father of Mehmood-for whom Kishore sang many songs and in film Yehi hai Zindagi, Kishor sang for Mehmood’s son Lucky Ali.
He sang for Raj Kapoor in Pyaar-50, then he sang many songs for his son Rishi Kapoor. In the 2008 film, ” Bachna ae Haseeno”- Kishore Kumar song- Bachna ae Haseena was lip synched by Rishi Kapoor’s son, Ranbir Kapoor.
Despite the outstanding success of ”Padosan”-68, Kishore remained where he was- neither an actor nor a singer. The turning point came in 1969. S D Burman was composing music for ‘Aradhana’. He had already recorded 2 duets of Rafi and then Dada Burman fell seriously ill. He handed over the reins of music of this movie to his son R D Burman. Dada had already made the tunes. R D had only to make the recordings. Fresh from the success of Padosan and the songs of Kishore in that film, R D decided to record 2 solos and 1 duet with Lata in Kishore’s voice. Dada was not at all in a position to even protest and R D had never preferred Rafi over Kishore.
Kishore recorded the songs and ”the rest is History” as they say. In the 21st year of his film career, finally, Kishore had achieved what he had been dreaming of. Now every other composer wanted only Kishore and not Rafi. R D Burman had quietly brought a revolution in HFM, hoodwinking all, even his own father ! On his part, Kishore too had matched Rajesh Khanna’s screen presence with vitality and freshness in the songs of Aradhana. The success of Aradhana-not only its songs, but also a successful popular film with the most ordinary plot ever, was so much that people forgot that Hemant Kumar too had used Kishore Kumar for Rajesh Khanna in 1969 only itself in film Khamoshi, for the song” Voh shyam kuch ajeeb thi”. But this classic song from Hemant Kumar was swept away in Aradhana floods.
With ‘Aradhana’, Kishore’s second Golden period started-1970 to 1975, from 1970 to 1985, it is called Kishore Yug in HFM, but the melodious songs which he sang during the 6 years, i.e. 70-75 were really his best. Even after that Kishore did give some good songs, but,as he himself said in an interview ” the real music ended with 1975. Later on it was only factory production on line”. During 1970 to 1985 he sang more than 1800 songs in 764 films. You can imagine the quality of songs in later years.
Kishore had waited for 21 years to become a Singer, and he did become one, he sang only for 18 years !
it is a coincidence that one of the actors in Film Dilli ka Thug had also come to films to become a singer- and he had recorded some songs too- but ended up as an actor. The name may be unexpecte for most readers. He was IFTEKHAR !
Sayyadana Iftekhar Ahmed Shareef was born in Jallundhar on 26-2-1922. His father was a big gun in a private company at Kanpur, so his education upto Matriculation took place in Kanpur. Then he went to Lucknow to do a Diploma in Painting. He was very fond of singing and wanted to become a singer like the legendary Saigal. Naturally , he went to Calcutta to gain entry into singing . There he met Kamal Dasgupta who was impressed with his personality and mannerisms.
He not only recorded 2 of his songs, but also recommended his name as an actor to his production company. In 1944, Iftekhar was taken as an actor in the film Taqraar, opposite actress Jamuna. Next year, he did Ghar-45 and also Rajlakshmi-45- in which Talat Mehmood also acted and sang songs. During this period he fell in love with a Jew Girl- Hanna Joseph, who stayed in his building. Iftekhar broke his earlier engagement to Sayeeda from Lucknow and got married to Hanna, after converting her to Islam. Sayeeda never married in her lifetime after this break up. He got 2 daughters.
After 1947, his family had migrated to Pakistan, but he chose to remain in India. By that time he had done 2 more films, namely, Aisa Kyun and Tum aur Main. He decided to shift to Bombay due to riots in Calcutta in 47-48. In Bombay, he had no work and faced a lot of problems. His wife had to do a job for sustenance. Iftekhar was recognised and helped by Ashok Kumar. He was given a role in the film Muqaddar-50. Being a good painter, Iftekhar taught Painting to Ashok Kumar. In the next 20 years, he did 70 films.
Then came the film Ittefaq-1969, in which he did the role of a Police Officer. This film changed his life and there was no looking back. Films like Zanjeer, Deewar etc further augmented his image and he was well entrenched. He bought a house, car etc. His daughters got married. Iftekhar acted in 318 films in all.
After his younger daughter’s death, Iftekhar was a broken man. He fell ill and within a month’s time, he died on 1-3-1995.
It is written in many places on the Internet, that Iftekhar was the brother of actress Veena. It is NOT true. His only sister Shameem got married and migrated to Lahore, in 1947, where she died recently. Veena’s brother Iftekhar was a different person who got embroiled in the love affair of actress Suraiya. ( adapted, with Thanks, from http://www.beetehuedin.blogspot.com in addition to my own notes.)
With today’s song video, film Dilli ka Thug-1958 becomes an YIPPEE film, having all its songs covered here. Enjoy….
Song-Tera yoon nazar churaa ke jaanaa haaye haaye (Dilli Ka Thug)(1958) Singer- Kishore Kumar, Lyricist- Shailendra, MD- Ravi
Lyrics
chal re fakeere
chal ri amiran
takataka takbak
chal re fakeere
jibi chak jibi chak
dheere dheere
bidi bidi bidi bidi bidi bidi bidi bidi
hrrf mere
ae
o bandariya
o bandariya apne bandar se jhagadna hai bura
ik zara si baat par
aise bigadna hai bura
arrey tera yoon nazar chura ke jaana haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
tera yoon nazar chura ke jaana haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
rooth ke kahaan chali
o meri champakali
kab talak phiroongaa main
is tarah gali gali
tere bina mere dil ki
dil mein rahi jaaye
haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
tera yoon nazar chura ke jaana haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
dil chura ke chal diye
waah kya kamaal hai
ae tussi
ae tussi
ai tussi great ho ji ee
dil chura ke chal diye
waah kya kamaal hai
chor jaisi harkaten
mor jaisi chaal hai
dil bhi churaaye aur aankh bhi dikhaaye
haaye
haaye
yoon shuru hua hai yeh fasaana haaye haaye
tera yoon nazar chura ke jaana haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
berukhi se iss tarah
jaate hain toh jaayiye
haahaa haahhaah
berukhi se iss tarah
jaate hain toh jaayiye
haath na maliye janaab
honth na chabaaiye
bekadar ho pyaar kya hai
tum na samajh paaye
haaye haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
tera yoon nazar chura ke jaana haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5761 | Post No. : | 18286 |
Today’s song is from a well known film of 1952-Bewafa.
The film was not famous for its story, but because two big stars – Raj Kapoor and Ashok Kumar – were acting together in it. Raj Kapoor was young and only three years old in films, with 20 films, whereas Ashok Kumar was a senior actor with 16 years’ experience and 41 films under his belt. Raj was already shining as an actor and a Director Of 3 successful films. Ashok Kumar had done a variety of films and even now, at the age of 41 years, he was still in much demand as a Hero.
Naturally people expected a solid treat to enjoy in this film. In addition, the Heroine was Nargis – a mere 23 years old, good looking actress with already 41 films (including child roles) behind her, at just 23 years’ age. So, you can’t blame the audience for expecting an entertaining film. Some of the film’s songs recorded before its censoring (9-12-1952) had already become popular. So, when the film was released and people went to see it, they were simply thrilled. But ALAS ! When they came out, they were quiet and silent. The film had failed !!
Film Bewafa-52 was an eminently flop film of RK-Nargis. They worked in 17 films together, including both versions of Jagte Raho. This film had come at such a time when there was a wave ( or a fashion ? ) of Tragedy films. Saigal films had given a respectable status to Tragic films ( and songs) and actors like Dilip Kumar took them to greater heights. After a few initial films, Dilip Kumar started dying in films. He had started his career with “jwaar Bhaata”-44, in which Agha was the Hero and Dilip played a side role. In later years the roles were reversed and Agha became a comedian and played side roles in films when Dilip was the Hero.
Starting with Jugnu-47, Dilip, habitually died in films like Nadiya ke paar-48, Mela-48, Shaheed-48 and Andaz-49. Then again he ‘died’ in Devdas-55 and Musafir-57. He became famous as a Tragedy King, but a wrong message went to producers/directors that if the Hero dies, the film becomes a hit. This started a ‘killing spree’. Probably this was taken too seriously by Director M L Anand in film Bewafa-52 and he ensured that all the three main characters of the film die one after another ! Perhaps this was too much for the audience to take and they too killed the film turning it into a grand flop !!
The cast of the film Bewafa was Raj Kapoor, Nargis and Ashok Kumar with many others in smaller roles. The film revolves around these three characters only. The film was produced by Nargis herself, under the banner of her company ‘The art centre-Bombay’. The entire film was filmed in RK studio. The songs were written by Sarshar Sailani and Shams Azimabadi. The Music Director was A R Qureshi aka Alla Rakha, the famous Tabla Maestro and father of Tabla wizard Zakir Hussain. There were 9 songs in the film. Today’s song is the 9th song to be discussed here. The story of the film was-
RUPA’S(Nargis) life began in a Chawl. She led a miserable existence with her uncle who was a drunkard, who ill treated and tortured her. RAJ (Raj Kapoor), her neighbour, had always a playful attitude towards Rupa. He even sympathised with her pitiful state and preferred only to help her, which she used to accept, though reluctantly. One day she was forced to leave the chawl and wanted to put an end to her life but Fate had decreed otherwise. She met Ashok ( Ashok Kumar), a poor and unsuccessful artist who lived in a humble room in the neighbourhood. Ashok, with a connoisseur’s eye, thought Rupa an ideal model for his paintings. This proved true. Ashok and Rupa became rich overnight. Rupa forgot her miserable past and was happy in her present rich environment with Ashok.
At this juncture Raj arrives on the scene-a completely changed Raj dressed like a gentleman with aristocratic behaviour and habits. Rupa was very pleased to meet Raj after such a lapse of time. She introduced Raj to Ashok-who though had not met each other before but had heard of each other. Ashok was not well impressed with Raj nor Raj with the former. Raj’s intimacy with Rupa grew more and more every time they met. Ashok did not approve of this association as he thought that Raj was not good enough for Rupa and that he was more after her money. Raj on the contrary gave all the assurances to Rupa that he only cared for her and nothing else mattered to him in the world. All these developed into a conflict and misunderstanding amongst the three Rupa, Raj and Ashok.
Actually Raj was a gambler and owed large amounts to creditors,who were after him for money. He only pretended to love Rupa. He wanted her money and not her love. She could not understand this. Ashok tried to tell her to keep away from Raj, as he understood his intentions. One day after an argument with Ashok over Raj, she leaves her house and goes to Raj. They stay in a hotel. Raj’s creditors are after him to get money from Rupa. He steals her bag and starts running.
People think he is a thief and follow him. His creditors think he is running away with the booty and they fire at him. Meanwhile Rupa follows Raj. She is completely disillusioned to see her love being so bewafa and greedy. Raj dies of bullet injuries. Rupa returns to Ashok, but Ashok too takes poison and dies as he had loved her. Seeing this Rupa collapses and dies. Seeing all this the audience also faints ! After some time they get up and go home silently !!
Today’s song is sung by Shamshad Begum and Chorus. It is a Dance/song video. This song was written by Sarshar Sailani.
Sarshar Sailani (12 March 1914 – 10 April 1969) was a lyricist, Story, Dialogue writer, Screenplay Writer, who was not much educated (not a graduate), but was a school teacher, used to participate in Mushairas. Motiram liked his shayari. When Motiram started his First film “Arsi” (1947), he invited Sailani to write story, song and dialogues for this film. Some songs became popular & Sailani jumped into the film line.
Sarshar Sailani was born on 12 March 1914 in Ludhiana, in Punjab. He was yet another Hindu writer, who took a Muslim name. His real name was Bhim Sen.
The film “Arsi” was made by Jeevan Pictures, Lahore. It was directed by Daud Chaand. All the 11 songs were written by Sarshar Sailani. This was his first film as a Lyricist. The owner of Jeevan Pictures, was Motiram Jain and he was a lover of Shayari and poetry. Interestingly, Sarshar Sailani acted only in one film & that is Arsi (1947).
Music directors Lachhiram called Sarshar Sailani for his next film Mohini (1947) & Shyamsunder called for Ek Roz (1947). Along with director Daud Chaand, Sailani also shifted to Bombay. However, after the Partition, Daud returned to Lahore but Sailani remained in India. He wrote lyrics in many movies, generally he got only low budget films, but he worked with some quality composers.
In all, he wrote 150 songs in 32 films. From 1960 onwards, after the film ‘ Bade ghar ki bahu’, he stopped songwriting and took up only story, dialogue writing, in which he did many good films. some of such films were Bewafa,Baaz,Barsat ki raat,Unpadh,Aayi milan ki bela,Aapki parchhaiyan,Ganga ki laharen, Majboor, Aaye din bahaar ke, Aman, Devar, Gunahon ka devta, kanyadaan,Aya saawan jhoom ke, Anjana etc.etc. His last film as a dialogue writer was Maa aur Mamta-70.
Sarshar Sailani worked with music directors like Pandit Amarnath, Anil Biswas, Pandit Govind Ram, Husnlal Bhagatram, Lachhiram, Hansraj Bahl, Roshan, Ghulam Haider, A. R. Qureshi, Chitragupt, Sardul Kwatra & Jaidev. Sarshar Sailani died on 10 April 1969 in Mumbai.
The Music Director was A.R.Qureshi. Ustad Allah Rakha, born as Allah Rakha Khan Qureshi, was born in Jammu and Kashmir on 29-4-1919. He was an Indian tabla player who popularised the art of tabla playing all over the world. Allah Rakha was born to a soldier, who later returned from the army and worked as a farmer after that to earn his bread and butter. Being the eldest of seven sons, his father did not expect him to learn music and opposed his idea of learning classical music.
Ustad Allah Rakha, as a young boy of 12 years, found the instrument fascinating while visiting his uncle in Gurdaspur. His inclination towards Indian classical music and the Performing Arts made him run away to Lahore for further learning, as he found little scope of learning the art-form in his home-town. Allah Rakha studied at the Punjab school of classical music (gharana) where he became a student of Ustad Mian Khadarbaksh Pakhawaji (Mian Quader Bakshi). He was trained to be a singer under Ustad Ashiq Hussain.
Allah Rakha was also associated with theater as he lived in Pathankot for sometime and worked for a theater company. In 1930, Allah Rakha worked at radio station in Lahore. According to reports, he moved to Delhi after six years, in 1936, to work with All India Radio. In 1940, he moved to Bombay and worked with Pandit Ravi Shankar and again on All India Radio. He was the station’s first ever tabla solo player then.
After which he even composed music for 42 Hindi films from 1943 to 1958. His first film as a MD was Mahasati Anusuya-43 and the last released film was Idd ka chaand-64. He even sang 14 songs in 7 films between 1942 to 1949.He worked mostly in films made by Hind Pictures, Magnet films, Sunrise films and Mohan studios of Dave brothers. Barring 1 or 2 films like “Bewafa”-52, he got only C grade stunt films or Muslim ibadat films. He gave music in 3 Punjabi Films Madari -1950,Fumman-1951, Jagga-1964. He gave BG music in PYar Ki Baatein 1951. He acted in Aabida- 1947. Uma Devi (Tuntun) first sang in Wamiq Azra-46 under MD A R Qureshi.
Ustad Allah Rakha had married twice. He was first married to Bavi Begum and had three sons, Zakir Hussain, Fazal Qureshi and Taufiq Qureshi and two daughters Khurshid Aulia née Qureshi and Razia. Razia served him in his later years and was like a constant companion to her father. She died after a routine cataract surgery and Allah Rakha could not cope with the shock of her death and immediately slipped into a coma and passed away within 24 hours on 3-2-2000. Zakir Hussain is one of the most renowned tabla players of India.
Allah Rakha’s son Zakir Hussain grew up to be another legend in the country. Zakir Hussain has also been honoured with the Padma Shri in 1988 and the Padma Bhushan in 2002, by the Government of India. The honour that was bestowed upon his father by the Sangeet Natak Akademi came to him as well in 1990. Hussain has been working in films and on albums in India as well as abroad. Hussain owes his career to his father, who had made sure that he remained focused on this art-form.
Ustad Allah Rakha had established the Alla Rakha Institute of Music in Bombay in 1986 and imparted his knowledge of the instrument to all his disciples in the institute. Allah Rakha and sitar maestro Pandit Ravi Shankar brought classical Hindustani music to Western audiences as well. He was honoured with the Padma Shri Award by the Government of India in 1977 for his contributions to elevate the reach of tabla playing as an art form across the globe. Later on, Sangeet Natak Akademi also honoured him.
Ustad Allah Rakha and sitar maestro Pandit Ravi Shankar brought classical Hindustani music to Western audiences as well. Their partnership reached legendary heights with performances at the Monterey Pop Festival in 1967 and the Woodstock Festival in 1969. The two performed together in many festivals and elevated the respect and popularity of tabla playing as an art form. Other than Pandit Ravi Shankar, he also worked with renowned Kathak dancers like Sitara Devi and Birju Maharaj.
Ustad Allah Rakha found fans not only in India but abroad as well. Reportedly, American percussionist, the Grateful Dead’s Mickey Hart, was his huge fan. Hart always tried to learn from him even from single visits that Ustad used to make to his country. Hart was also quoted saying, “Alla Rakha is the Einstein, the Picasso; he is the highest form of rhythmic development on this planet.”
Other than the Grateful Dead drummer, Mickey Hart, Ustad Allah Rakha inspired George Harrison from The Beatles as well. Both of them performed together for a Concert for Bangladesh in 1971. Mickey Hart also collaborated with him for Rolling Thunder in 1972. The picture we have here is of Hell’s Angels member Terry The Tramp with tabla player Ustad Alla Rakha as they were set to perform together at the Monterey International Pop Festival, June 17th, 1967. He had collaborated with many prominent rock groups.
While Ustad used to generally team up with Pandit Ravi Shankar for his performances, he once collaborated with jazz drummer Buddy Rich for an album, Rich à la Rakha in 1968. Some of his greatest works have been in the form of albums Improvisations, West Meets East, Album 3 (with Ravi Shankar, Yehudi Menuhin, Jean Pierre Rampel, Martine Gelliot), Angel (1976), Master Drummers with Zakir Hussain (1991), Tabla Duet, Chhanda Dhara (1994), Ultimate in Taal-vidya, Magnasound/OMI (1996).
With today’s song, all songs of the film Bewafa-1952 are covered and it becomes a YIPPEE film.
Song- O taana dere na taana taana der na(Bewafa)(1952) Singer- Shamshad Begum, Lyricist-Sarshar Sailani, MD- A.R.Qureshi
Chorus
Lyrics
oye taana
der na taana
taana der na
taana der na taana
taana der na
mere dil mein aa jaana
gaana pyaar ka gaana
mere dil mein aa jaana
gaana pyaar ka gaana
taana der na taana
taana der na
taana der na taana
taana der na
oy haiyya appa
aare happa
haiyya happa
o haiyya happa
aare happa
haiyya happa
o taana der na taana
taana der na
taana der na taana
taana der na
bulbul jaise phoolon mein kho jaata hai
bulbul jaise phoolon mein kho jaata hai
bhanwra jaise kaliyon ka ho jaata hai
bhanwra jaise kaliyon ka ho jaata hai
tum bhi mere ho jaana
tum bhi mere ho jaana
gaana pyaar ka gaanaa
o taana der na taana
taana der na
taana der na taana
taana der na
oy haiyya happa
aare happa
haiyya happa
o haiyya happa
aare happa
haiyya happa
o taana der na taana
taana der na
taana der na taana
taana der na
khushiyon ka hai mela dil ki basti mein
khushiyon ka hai mela dil ki basti mein
aao hum bhi mil ke naachen masti mein
aao hum bhi mil ke naachen masti mein
bhar ke dil ka paimaana
bhar ke dil ka paimaana
gaayen pyaar ka gaanaa
taana der na taana
taana der na
taana der na taana
taana der na
oy haiyya happa
aare happa
haiyya happa
o haiyya happa
aare happa
haiyya happa
o taana der na taana
taana der na
taana der na taana
taana der na
mere dil mein aa jaana
gaana pyaar ka gaana
mere dil mein aa jaana
gaana pyaar ka gaana
taana der na taana
taana der na
taana der na taana
taana der na
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5760 | Post No. : | 18285 |
Today’s song is a video song of a dance number from the film Alibaba aur 40 chor-1954.
The names Alibaba, Aladdin and Sindbad immediately revive the memories of childhood. Readers in the age group of 65+ will surely drift into Nostalgia. These are some of the popular stories from the ‘Arabian Nights’, one of the Bestsellers of the world. There is hardly any language with a script, which has not translated these stories into their literature. Out of the 1001 stories of the Arabian Nights, the other popular stories were that of Hatimtai and Gul-E-Bakavali.
Several generations grew up reading, enjoying and dreaming about these stories in their school days, all over the world. (I can not vouch for the recent generation, however). Owning these books was a treasure. No wonder filmmakers from all over the world made films on these stories and raked a lot of money. Places like Basra, tatar and Baghdad etc. became known in every country. Grandfathers all over the world made their grandchildren go to sleep while telling them these stories.
India was also not far behind other countries and many films were made on these stories. Not only this, the story departments of studios had such fertile imaginations that they created sons and daughters to all these heroes, which were not in the original stories. Thus, a variety with sureshot masala was added to such films.
It started with silent films. Films on Alibaba were made in 1927 (2), Aladdin- 1927 (20, 1928 and 1930, Sindbad in 1930 (2). After Talkie films started, films were made on Alibaba in 1940, 1946, 1976, Alibaba and 40 thieves in 1932, 1954 (2), 1966, 1977,1980 and 2004. Films on Aladdin in 1933, 1935, 1945, 2009, On Aladdin and magic lamp in 1938, 1952 (2), 1958, 1966,1978, 1982 (20. Films on Aladdin ka Beta in 1939 and 1955, Aladdin and Laila in 1941 and 1957 and Aladdin ki Beti in 1949. On Sindbad in 1946 (20, 1952 (2), 1965 and 2000. As a Bonus Sindbad ki Beti-19658 was also made. The top was, the film Sindbad- Alibaba and Aladdin-1965, sort of ALL IN ONE !
Film Alibaba and 40 Thieves-1954 was made by Basant Pictures and it was directed by its owner Homi Wadia. The music was by the pair of S.N.Tripathi and Chitragupt. In his initial days, Chitragupt had been Tripathi’s assistant for a few years. He has also sung some songs under his baton. This film was first censored on 10-3-1954 as a B & W film. However, its colour version was again censored on 22-11-1956.
A Tamil remake of this film was made in 1956 by Basant pictures with local stars. S. Dakshinmoorthy had done the music orchestration of the Tamil songs which had used all tunes from its Hindi original. The cast of the Hindi film was Shakeela, Mahipal, B.M. Vyas, S.N.Tripathi, Maruti, Sharda Deulkar, Shalini, Ismail, Dalpat, Azeem, Sardar Mansoor and many more. The original story as appeared in “The Arabian Nights’ was adapted by J.B.H.Wadia, by changing its last part of events. His name is given as the Story Writer in the film credits. Finally, the story of the film was like this……..
Alibaba (Mahipal) lives in the city of Dil Pazir. His dancer friend Marjina (Shakila) notices that he pays great attention to his sister Salma (Shalini), after his elder brother Qasim (S.N.Tripathi) has usurped all his ancestral property. His friend Abboo (Maruti) loves Sitara (Sharda Deulkar), Salma’s companion.
When Alibaba goes to the jungle for wood cutting, he accidentally sees the dacoit Abu Hasan (B.M.Vyas) and notes the password to get into his cave of treasure. In the night, Alibaba quietly opens the cave door with the password and collects a lot of wealth and becomes rich. The cunning wife of his brother comes to know and gets him arrested. Margina cleverly gets Alibaba out of jail and they run away with Salma and Abboo.
Qasim goes into the cave, collects wealth but at the time of leaving forgets the password and is stuck inside. Abu Hasan comes and kills Qasim, severing his head from body. Alibaba sees this in his next visit to the cave and brings the dead body parts to his house. Marjina brings a blindfolded tailor who sews the body with the head. This news reached Abu Hasan. To corner and kill Alibaba, he visits his house as a Saudagar along with his 40 thieves hidden in sacks. Marjina recognises him and with the help of Sitara and Abboo, they throw all sacks in a deep valley killing all thieves. Then Marjina tries to kill Abu Hasan, but he tricks her and runs away with her to the hideout. In the climax, Alibaba rescues Marjina, kills Abu Hasan and in the end all is well.
There were -for the first and last time- two Melody makers were the music Directors. Tripathi was an old horse in such types of films. He was a favourite of Wadia Brothers, who made most of these films. Tripathi had a studied knowledge of Arabian style music. Both MDs presented a bouquet of 8 lovely songs in this film. In the starcast, you will find the name Sharda. She was Sharda Deulkar, younger sister of singer lalita Deulkar, who was Sudhir Phadke’s wife. Shakila and Mahipal looked like they were born to act in such films only. Barring a few social films, Shakila was mainly seen in Costume and action films. Having worked with A class actor Dev Anand in film C.I.D.-1956 also did not help her much.
Mahipal or Mahipal Singh or Mahipal Bhandari (24 November 1919 – 15 May 2005) was a film actor who worked in Hindi cinema mostly in stunt films like Parasmani, Zabak, Cobra Girl, Jantar Mantar, Arabian nights themed movies such as Alibaba, Aladdin And The Wonderful Lamp, Roop Lekha, Sunehari Nagin, and Hindu mythological movies like Sampoorna Ramayan, Ganesh Mahima, Veer Bhimsen, Jai Santoshi Maa. He is known for playing the iconic role of Lord Vishnu, and his two avatars, Lord Rama and Lord Krishna in lot of various puranic, Ramayana, Mahabharata, Bhagavata Purana based movies, besides playing Tulsidas and Abhimanyu, and is also best known as the lead in V. Shantaram’s Navrang (1959), and the songs “Tu Chhupi Hai Kahan Me Tadapta Yahan” and “Aadha Hai Chandrama Raat Aadhi”. He acted in several well-known films of the 1950s and 1960s including V. Shantaram’s Navrang (1959) and Babubhai Mistry’s Parasmani (1963).
He was born on 24-11-1919 in Jodhpur, Rajasthan, where after his schooling, he graduated in literature from Jaswant Government College Jodhpur. Thereafter, he worked in the theatre before migrating to Mumbai in the early 1940s.
He made his film debut in the 1942 film Nazrana. However, the film didn’t work, thereafter he wrote lyrics for four films. He went on to work with directors such as Sohrab Modi and later with the Wadia Brothers, Homi Wadia and J. B. H. Wadia, however, it was his work with V. Shantaram that got him lasting acclaim. He worked in several mythological and historical films with actresses such as Nirupa Roy, Mala Sinha and even Meena Kumari.
Mahipal was never counted as an A category actor and so, leading actresses who started their careers with Mahipal in the lead were ashamed of revealing or accepting this fact. For example, In all her interviews, Mala Sinha always quoted “Rangeen Raten”-56 with Shammi Kapoor as her first film in Bombay. She was ashamed of revealing that in the film Riyasat-55, her Hero was Mahipal. She always hid this fact. Similarly, A grade Heroine Meena Kumari also had done several Mythological and costume films before Baiju Bawra took her high up and above other Heroines. Films like Shri Ganesh Mahima-50, Laxmi Narayan-51, Hanuman Paataal vijay-51 and Alladin aur Jadui Chirag-52 had Mahipal as her Hero. In her later years, she always hid her earlier film Heroes.
He also did a series of fantasy films based on Arabian Nights, including Alibaba and 40 Thieves (1954), Jennie (1953) ,Aladdin Aur Jadui Chirag (1952) and Alibaba ka Beta (1955), which gave him popularity even in the Gulf countries. Later in his career, he switched to character roles, and appeared in films such as Jai Santoshi Maa (1975), a 1970s hit.
He wrote 13 songs in 4 films,namely Mali-44, Aap ki Sewa mein-47 (Lata Mangeshkar’s first playback song was written by Mahipal in this film), Mere Laal-48 and Adalat-48. Mahipal acted in 131 Hindi films. He had also worked in Marathi, Rajasthani and Assamese films. His first film was Nazrana-42 and the last film was Amar Jyoti-84….a career spanning 42 years. He worked with Shakila in 18 films, with Anita Guha in 11 films,With Shyama in 6 films, and in 4 films with Nirupa Roy. He worked with Meena Kumari in 4 films. He is the only actor in Mythological films who sang a song on screen in the role of Shri Ram, in the film Hanuman Pataal Vijay-1951.
He died in Mumbai of cardiac arrest, at the age of 86. He was survived by his wife Akkal Kunwar and daughters Sushila Jain and Nirmala Oswal. (Thanks to book Inhe na Bhulana by Harish Raghuwanshi ji and my notes).
Today’s song is the YIPPEE song, as all songs of this film get covered here with this song. Enjoy….
Song- Zara nazren mila lo muskura lo dil sambhaalo(Alibaba Aur Chaalis Chor)(1954) Singer- Shamshad Begam, Lyricist-Raja Mehdi Ali Khan, MD-S.N.Tripathi and Chitragupt
Chorus
Lyrics
?? ??
o o o o
zara nazren mila lo
muskura lo dil sambhaalo
zara nazren mila lo
muskura lo dil sambhaalo
meri sachchi mohabbat aazma lo naaz waalon
meri sachchi mohabbat aazma lo naaz waalon
ye raaten pyaaree pyaaree
nazar ki beqaraari
ye raaten pyaaree pyaaree
ye raaten pyaaree pyaaree
nazar ki beqaraari
gire kadmon pe jo sadmon se to humko uthha lo
gire kadmon pe jo sadmon se to humko uthha lo
zara nazren mila lo muskura lo dil sambhaalo
meri sachchi mohabbat aazma lo naaz waalon
meri sachchi mohabbat aazma lo naaz waalon
?? ??
uthhi kaali ghataayen
tadapti hain adaayen
uthhi kaali ghataayen
uthhi kaali ghataayen
tadapti hain adaayen
badi mushkil mein hai ye dil
ise apna bana lo
badi mushkil me hai ye dil
ise apna bana lo
zara nazren mila lo muskura lo dil sambhaalo
meri sachchi mohabbat aazma lo naaz waalon
meri sachi mahobat aazma lo naaz waalon
?? ??
zara nazren mila lo muskura lo dil sambhaalo
meri sachchi mohabbat aazma lo naaz waalon
meri sachchi mohabbat aazma lo naaz waalon
?? ??
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5759 | Post No. : | 18284 |
Today’s song is from a film which is as old as 66 years – Dilli ka Thug-1958. The film was produced and directed by S.D.Narang and the music was composed by Ravi – who had become an independent composer with the film Vachan in 1955. The songs were written by S.H.Bihari, Shailendra and Majrooh Sultanpuri. The cast of the film was Kishore Kumar, Nutan, Smriti Biswas, Amar, Madan Puri, Iftekhar, Krishnakant, Protima Bedi, Mirajkar and many others.
This was one of the songs from the period which can be called “Comedian Kishore Kumar Era”. During the period 1953 to 1968, Kishore acted as a Leading man in 68 films ! This means, on an average, there was one Kishore film every 3 months during these 15 years. Quite a fast track performance !.
Film industry attracted many people from far and near. There were people from every corner of India who wanted to join the film industry. If you analyse what type of people joined films, you get roughly the following picture….
Most people who worked in the Film industry in any field- be it acting, direction, composing music, dancing, producing, in fact any department-joined the industry on their own.
However, there was also a class of artistes who were forced by the circumstances to work in the film industry- for example, the Mangeshkar sisters.
Then there were artistes who were forced by their near ones to join the film industry, like Meena Kumari, Husn Banu, Mumtaj Shanti or Madhubala,for example.
And there were artistes who came on their own to build a career in the film industry, like Dilip Kumar, Dev Anand, Sapru, Jeevan etc.
Few artists joined the industry because it was the family tradition, like Raj Kapoor, Shammi and Shashi Kapoor etc..
Then there were also some artistes who had never dreamt of it, but had to enter the acting field, like Ashok Kumar, Ranjan, Motilal, E.Bilimoria etc., for example.
Kishore Kumar was fond of singing from childhood. Without formal training, he had a natural gift of a good voice, sense of music and a good understanding of singing. When elder brother Ashok Kumar became an actor and sang in films, he too wanted to become a singer, but was forced to become an actor in the beginning of his film career. His brother Ashok Kumar, who was an Astrologer by hobby, had predicted that he would never become a singer !
While in school and in college in Khandwa, he would sing by charging 4 Annas for a Saigal song and 1 Anna for a Ashok Kumar song. In later days, rate for a Saigal song was raised to one rupee but Ashok Kumar rate remained at 1 Anna only ! Kishore Kumar came to Bombay to meet Saigal, but ended up doing a small role in the film Shikari-1946. His name was at No. 7 in the film credits.
Interestingly, 1946 was a year when many artistes- almost 30 odd-made their Debuts in different departments of filmmaking. Some of them are Hansraj Behl-Pujari, Snehal Bhatkar- Rukmini Swayamvar, Vinod-Paraye Bas Mein, Indivar- Double Face, Tasneem- Kuldeep, Shashi- Neera and Nanda, Baby Tabassum- Nargis, Nigar Sultana-Rangbhoomi, Cuckoo as a heroine with the name Kishori-Sona Chandi, Nirupa Roy-Amar Raj, Geeta Bali- Badnami, Geeta Roy- Bhakta Prahlad, K.A.Abbas, Ravi shankar, Balraj and Damayanti Sahni-Dharti ke Laal, Meena kapoor- Eight Days, Sudhir Phadke- Gokul, P.L.Santosi as a Director, Dev anand, Rehman, Rehana, Kamla Kotnis-Hum ek hain, Ram Ganguli-Maharana Pratap, Abhi Bhattacharya- Milan, Chetan Anand, Uma Anand, Kamini Kaushal-Neecha Nagar, Majrooh Sultanpuri – Shahjehan, and S.D. Burman-Shikari.
After Shikari, Kishore Kumar did a Police Inspector’s role in Shehnai-47. Finally, in the film Ziddi-48 he sang 2 songs-1 solo and 1 duet with Lata (later they sang 320 duets). In the film Ziddi, he was also in the cast, though uncredited. He did the role of a Gardener, who passes witty remarks-2 or 3 times. He then acted in Sati Vijay-48. Then in Rimzim-49 and Pyaar-50 he got opportunities to sing songs. In 1950, in Muqaddar he acted and also sang songs. In Khiladi-50, he sang one song.
From 1948-2 songs, in 1949-3 songs and in 1950 10 songs. Thus by 1950 he sang just 15 songs. Then from 1951 to the end of 1953 he sang 56 songs, and then onwards his tally increased. Till 1968, he restricted his singing only to mostly himself and Dev Anand. I was his great fan till he became a fast Punjab Mail after Aradhana-1969. However, sometimes his old sweetness too was found in a few songs.
The producer and director of this film, S.D.Narang was one of the highly educated artiste in the film industry. Here is a story which is stunning and unbelievable ! A young man was born on 18-6-1918,at Lyallpur,Punjab. He studied hard and got higher education.First he did B.Sc., then completed M.B.B.S. and became a Medical Doctor. Later he submitted a Thesis and got his Ph.D. All this from Lahore Medical College. He also wrote some research papers and 2 books. With this sparkling education, he could have had a luxurious living,but he chose to join the uncertain Film World. True to his habit, he succeeded here too and became a Hero,Producer,Director,Studio owner , a Lyricist and a writer.
Yes, in the early era of the late 30s,when educated people were a rarity,this highly qualified young man came into films. His name was SATYA DEV NARANG or simply, S.D.Narang.(18-6-1918 to 25-1-1986 ). Here are some highlights of his life,adapted from the site http://www.sdnarangsfan.com…With thanks.
1. During his life, from 1918 to 1986, he served the Indian Film Industry, at three Capitals of this industry, Lahore (1936 to 1946), Calcutta (l947 to 1951) and Bombay (1952 to 1980), as hero, producer, director, writer and Studio owner.
2. He had the distinction of being the highest educated man in the film industry. He was B.Sc., M.B.B.S and Ph. D from Lahore Medical College.
3. He had the credit of being the debut making leading man of ‘ Khazanchi’ which was The First Indian Film to celebrate the Platinum Jubilee.
4. He was the youngest leading man in Lahore, who played the lead in Khazanchi, Ravi Paar, Zamindar, Patwari, Gawandhi,Thekedar, Sahara,Yeh Hai Zindagi (his first venture as producer-director) and Kamini.
5. In Calcutta he produced ‘Chittagong Armoury Raid’, which was India’s ‘First Revolutionary Film’. He also produced Nai Bhabhi, Ek Raat, Aprajitha, and Chiner Putul and also played the leading roles in these films. Apart from his own movies, he played the lead in Iran Ki Ek Raat and Kajari,which were produced by outside producers.
6. After partition, he had to leave Lahore, like a Refugee, leaving all his assets and immovable property behind him. With his hard work and experience once again he was able to establish himself as the hero, producer, director, writer and Studio owner at Delhi. But the studio proved disaster in disguise for him. Being a soft hearted person, he was giving credit to the producers, who used to shoot their films in his studio. They duped him and he had to suffer heavy losses. With this bitter experience he left the city and entered the City of Dreams and the capital of Entertainment, Bombay, in 1952.
7. Being a passionate movie maker, Dr. S. D. Narang was able to get himself settled in Bombay, within a very short span of time. He had already dedicated himself to the silver screen. Once again he arose alive from his own ashes, like a Phoenix.
8. He made his presence felt in a big way in the big City of Bombay.
He produced and directed many films with big stars. In Tanhai and Darban he played the leading role himself. Some of the important films produced by him in Mumbai include, Arab Ka Saudagar, Yahudi Ki Ladki, Dilli Ka Thug, Sagai, Babul Ki Kaliyan, Do Thug, Ram Kasam, College Girl, Do Ustad, Kismatwala and Nishanebaaz. He had also produced Shehnai, which was India’s First Air-Force Film.
9. He was also the producer of Bombay Ka Chor, which was India’s First ‘Holiday-on-Ice’ movie.
10. He has also the credit of producing India’s First Under-water-movie, ‘Anmol Moti’ Jeetendra and Babita starrer.
11. The movie maker with Midas touch, Dr. S. D. Narang, had spent his 50 golden years of his cinematic profession, in the service of Silver Screen.(1936-86)
12, Before venturing into the film industry as the leading man, S. D. Narang, had an aptitude for research and while studying in Lahore Medical College, he did research on ‘Binocular Theory Of Vision’, which was published in his college Magazine. He bagged the Ph. D and became the Doctor of Philosophy, though he was already a Doctor of medicines.
13, Apart from being the author of a novel ‘Hippy Aur Yogi’ and ‘Human Psychology’, he had written a most praiseworthy book, ‘An Introduction To The Theory Of ‘Bio-Economics. It was actually a new approach to diagnosis and cure of Inflation and poverty. If applied to the present Global financial crisis, it can change the face of the fiscal fate of the World.
14. In 1960 he got married to actress of his time Smriti Biswas,with whom he had played the lead in many films. After her marriage she stopped signing new films, and decided to play the roles of faithful wife and caring mother. Still she prefers to prepare food for her beloved sons Rajiv Narang and Satyajeet Narang.
The story of the film Dilli ka Thug-1958, as I found on IMDB is this…..
“Dili Ka Thug” (Trickster of Delhi) is a movie revolving around Kishore (Kumar) who gambles and tricks people to make money. On being confronted by his mother, he decides to find a job and lands one in Mumbai, where he continues wooing Asha (Nutan). Kishore’s father and his friend were murdered by a notorious Anantram who now wears a mask to hide his true identity and continues manufacturing spurious medicines and also passes as Nutan’s uncle. The firm employing Kishore is run by Anantram and his two henchmen-Sevakram and Bihari. Anantram goes to murder Kishore in the hospital but drops his monocle which makes Iftekhar suspicious-he manages to take Anantram’s fingerprints on SohanLal’s wallet and figures out the truth. What follows is a dramatic air-borne sequence where Anantram is beaten by Kishore and shot by Nutan. Kishore manages to land the aeroplane after the pilots lose their consciousness…and as they say all’s well that ends well.
The first half of the movie is slow and would have been a drag but for the presence of the inimitable Kishore Kumar. The director makes up for the first half in the latter half of the movie as the events unfold quickly before the story reaches its climax. One also gets to listen to some very memorable songs-a water ballet “ye bahar ye sama, ye jhoomti jawaniyan” and then “hum to mohabbat karega..” followed by “CAT..” showing Kishore doing his hilarious earth-shaking moves and then the beautiful duet “ye raatein ye mausam..”
It’s like going back in time…only by 66 years and a sad realization that none of the actors who played a pivotal role in the movie are alive but their memory lingers on (other than the singer Asha Bhonsle).
Here is a song, sung by Asha Bhosle and chorus. Enjoy….
Song- Ye bahaar ye samaa ye jhoomti jawaaniyaan(Dilli Ka Thug)(1958) Singer- Asha Bhosle, Lyricist- S.H.Bihari, MD- Ravi
Chorus
Lyrics
aaaaaa
aa aa aa aa
aa aa aa
aa aa aa
aa aa aa aa
ye bahaar ye samaa
ye jhoomti jawaaniyaan
ye bahaar ye samaa
ye jhoomti jawaaniyaan
dekhiye kidhar kidhar jaaiye kahaan kahaan
ye bahaar ye samaa
bahak rahee hai is tarah husn ishq ki nazar
chala hai raah bhool ke jaise koi bekhabar
mastiyon mein doobti lo chali hai zindagi
kho gaya hai pyaar ke khwaab mein jahaan
ye bahaar ye samaa ye jhoomati jawaaniyaan
dekhiye kidhar kidhar jaiye kahaan kahaan
ye bahaar ye samaa
aa aa
aa aa aa aa aa
aa aa aa aa aa
dekh aisa waqt phir miley na zindagaani mein
gori gori baahon ne laga di aag paani mein
kisne rang ghola hai
mauj ek shola hai
jal rahe hain aaj ye zameen o aasmaan
ye bahaar ye samaa
ye jhoomti jawaaniyaan
dekhiye kidhar kidhar
jaaiye kahaan kahaan
ye bahaar ye samaa
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5758 | Post No. : | 18283 |
Today’s song is from the film Romeo and Juliet-1947, which the HFGK mentioned as ” शास्त्रीय संगीत प्रधान ” (Classical music based) film. However, hearing songs from this film, I wondered why this film was labelled so. After hearing today’s song, you may also wonder likewise, I am sure.
This was a film made by Nargis Art Concern. It was directed by Akhtar Hussain, with music by Husnlal- Bhagatram. The cast of the film was Nargis, Sapru, Anwar hussain, Nissar, John Cavas, Hamid Ali Murad, Violet Cooper and others. This film was unique in many ways. Firstly, it was based on the famous English play ” Romeo and Juliet”, written by William Shakespeare and staged for the first time in 1597. Important point is that the story was attributed to Shakespeare in the film’s credits, posters and the booklet. Secondly, this was the only Hindi film made on this famous tragic Love-story. And the most important point is that this film was made by Jaddan Bai. This was the only film in which all her 3 children were involved. All the children had different fathers but one common mother- Jaddan Bai.
Jaddanbai had 3 husbands and 1 child each from every one.
First she married Narottamdas Khatri,the financer of her first film.He converted to Islam and became Bachhi Babu to marry her.She got Akhtar Hussain from him.
Her second husband was Ustad Irshaad Meer Khan,from whom she got Anwar Hussain.
Her third husband was Mohan Babu. This Uttamchand Mohanchand was an orthodox Mohyal Brahmin from Rawalpindi.He was going to London for studying Medicine.He heard Jaddanbai’s singing and fell for her.Against all resistance from his family,he converted to Islam,became Abdul Rashid and married her.They had atlast found true love and till the end,they loved each others.He was known as Mohan Babu.He was handsome,rich and good natured.From him Jaddanbai got a girl child called Fatima Rashid or Baby Rani or NARGIS.
Her elder son Akhtar kept away from the family,became a Director,but later started his own business away from these people.Anwar Hussain and Nargis entered films.
Jaddanbai was very well read,cultured and a social person.
Romeo Juliet and Laila Majnu were famous Love-stories, but they were not from India. India also had its own folk tales of love from different states. India is a unique country in the world. ” Vividhata mein ekta” (विविधता में एकता ). A country which has 28 states and 9 UTs, 22 languages mentioned in its Constitution, 30 languages spoken by 30 lakh people each, 122 languages spoken by more than 10000 people each and 1652 languages spoken in all the country. So many religions are living amicably for thousands of years and still the country is ONE unit, when the Nation needs it. Disproving all the Pundits of the world saying that India will break into pieces after independence, we are stronger and more developed by the day. So, what is the secret ?
The secret is its Culture, which keeps all faiths and languages bound together. In India, Culture is greater than and a bigger influence than individual religions. The flexibility, adaptability and readiness to make changes by the majority section, is the secret. This makes India the biggest Democracy in the world today. The entire world looks up to us as a final Saviour. Culture and Folklore have bound Indians together. In every state there are its own Folk tales, Folk Dances and Folk Music. Still, some common Folklore is all over the country. Though every region has its own Folklores, Lovers’ Folk lore from Punjab and Sind have been traditionally well known throughout India, e.g. Heer-Ranjha or Sohni-Mahiwal etc etc. Our films have a great contribution in keeping the country United and Together,despite calamities and aggressions. Some of the Folk tales of Love from Punjab and Sindh became well known due to films made on them.
There are 9 Tragic Love stories from Punjab and Sindh,in which both the lovers die without getting united. These 9 Love stories are-
Mirza-Sahiban
Heer – Ranjha
Sassi-Punnu
Momal-Rano
Umar-marvi
Sohni-Mahiwal
Lila-Chanesar
Noorie-Tamchi
Dhaj-Rorkumar (Unlike most pairs,in Mirza Sahiban,the Male name comes First !)
Indian film producers have helped spread these Immortal Love stories by making movies on them,as under-
Heer-Ranjha… Films made in 1931,32,48, 1970 and 1992
Mirza-Sahiban… In 1933,35,47 and 1957
Sassi-Punnu… In 1932,33 and 1946
Sohni-Mahiwal…In 1933,46,58 and 1984
Umar-Marvi…in 1942
Noorie-Tamchi…In 1934
There is one folk tale of love from Gujarat, but it is claimed by Rajasthan and Chhattisgarh, with their versions. It is the story of Dhola- Maru. A film on them was made in 1956.
Anyway, the film Romeo and Juliet is not available and is considered lost. Only HFGK has some details. From the bits of information, it seems this film was very true to the original story of Shakespeare.
In the cast, we find some odd names like Master Nissar, who was a famous actor since the silent and early Talkie era. John Cavas, an actor from the stable of Wadia Movietone and one who was generally seen only in stunt and action films. Then there was Violet Cooper, yet another old time actress. Her two sisters (out of total 7 sisters) were also actresses. They were Patience Cooper and Pearl Cooper. The film’s Hero was Sapru aka D.K.Sapru aka Daya Kishen Sapru. Let’s know more about him….
This young boy had come all the way from Jalandhar to Prabhat Studios Poona, in 1942, for an interview. . Shantaram , Babu Rao Patel and Sheikh Fatehlal were the partners of Prabhat Studios at that point of time.
Looking at his face and after the usual introduction ,V Shantaram signed the actual blue eyed handsome Daya kishen Sapru aka Sapru, for a role in his next movie RAM SHASTRI-44. Meanwhile, Shantaram and others left Prabhat and the film was directed by Gajanan Jahagirdar. The character of a Peshwa played by him was well noticed and the movie turned out a big hit. He was signed as lead hero by the Company on a monthly salary of Rs 3000/-, one of the highest ever, paid to any hero during those days . It was a hefty sum that enabled him to live a princely life during those days . He did films Chand-44 and Lakharani-45 for Prabhat. It was somewhere around 1945-46.
Films started pouring in later. He acted in Romeo and Juliet ( opposite Nargis). Nargis’s Mother Jaddan Bai was all praise for Sapru. The film was produced by Nargis’s brother Akhtar Hussain . ) ,Jhansi Ki Rani ,Kalapaani , Hum Hindustani , Sahib Bibi Aur Ghulam, Mujhe Jeene Do , Leader and Shaheed. Who does not remember his role as Majhale Sarkar ( Chaudhary ) in Sahib Bibi Aur Ghulam. Again as Zamindar in Mujhe Jeene Do , he became quite popular. We saw him in some wonderful roles in Naya Daur, Prem Pujari, Jewel Thief, Krodhi , Kudrat ,Dharm Veer, Dream Girl, Zanjeer , Pakeezah and many more such films .It was a period when story writers would create a character for him in the story or script. He was seen either as a Zamindaar or a Police commissioner or a Judge in most of his later films .(Murad was another actor fit for similar roles)
In Total, he must have acted in more than 200 films and out of which he played the lead role in more than 50 films. He also played lead roles in some Gujarati and Punjabi films.
Saprus are Sarswat Brahmins from Kashmir known as Kashmiri Pandits who belong to DIPAT SAMAN AUPAMANYAVA Gotra or the lineage of an Aryan Rishi. This clan of kashmiri Pandits actually belong to village SAPREIN in present day Kulgam district of Kashmir and could be safely called as aboriginal Kashmiris. Some other prominent Saprus are Sir Tej Bahadur Sapru , Jagdish Narayan Sapru ( Prominent Businessman of the country ) Sahaj Ram Sapru Revenue collector during the rule of Afghan Governor Azim Khan ( 1809-1819 ) and Dr Allama Iqbal Urdu poet and Islamic scholar ( He too belonged to a sapru family from kulgam that had converted to Islam )
Daya kishen Sapru belonged to a well off family from Kashmir and his father was employed in Maharaja’s Treasury . That made the family move to Jammu and Lahore during winters. Daya Krishen was born at Jammu on 16-3-1916 and had his early education at Jammu and Lahore .Fluent in Punjabi, he was also proficient in Hindi, Urdu and English .From his childhood days, he would love music and singing. He could easily play on his Harmonium.
Before moving to PUNE , D K as he was known amongst his numerous friends lived at Jalandhar cantt for some time where he took up the job of a contractor. He had four brothers and two sisters and D K happened to be the fourth child in this joint family.
D K Sapru met Marathi actress and IPTA activist Hemvati and they fell in love. They married in 1948. Hemvati was a noted Marathi actress who also worked at PRITHVI Theatres. She acted in SANGRAM with Ashok Kumar and Nalini Jaywant in lead roles. She had also worked with Dev Anand in MOHAN ,Mubarak and Renuka in Ghar Ghar Ki Kahaani and Raj Kapoor in Jail Yatra. (It was rumoured that Raj Kapoor wanted to marry her). A play named Deewar had Hemvati and Raj kapoor in lead roles and the play became quite popular on stage during those days.
After marriage, Hemvati played the role of a caring wife and an affectionate mother in her family. After marriage, she possibly acted only in one movie PATIT PAVAN a home production of Sapru family.
Sapru children are also in films. To quote their elder daughter REEMA is a well known script writer while second daughter PREETI is a successful Punjabi actress while their son Tej is a noted film and TV actor. The brother and sisters are closely attached to each other. They too live by the family values that they inherited from their father.
D K Sapru also acquired good and working knowledge of Homeopathy and was seen reading Homeopathic books quite often during his spare time. He then started practicing this school of medicine and would treat everybody without any charge, often Buying medicines and distributing them free.
Sapru also committed a folly of producing films. One can say that he was misguided by some selfish friends .Though he had learnt some lessons from his first home production Patit pavan, a movie that earned him a few thousands only yet he took up another production project “Bahadur Shah Zafar” and brought in a large star cast that included Sudesh Kumar, Chand Usmani, Shyama, Rehman, Jeevan, Ulhaas ( M N Kaul ) and Nirupa Roy. He pooled in all his resources and raised loans for the project mortgaging his spacious new Bungalow. The movie did not sell on Box office. That landed the family in great trouble. The house had to be sold to repay debts .
Sapru turned diabetic during his later life. In Spite of his failing health he decided to make a last attempt to produce another film JEEVAN CHALNE KA NAAM. By Now Reema was a trained screenplay / script writer. She wrote the script and the family signed Sanjeev Kumar, Rekha, Shashi Kapoor. DK fell ill suddenly and had to be hospitalized for about a year. The project was abandoned. D K was also operated upon for a malignant growth in his shoulder and finally died of a heart attack at a young age of 63 years on 20-10- 1979. His favourite child Reema was already married at that time. And by then he had also turned into a grandfather .
Today’s song is the last and final song of this film, making it a YIPPEED film.
Song- Kisko khabar thhi dil ki ye duniya (Romeo and Juliet)(1947) Singer- Not known, Lyricist- Manohar Khanna, MD- Husnlal-Bhagatram
Lyrics
kisko khabar thhi
dil ki ye duniya
apne hi haathon barbaad hogi
kisko khabar thhi
dil ki ye duniya
apne hi haathon barbaad hogi
bijli giregi yoon hasraton pe
??zindagaanee naashaad hogee
kisko khabar thhee
o o o o
maaloom kya thha aa aa
o o o
maaloom kya thhaa
milte hi nazren
chhaayegi harsu
gham ki ghataayen
chhaayegi harsu gham ki ghataayen
saaj ae tamanna hoga shikasta
naghmon se paida fariyaad hogi
saaj ae tamanna hoga shikasta
naghmon se paida fariyaad hogi
kisko khabar thhi
dil ki ye duniya
apne hi haathhon barbaad hogi
kisso khabar thhi
dil thhak gaya hai barq e alam(?) se
dil thhak gaya hai barq e alam(?) se
har saans hai kyon gham ki kahaani
har saans hai kyon gham ki kahaani
ujdi hui hai dil ki ye basti
allaah kaise aabaad hogi
ujdi hui hai dil ki ye basti
allaah kaise aabaad hogi
kisko khabar thhi
dil ki ye duniya
apne hi haathon barbaad hogi
kisko khabar thhi
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5757 | Post No. : | 18281 |
Today’s song is from the costume/stunt film Raj Darbar-1955. It was a partially coloured film. The film was directed by Balwant Bhatt and the music was by the king of melody-Chitragupt. Surprisingly, there was a duet song by Kishore kumar in this film. Normally he was not seen singing in this type of film. The cast of the film was Ranjan, Nirupa Roy, Ishwar Lal, B.M.Vyas, Asha Mathur, Ranjit Kumari, Azeem and others.
The year 1955 was full of musical films, making the audience very happy and satisfied. Films like Shri 420, Seema, Udan Khatola, Munim ji, Devdas, House No. 44, Azaad, Yasmin, Zanak Zanak Payal Baje, Mr. and Mrs. 55, Baradari, Tangawali etc. not only regaled the audience with a variety of Genres, but also hit, popular and memorable songs.
Music Directors like S.D.Burman, Vasant Desai, O.P.Nayyar, Nashaad, Salil Chaudhari, Shankar-jaikishen, C.Ramchandra and Naushad created heavenly songs. Truly, 1955 was one of the best musical years in the ‘Golden Era’. MDs like Ravi (Vachan), Jaidev (Joru ka Bhai), and N.Datta (Milap) made their Debut in this year. The famous NFS “Preetam aan milo” sung by C.H.Atma was used by O.P.Nayyar in the film Mr. and Mrs. 55, sung by Geeta Dutt. This song was written by O.P.Nayyar’s wife Mohini Nayyar. One of the prominent Music Historians has said that the said song was actually written by O.P.Nayyar but the payment was taken in the name of Mohini Nayyar, for Tax purposes. God Only Knows the Truth !
It was just 8 years since our Independence and only 5 years since declaring it a Sovereign Democratic Republic, but the speed at which the film industry managed itself in this short period was commendable. This was possible only because we had the equally talented second line of experts ready with us to fill the void immediately, after the migration of Muslim artistes. This precisely was the weakness for Pakistan, as after the migrated generation retired, there was no second line to take over and hence the Pakistan film industry never prospered.
In this period the main and probably the only way to film songs was the Radio. Tape recorders and gramophones were not that commonly found. Film song programmes like Binaca geetmala became 1 hour programme on every Wednesday at 8 p.m. from 1954 and also became a “Hit Parade” of songs. FilmFare awards were in its 3rd year and the best music Director’s award this year went to S.D.Burman for the film Taxi Driver. Films like Shri 420 (2 songs0, Udan Khatola (2 songs) and Nagin (1 song) featured in the Top 5 songs of Binaca geetmala. This year also saw the sad demise of Music director Arun kumar Mukherjee.
Railway platform was the Debut film of Sunil Dutt. Insaniyat was the film in which Dilip and Dev featured together for the first and last time. Film ‘Bakul’ was the last film made by New Theatres before finally closing down. Children’s film society was established with H.N.Kunzru as its first President. In later years Kidar Sharma was the president appointed by Nehru.
Film Raj darbar-1955 had Ranjan as its Hero. He was a rare personality having skills in various fields. He was also one of the highly educated actors. After him, I can only see S.D.Narang (B.Sc., M.B.B.S., Ph.D.) as a highly educated actor/director/producer in Hindi films. Actually, I had expected to see Ranjan’s fencing skills in this film, but there was only one scene in the last part of the film.
In the early times of the Film Industry, very few educated people used to join here. That is why Graduates or Postgraduates used to flaunt their degrees with pride- like Moti, B.A.-the lyricist ( though he was actually M.A.), or Kavi Pradeep’s pseudo name- Miss Kamal B.A. or even singer actor Surendra as B.A., LL.B. etc.etc.
After reading about this artiste, you will wonder if any such multi-talented person ever lived here ?
A highly qualified person and that too in an unrelated subject joining films was a wonder then. Thus, a young man with an unlikely name for a Hero, like RAMNARAYAN VENKATRAMAN SARMA Alias actor RANJAN was a novelty. Ranjan was born in Madras on 2-3-1918 in an orthodox Brahmin family.
He was an expert in playing Violin. He was a qualified dancer in Kathak,Kathakali and Bharat Natyam. He was an expert driver, swimmer and a swordsman of Olympic standards. He graduated in physics.After M.Sc. He did his Doctorate (Ph.D.) too. Ranjan knew 12 Indian and 4 foreign languages. He edited a Dance and Drama Magazine and wrote several books on it. He earned a Fellowship of New York University.
Ranjan learnt and became an A grade flyer. He was the first to buy a Rolls Royce car and a Tiger Moth Aircraft, in the Indian film industry ( later Motilal also owned an aircraft). He was a good painter and a Trained magician. He became Magician’s Association president for Bombay. P C Sorcar was All India president then. He was often invited by European and American Universities for lectures. Ranjan owned two big Hotels also. Ranjan was a good shooter. He played Cricket and Soccer frequently. Ranjan was a regular singer on Madras A.I.R..
In his first Tamil film, his Heroine was Vasundhara Devi- mother of Vyjayanthimala. Ranjan entered Hindi films through his blockbuster film ” Chandralekha-48 “. He did 58 Hindi films in the 50s and 60s. He was a script writer also.He wrote the story and screenplay of the film Munimji-55. He was a choreographer also. In the 50s decade the quartet of Raj, Dev, Dilip and Ashok kumar was ruling Hindi industry. Ranjan was not given any importance here. He was not even invited for the Golden jubilee of Talkie film celebrations in Bombay. He lived in his bungalow in Chembur Union park.
He was spotted by a Tamil Producer, when he was standing in a Bus queue and he made his Debut in the film ” Ashok Kumar “-1941. After a few films in Tamil and Telugu, he got the role of SHASHANK in the Magnum Opus film Chandralekha in 1948. The Drum dance and his fencing were the two attractions in the film. The final sword fighting is considered the Longest ever Fencing fight in films till today ! The film was a Hit and Ranjan became typecast in Action films. Ranjan was a very poor actor, but his Fencing skills were marvellous.
In 1949, came ” NISHAN “, based on the Hollywood film ” The Corsican brothers’-one good and one bad. It was a story of twins. The audience liked a scene from the film which showed that there were marks on one brother’s back if the other one was whipped ! The film, in Hindi, Tamil and Telugu, was a hit everywhere mainly for its fencing scenes. In ‘Mangala’ opposite Bhanumathi, he was the villain and the Hero too.
He was invited by New York University for a Fellowship, but Vasan did not leave him, so after Mangala-1950, as soon as the contract was over, Ranjan came to Bombay.
‘Shin shinaki Boobla Boo’-1952 saw him with Rehana but as a Romantic Hero, he was worse than Bharat Bhushan or Pradeep Kumar !
He acted in Sindbad the sailor, Baghi, Shahenshah, Kafila, Baghdad, Baap Beti, Nishan Danka and a host of B and C grade films, many of them dubbed or remakes of southern films. He was known for only Fencing. But he never became famous like Stewart Granger in ” Scaramouche” for his fencing. In the 50s he acted in 23 films, in the 60s he did 18 films and in the 70s his tally was 17 films. A total of 58 films in Hindi.
After Sword fighting became obsolete he shifted to writing. The story of the film MUNIMJI-55 was written by him. After a few years in the south he was seen again in ‘Chor chor’-74 and ‘Chaitali’-76. Ram Balram – 80 was his last film.
He married a Muslim girl and she converted to Hinduism taking the name of Laxmi.
Ranjan wrote 12 books on Dancing and music.
He moved to USA to live with his son, but died on 12-9-1983, in New Jersey-USA, due to Heart attack. He was so much forgotten that even the news of his death was not published in India.
Today’s song is the last and final song of this film, making it a YIPPEED film.
Song- Naachoon chhamachham raaja tere darbaar mein(Raaj Darbaar)(1955) Singer – Asha Bhosle, Lyricist- G.S.Nepali, MD- Chitragupt
Female chorus
Lyrics
Naachoon chhamachham raaja tere darbaar mein
ho tere darbaar mein
naachoon chhamachham raaja tere darbaar mein
ho tere darbaar mein
koi nahin tere jaisaa
saare sansaar mein
ho saare sansaar mein
naachoon chhamachham raaja tere darbaar mein
ho tere darbaar mein
naachen bahaaren titliyaan ban ke
main naachoon dhaanee chunree pahan ke
chunree pahan ke
naachen bahaaren titliyaan ban ke
main naachoon dhaanee chunree pahan ke
chunree pahan ke
paaon mein paayal boley
nainon mein ghaayal boley
paaon mein paayal boley
nainon mein ghaayal boley
ghaayal ki duniya doley
paayal ki jhankaar mein
naachoon chhamachham raaja tere darbaar mein
ho tere darbaar mein
koi nahin tere jaisaa
saare sansaar mein
ho saare sansaar mein
naachoon chhamachham raaja tere darbaar mein
ho tere darbaar mein
naache sitaare raha andheraa
main itna naachee hua saweraa
hua saweraa
naache sitaare raha andheraa
main itna naachee hua saweraa
hua saweraa
tum ho to roshnee hai
chaandee hai chaandnee hai
tum ho to roshnee hai
chaandee hai chaandnee hai
laakhon ki zindagee hai teree talwaar mein
naachoon chhamachham raaja tere darbaar mein
ho tere darbaar mein
koi nahin tere jaisaa
saare sansaar mein
ho saare sansaar mein
naachoon chhamachham raaja tere darbaar mein
ho tere darbaar mein
Ye jawaanee badee badnaam hai
Posted on: April 21, 2024
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5756 | Post No. : | 18280 |
Today’s song is from the social film Sunehre Qadam-1966.
It was a social film directed by Satish Nigam and Music Directors were Bulo C Rani and S. Mohinder.There were 4 Lyricists for the 7+1(2 part) songs. The cast of the film was Rehman, Shashikala, Agha, Sabita Chatterjee, Randhir etc.
Majority of the cinegoers these days prefer a ‘Happy End’ film. There was a period-mid 40’s to mid 50’s- when Tragedy films were the ‘in’ thing, but as the younger generation grew up, ‘Devdas’ type films became a ‘No-No’. Musicals and Romantic comedies took over. Dilip Kumar who was the cause of such ‘ Tragedy wave’ films, suffered healthwise and stopped acting in such films. ( He had ‘Died’ in 7 such Tragedy films during this period.). Like a pendulum, he went to the other side, doing comic roles and films of other Genres. Big producer-directors like V.Shantaram hated films where the hero ‘died’ in the end and had made films like ” Aadmi”-1937, with a message “Life is for living”.
The other day, I was searching on Google to get an answer to my curious question ” Why does a man want a ‘Happy End’ to all matters in life ?” After searching for a long time for a few days, I came across a Research paper titled ” Human mind and the desire for a Happy End’. As per this scientist, the Human mind basically wants peace and joy so that he performs well in life, without wasting time on solution-less matters which have a ‘Tragic End’.
Applying this to film viewing, people seek entertainment and happy times when they go to see a film. From the mid 50’s onwards the trend fully changed to stress on Music, Humour and Happy End. Personally, I like only ‘Happy End’ films. I am sure most people are in my category.
The story of film Sunehre Qadam-1966 was a mixture of attempts to satisfy both types of people – people who liked tragedies and people who liked ‘Happy end’. in this effort, the whole story became patchy and meaningless. take a look at the film’s story….
This is a story of a spoiled motherless rich girl who is also a singer. Shekhar (Rehman) falls in love with Shefali (Shashikala). In their first meeting, Shefali slaps Shekhar, who still loves her. There is a singing competition which is won by Shekhar defeating Shefali. Shekhar wins the Trophy.
Shekhar’s poor parents and brother and sister live in a village. Sheklhar’s earning is limited. To cope up, he has to sell the Trophy. Shefali knows that Shekhar would never ask for money from anyone, so she buys the trophy from the dealer and gifts it to Shekhar. After a few months, he sold it again. Shefali gets it again and gives it to him. Third time there is some misunderstanding in the shop and the shop owner accuses Shefali of stealing the trophy from him. Sheklhar thinks she stole it and accepts the theft himself and goes to jail.
Shefali wants to redeem her foolish behaviour , so she goes to his village to take care of his parents. The father dies soon and the mother too dies. Meanwhile Shekhar comes back from jail. Seeing Shefali at his house, he is angry and fires her and throws her out, without listening to her pleas.
Shefali decides to end her life, after thinking for few days. Meanwhile the shopkeeper meets Shekhar and clears the fact that the Trophy was bought by Shefali 3 times and not stolen. His neighbours also tell Shekhar how Shefali looked after his parents and siblings. Shekhar repents and goes to her. He learns that she has gone to the river. When he reaches the river, he sees Shefali jumping into the river to die. He too jumps and saves her. All matters are cleared and both unite happily.
I don’t know what you think of this story, but I feel it is a third rate story. Neither story nor music was noteworthy. The only redeeming factor was the excellent acting by Shashikala and Rehman. I liked Rehman. He looked like a Royal person and was very impressive. Sai’d Rehman Khan was born on 23 June 1921 at Lahore, British India, now Pakistan, in a Pashtun-origin family. He graduated from Robertson College, Jabalpur, staying in Beohar Niwas Palace. Among his nephews are prominent Pakistani film and TV actor Faisal Rehman and Fasih Ur Rehman, Indian classical dancer, and sons of his younger brother Massud-ur-Rehman, the famous cinematographer in Pakistan.
After college (1942), he joined the Royal Indian Air Force and trained at Poona as a pilot. The Air Force didn’t appeal to him and soon left for a career in films at Bombay. He is best known for his suave sophisticated roles, which suited his personality. His movie career started with a job as third assistant director to Vishram Bedekar at the studios in Pune. Vishram needed an Afghan who could tie a Pashtun turban on one of his characters. Rehman could do that, being a Pashtun, and that brought him to the screen for some lead roles. One of his major hits as hero was Pyar Ki Jeet with Suraiya, and the song-“Ek Dil Ke Tukde Hazar Hue, Koi Yahan Gira, “Koi Wahan Gira ” was a major hit. Badi Behen was another big hit with Suraiya. He was also interested in marrying Suraiya, along with many other suitors, though she was adamant in wanting to marry Dev Anand.
Initially he played lead roles, but as time passed, he accepted supporting roles and made his mark in some hit films like Pyaasa, Chaudhvin Ka Chand and Sahib Bibi Aur Ghulam (in which he played a debauched zamindar, Chhote Sarkar), and Waqt which were some of his memorable roles, the first two with Guru Dutt, famous actor, producer, director. Rehman also did key roles in Baharon Ki Manzil, Gomti Ke Kinare, Dushman and Holi Aayi Re. Rehman received four Filmfare nominations as Best Supporting Actor for Phir Subah Hogi (1958), Chaudhvin Ka Chand (1960), Sahib Bibi Aur Ghulam (1962) and Dil Ne Phir Yaad Kiya (1966).
Rehman had a deep, impressive and powerful voice and it is a great irony that he died of throat cancer, It can easily be said that his colourful role as Chenoy Seth in B.R.Chopra’s 1965 film Waqt was one of his best loved performances. Despite his evil designs for Raaj Kumar in the film, audiences admired his style and prosperous look. He proved the perfect match for” Jaani” Raaj Kumar. The scenes between the two, especially at the swimming pool, are among the highlights of the first multi-starrer of our film industry. Word for word, expression for expression, Rehman stood his own opposite Raaj Kumar who was known for his unique voice, style and dialogue delivery. In fact, Rehman seemed more in control than “Jaani”. How smoothly and politely an evil man can accomplish his goals is what Chenoy Seth shows us in Waqt. Indeed, a memorable performance!
Rehman’s first film was Hum Ek Hain-1946 and in 1982 his last 3 films were released-Dil aakhir dil hain, Rajput and Vakil Babu. In all Rehman acted in 113 films and lip synched just 17 songs on the screen, in his career.
Not much is known about Rehman’s personal life except that he lived behind Regal Cinema in Colaba area of Bombay and was extremely devoted to his wife. Director Lekh Tandon informs that the tough Rehman married his girlfriend who looked after him when he fell upon lean times during the 1950s. But as she kept him and his confidence afloat, Rehman was perpetually grateful to her for her supreme sacrifice and the devoted couple lived a reclusive life with Guru Dutt, Johnny Walker and Abrar Alvi amongst their few friends from the industry. Perhaps this seclusion from the moviedom’s social circuit explains the near absence of any stories about him or his family. Nevertheless, like Lekh Tandon opines, “he was a rare breed of actor who brought his own sheen and sophistication to a character”, discerning audiences know he was an actor who was worth his weight in gold. Like a rare melody that is little remembered but never forgotten by our heart, Rehman twinkles in our memory.
In 1977, he suffered three heart attacks due to excessive alcohol consumption . He was also a chain smoker and he was diagnosed with throat cancer. A man whose majestic voice was his signature, lost his voice and he was unable to speak during his last days in his life. Rehman died on 5-11-1984.
Sunehre Qadam-1966 was the last film of Bulo C Rani. Despite the popularity of a stray song such as ‘Hamen to loot liya milke husn Walon ne’ (Ismail Azad/’Al Hilal’/1958). Bulo C Rani just continued to drift because his music had not remained a viable commercial proposition.After ‘Sunhare Qadam’ (1966). Bulo’s career came to an end. Having once enjoyed the position of prominence the lack of assignment made him restless. No films came to him. In addition, his family sold his posh flat in Shivaji Park and shifted to Versova, which hurt him a lot. He lost the will to live.
In a career spanning over 22 years, Bulo C Rani gave music in 71 films. He also gave music in few Sindhi hit films. Practically with no work towards the latter half, he started taking coaching classes in light music. He was isolated which led to depression. To overcome this he developed the habit of drinking. This led his health to deteriorate and he had to be admitted to hospitals multiple times. When acute depression became unbearable & after his family sold their house at Shivaji Park and moved to Versova, he took the extreme step and committed suicide by burning himself on May 24, 1993. He died at 73 leaving behind some unforgettable creations. Bulo C Rani’s death remained largely unreported in the press. It was an irony of fate that the song he composed in the voice of Lata in his last film ‘Sunhare Qadam’ was ‘Maangne se jo maut mil jaati, Kaun jeeta zamane men’.
The Irony was that in life he asked for death and he got it. And how horribly too ! It is said that on 24-5-1993, he committed suicide by immolating himself. When his body was burning, he ran on the streets shouting in pain and finally fell on the road dead.
Today’s song is the last and final song of this film , making it YIPPEED, with all songs covered.
Video
Song- Ye jawaani badi badnaam hai (Sunahre Qadam)(1966) Singer- Asha Bhosle, Sudha Malhotra, Lyricist- Anand Bakshi, MD-S Mohinder
Both
Lyrics
aa aa aa aa aa aa
aa aa aa aa aa aa
o o o o o o
ye jawaani badi badnaam hai
ye jawaani badi badnaam hai
shola bijli hawa
allah jaane kya kya
sau sau naamon ka ek naam hai
ye jawaani badi badnaam hai
zulfen bikhere to haar jaaye raat jee
zulfen bikhere to haar jaaye raat jee
mukhda dikhaaye to din khaaye maat jee
mukhda dikhaaye to din khaaye maat
iske bas mein
waah waah
iske bas mein subah hai shaam bhi
shola bijli hawa
allah jaane kya kya
sau sau naamon ka ek naam hai
ye jawaani badi badnaam hai
ik chitchor ka sunte hi naam jee
ik chitchor ka sunte hi naam jee
bade bade dil ko lete hain thhaam ji
bade bade dil ko lete hain thhaam
dil churaana
dil churaana isi ka kaam hai
shola bijli hawa
allah jaane kya kya
sau sau naamon ka ek naam hai
ye jawaani badi badnaam hai
suna hoga aapne naam e sharaab ji
suna hoga aapne naam e sharaab ji
kahti hai duniya jisko kharaab ji
kahti hai duniya jisko kharaab
ye umar bhi
haaye haaye
ye umar bhi nasheelaa jaam hai
shola bijli hawa
allah jaane kya kya
sau sau naamon ka ek naam hai
ye jawaani badi badnaam hai
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5755 | Post No. : | 18279 |
Today’s song is from the film Teesri Gali – 1958.
The film was produced by C.D.Sadarangani and was directed by Kundan Kumar. Music was by Chitraguptand the cast members were Shyama, Abhi Bhattacharya, Prem Adeeb,Gope, Neeru (aka Shantakumari Jr.). Leela Mishra, Vithal Panchotiya etc.
The film industry is presently ruled by big actors. In the early years of the film industry, the situation was very different. The film studios were very powerful. They used to employ actors on monthly basis. This situation changed after the second world war. Studios found it difficult to manage big establishments. In addition, outsiders who had a lot of Black money started luring away the actors and the directors and making films by hiring studio facilities. ” Free lancing” was the operative system now and thus slowly, once the powerful studios started eclipsing. Big studios and film companies like New Theatres, Shalimar, Bombay talkies, Imperial etc. closed down and few studios became insignificant. Film companies run by individuals like Rajkamal, Mehboob, Filmistan, Kardar studios etc. thrived because they kept pace with the changes in the industry. All this happened primarily due to 3 reasons….
1. Black money in industry
2. Partition and
3. Escalating costs due to war.
This also made the actors’ lobby very strong and they virtually ruled the industry. Nothing remains permanent and even this situation changed after the powerful generation of actors slowly bowed out. Nowadays, the career spans of actors have shrunk. Unlike Raj, Dev, Dilip etc. who had long careers of 30 to 50 years, now no one survives beyond perhaps 10+ years, with exceptions.
During the period when the big stars were powerful, most were possessive, proud, brash and self centred. Anyone who was simpler, straight, accommodative, smiling and cooperative was popular among younger, emerging actors and such artistes were very few. One such actress was SHYAMA, who respected everyone and cooperated with new actors, never refused any film based on who was the Hero and was ever smiling. I liked her very much. She worked with a pouring heart. See any of her song videos and you will realise how single mindedly she worked giving her all skill.
I not only liked but also respected Shyama, because in my opinion, she was one of the few actresses, who was not only versatile but also very humble, modest and cooperative. Though she started from scratch- as an Extra- she worked with Top actors like, Ashok Kumar, Raj Kapoor, Guru Dutt, Kishore Kumar, Balraj Sahni, Motilal, Rehman, Shammi Kapoor, Raaj Kumar, Karan Dewan, Bharat Bhushan etc. But she never hesitated to work with B or C grade Heroes like Sajjan, Mahipal, Kamal Kapoor, Suresh etc. With Johnny Walker, she did 7 films as a Lead actress and 3 more in other roles.
Another speciality of Shyama was that in the song sequences, she used to lip sync in a very natural way giving a feeling that in reality she was actually singing. Some of her senior actresses , especially Meena Kumari, might be a big star but while lip synching she was simply terrible. One felt that she was murmuring something . Never got a feeling that she was singing.
Shyama did many child roles as Baby Khurshid Akhtar. When her first film as a Heroine-Shrimatiji-52, opposite Nasir Khan- was released in Opera House, Bombay, the film Soorat was released in Roxy cinema at the same time. In the film Soorat, she did a child role while in Shrimatiji she was the Heroine. Film Soorat-47 got delayed and was released in 1952. She was named Shyama By director Vijay Bhatt at the time of the film Nai Maa-46.
Shyama ( real name Khursheed Akhtar) was born on 12-6-1935 at Lahore. Her family shifted to Bombay when she was 2 year old. Shyama’s father too was a fruit seller, like Dilip Kumar’s father, in the Byculla market, in those days. Khursheed studied in Urdu medium Municipal school. When she was 10 year old, a chance visit to see a film shooting ended in her participating in the shooting.
The film was “Zeenat”-1945. She was given her screen name-Shyama. Along with Shashikala and Shalini-the other child stars, she sat in the famous qawali, “Aahen na bhari” India’s first all female qawali. Though Noorjehan sang in the qawali, her lines were NOT lip synched by herself, but Rehana lip synched them. In the true sense, this was her first playback in films !
In the next 6 years Shyama did 80 films mostly uncredited,in small roles , like Shayar, Jal Tarang, Namoona, Sajaa, jalsa, Nishana etc. During film Jalsa’s shooting, its heroine Geeta Bali took a fancy to her and predicted that one day,she too will become a Heroine.Her small roles were almost like an extra or a chorus girl.
In her career of 41 years, Shyama acted in 169 films ( 70 as a Heroine) and sang about 140 songs on screen in her films. She married Cinematographer Fali Mistry in 1954. They had 2 sons and 1 daughter. Shyama retired from films in 1976. Fali Mistry died in 1979. She spent a happy retired life with old friends, at her luxurious flat in Napean Sea Road, Mumbai. Shyama died on 14-11-2017.
While Shyama was working, there were 2 more Shyamas – Shama Dulari and Shyama Zutshi. I have discussed this Trio of “Same Name Confusion” in my second book published last year.
Actor Abhi Bhattacharya was another actor I liked. I liked him in the films Jagriti-1954 and Apradhi kaun-1957. Some people are liked by us but we can not pin point the reasons. I always felt that this typically Bengali looking actor was a misfit in Hindi films. Abhi Bhattacharya ( 20/11/1922-11/9/1993) had a handsome and impressive personality. Belonging to the Bimal Roy camp,he debuted in 1947 with film Naukadubi from Bombay Talkies- a Bengali dominated production house.
Some of his other notable films were Yatrik-52, Jagriti-54, Biraj Bahu-54, Anuradha-60, Aradhana-69, Seeta aur Geeta-72 etc etc. He worked with stalwarts like Bimal Roy, Satyen Bose, Nitin Bose,Guru Dutt, Ritwik Ghatak etc. In the later part of career he worked as Lord Vishnu and Lord Shrikrishna in many Mythological films.
He wrote one book too,”Destiny with Dadaji”. He acted in 166 films. His last film was ‘Professor ki padosan’-93. He died on 11-9-1993.
Today’s film Teesri gali-1958, an ordinary film, became famous because actor Gope died on the sets, while shooting a scene in this film. The irony was, the scene he was shooting was, when he had to act like he got a heart Attack and died. Unfortunately, in reality, he genuinely got a heart attack and he actually dies. Those present during the shooting clapped heartily for natural acting, knowing little that he had really died on the sets. His last dialogue in that scene was ” main upar jaa raha hoon, wahan se jawab bhejunga” (मैं उपर जा रहा हूं, वहांसे जवाब भेजूंगा ).
Teesri Gali was an Action-Crime Thriller Romantic Family Drama Film crafted with excellence by Kundan Kumar.
The Story revolved around the life of Raja- A Kind and Brave man who comes to the city to find his friend Bankey and falls in love with Mala- A Beautiful girl and wants to marry her. However, he finds his friends as a Rich man and Niranjan- An evil man who framed him for murder and together they set on the path to defeat him, without knowing the outcome, leading to consequences.
Today’s song is the last and final song, making this film YIPPEED. Enjoy….
Song- Ek shola Bhadkega ek patanga tadpega (Teesri Gali)(1958) Singer- Geeta Dutt, Lyricist-Majrooh Sultanpuri, MD- Chitragupt
Female chorus
Lyrics(Provided by Prakashchandra)
Ek shola bhadkega
ek patanga tadpega
aaj ki raat ki baat na poochho
ek shola bhadkega
ek patanga tadpega
aaj ki raat ki baat na poochho
ek shola bhadkega
aa aa aa aa
aa aa aa
aa aa aa
o o o o
o o o
o o o
abhi to rang bandha hai fasaane ka
abhi to rang bandha hai fasaane ka
koi samaa hai ye chhod ke jaane ka
raat hai baaki
hmm hmm
baat hai baaki
hmm hmm
aate hi aayega ji pyaar ka maza
ek shola bhadkega
ek patanga tadpega
aaj ki raat ki baat na poochho
ek shola bhadkega
dekho to pyaare abhi se khafa kya ho
dekho to pyaare abhi se khafa kya ho
aage aage zara peechhe kya kya ho
aaj humaaree
hmm hmm
aayi hai baaree
hmm hmm
aayega ab takraar ka maza
ek shola bhadkega
ek patanga tadpega
aaj ki raat ki baat na poochho
ek shola bhadkega
aa aa aa aa
aa aa aa
aa aa aa
o o o o
o o o
o o o
tum pe bhi dard ki kaali ghata chhaaye
tum pe bhi dard ki kaali ghata chhaaye
hum pe chhuri koi tum pe bhi kam aaye
dil hi akele
hmm hmm
kyun dukh jhele
hmm hmm
tumko bhi aaye inkaar ka maza
ek shola bhadkega
ek patanga tadpega
aaj ki raat ki baat na poochho
ek shola bhadkega
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Recent comments