atul's bollywood song a day- with full lyrics

Poone se laayi paan re

Posted on: April 8, 2014


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

THE VIBRANT 40s……(Episode 1)
———————————-

We are starting a New series from today and the name of the series is THE VIBRANT 40s.

The history of Hindi Film Music (HFM) begins with the very first Talkie ” Alam Ara”-1931, in which there were 7 songs.
Madan Theatres, Calcutta, Krishna Cinetone, Bombay and few other production houses were busy hectically in 1931, to release their First Talkie film, ahead of all others. Lucky Ardeshir Irani got the cake and released his film Alam Ara before all others and engraved his name in the history of Hindi and Indian talkies. Music and singing being an integral part of the Talkie films, many musicians were attracted to films. Stage and Drama musicians and some classical singers joined films and gave music in them. In those days, Film music was totally influenced by Gujarati, Parsee and Marathi stage and Drama music (Natya Sangeet). Probably no one ever imagined that there was a need for a different approach to Cine Music.

For the first 9-10 years of Hindi films, i.e. 1931 to almost 1940,there was virtually no change in the music pattern or the singing styles of songs in films. By the end of the 30s, playback technique was gaining a foothold. This system actually freed the Cinema from songs sung by film stars who were no singers at all ! Genuine, independent, non-star singers were now available to give playback. This was the case in the western India or Bombay made films. The Eastern centre of Hindi film making-Calcutta was strictly following Robindra Sangeet and Nazrul Geeti, adapted into Hindi film songs. They also used more pure Hindi words like Preet, Prem, Bandhan, Milan, Sangam, Vyatha etc to appeal to Hindi belt audience.

Begining of the change came from the far off Lahore. Dalsukh Pancholi’s “Khazanchi”-41 introduced for the first time the Punjabi folk tunes music in the voice of a New singer SHAMSHAD BEGUM. The use of Dholak and Punjabi robust rhythm in songs was tried by the composer Master Ghulam Hyder. This path breaking,new type of Music was received by the audience with great joy and love, all over India. With this was ushered in the VIBRANT changes HFM was to undergo in the 5th decade,i.e. from 1941 to 1949.

This was also the time when the old batch of actors, singers and composers were slowly getting replaced by a newer crop of artistes. Phirozshah Mistry, Master Ali Baksh, Jaddanbai,Lallubhai Nayak, Pransukh Nayak, Brijlal Verma, Nagardas Nayak, Sunderdas Bhatiya, Govindrao Tembe, Keshvrao Bhole, Master Krishnarao Phulambrikar, master Mohammed, Jhande Khan, Rewashankar Marwadi, B S Hoogan, Meer Sahab, Damodar Sharma, Jhande Khan, Rewashankar Marwadi, S P Rane, Vithaldas Panchotiya, Annasaheb Mainkar, Dada Chandekar, Mushtaq Hussain, Master Chhaila etc were disappearing one by one.

A new set of composers and singers like Anil Biswas, Ashok Ghosh, C.Ramchandra, Ghulam Hyder, Sajjad Hussain, Naushad, K.Datta, Govind Ram, Pt. Amarnath, Husnalal Bhagatram, Khemchand Praksah,Khursheed Anwar, Nissar Bazmi, Vinod, A R Qureshi, Saraswati devi, Bulo c Rani, Gyan Dutt etc were taking over from the old guards.

These new entrants brought with them melodious tunes and music from Goa, UP, Rajasthan, Bengal, Maharashtra, Punjab, Kashmir etc and their experimentation truly enriched the HFM making it a genuinely All India music.

In the 40s, the HFM became absolutely VIBRANT. The new composers with new ideas and hard work tried to understand what the audience wanted. In other words,we can say that hitherto the film music was ” Sales Oriented ” (selling what you produce) till the 30s decade, but the 40’s music was ” Market oriented” (producing what the audience wants). Now, there was a fair and healthy competition and a wide variety in music. The composers too had new singers who were trained and had a singing voice and talent, unlike the earlier ‘Untrained forced singers’. naushad Ali had once said,’ The coming of Rafi and Lata liberated we composers from the painful task of making the ‘musically illiterate’ actors and actresses. Thus Ashok kumar,leela Chitnis and the likes of them were left alone to concentrate on their acting,while the trained singers sang for them.

We are starting a new series ” The Vibrant 40s ” from today. Through this series,we will try to discuss how the musical scene changed in India and how the ” Golden Age ” of HFM was ushered in. the entire period of 1941 to 1949 was full of changes,experiments,opportunities and melodies. in this series,we will enjoy some songs which will indicate the changing patterns.

The first song in this series is from film ” Aabroo “-1943. It is sung by Sitara Devi and Nazir Ahmed khan. Few people know that they were the Husband-wife pair in this period.

Nazir Ahmad Khan (1910–1983) was a Indian / Pakistani film actor, director and producer. He was the first successful film hero in independent Pakistan. Nazir was associated with almost two hundred films during his career, which spanned over a period of 55 years. Nazir Ahmed was widely known as Bao Jee in the film industries in India and in Pakistan.

It was in the late 1920s when Nazir went to Calcutta along with A.R. Kardar, and appeared in a character role in Kardar’s Sarfarosh (aka ‘The Daring One’) in 1929. Kardar later made Heer in which Nazir played the role of the Qazi. Both these films are from the silent era. He also did a secondary role in Kardar’s Mysterious Bandit.

Nazir went to Bombay. During this period he was cast in leading roles in Rajputana Ka Sher, Chandaal Chaukri, Badmaash Ka Baita and Pahari Sawar.

In 1934 he went back to Calcutta on the request of his old friend Kardar to act in his productions of Chandra Gupta, Sultana, Milaap, Mandar, Night Bird and Aab-e-Hayat.

In Calcutta Nazir won laurels for his role of Chanakya in Chandra Gupta. To perform this role realistically, Nazir had his head shaved completely to authentically perform the role of the ancient Indian minister.

In 1939, both Nazir and Kardar moved to Bombay and under Kardar’s banner he performed his most well remembered and renowned character role in Baghbaan, which besides creating box office records also established him as a hero.

Shokh Dilruba, Sher ka Panja, Shamaa, Midnight Mail, Swami Pooja, Apni Nagaria, Laila Majnu, Wamaq Azra, Sandaisa, Kaljug, Society, Chher Chhar, Aabroo, Salma, Gaon Ki Gori, Maa Baap ki Laaj, Yaadgar, Malika and Abida and several other hit films of that era are credited to his name. He also produced and Directed many of them. Most of the films directed by him saw the milestones of being Silver Jubilees.

Nazir’s studio and the offices of Hind Pictures were burnt down during the riots in 1946-47. Nazir stood quietly outside his burning studio,smoking a cigarette and watching the ashes. In 1947, Nazir migrated to Pakistan. He left everything he had behind in Bombay and shifted to Lahore. He started from scratch and in the process became one of the pioneers of the Pakistan film industry.

He produced and directed Saachai, as his first film in the newly born Pakistan. It was followed by the first Silver Jubilee film of Pakistani Cinema, Pheray. Nazir completed Pheray in just one month, followed by Larey. His other movies include Shehri Babu, Anokhi Daastan, Shamaa, Heer, Khatoon, Noor-e-Islam and Azmat-e-Islam.

During the 1960s, he disassociated himself from Pakistani cinema, with the decline in this industry. He could not reconcile himself with the qualitatively declining trends in this industry.

Nazir was first married to his cousin Sikandara Begum. He was the Maternal Uncle of K.Asif, Director of Mughal E Azam. Later he married Sitara Devi and before going to Pakistan, he married his Heroine Swarnalata.

He died in 1983.

Sitara devi has been an enigma to many writers. If one believes what Saadat Hasan Manto has written about her in his books, she must be a record holder of relationships with several men. Daughter of Matsyakumari and Acharya Pt. Sukhdev Maharaj Mishra, she was born in Calcutta on 19-10-1919, on the Dhanteras day of the Diwali. Her maternal grandfather was the Rajguru of Nepal naresh, so Sitara had Nepalese ancestors. She was a good dancer and did film roles as a child dancer. Her first film was Usha haran, which started in 1934, but got released only in 1940. Her first major role in a film was in Al Hilal-1935.

She had 2 sisters-Tara devi and Alaknanda who too were actresses. Tara devi married another actor Marutirao Pehelwan and settled in Dhule, Maharashtra. Their son is dancer Gopi Krishna. it seems, Sitara’s first marriage was with some Desai, a Gujarati producer. Some sources claim that it was Kikubhai Desai-father of Manmohan Desai. She never divorced Desai in her life, so till today,she remains mrs. Desai, despite her sveral ‘marriages’ to different men.

She had relations with P.N.Arora, Mehboob, actor Al nasir. She met and married Nazir Ahmed, who divorced his first jewish wife,actress Yasmeen. Later Nazir’s nephew K.Asif eloped with Sitara, she became a muslim named Alla Rakhi and married Asif in Delhi. Later, after a few years, Asif went to Lahore and married his cousin. Sitara, in her African safari,married a businessman Pratap Barot, whom she divorced after 3 years. so on and so forth…

Sitara was a good dancer and whatever she did in her life, she never missed daily dance riyaz for 2 hours. She had tremendous energy. She was neither a good actress nor a good singer, but an extremely expert dancer. She won Sangeet Natak Academy award as well as a Padmashree, besides a Doctorate from an University. She won more than 30 awards in her career. later on, when she was awarded padma Vibhushan,she declined the award stating that she deserved nothing less than Bharat Ratna.

This film Aabroo-43 was produced and directed by Nazir Ahmed under his Hind pictures banner. The music was by the veteran composer Govind Ram. Govind ram had given music to over 30 films, starting with jeewan jyoti-37 and ending with Naqab-1955.

I have not seen this film but I know that this is stage show dance and song, sung by Sitara devi and her husband then, Nazir Ahmed.


Song-Poona se laayi paan re (Aabroo)(1943) Singers-Sitara Devi, Nazir Ahmad, MD-Pt Govindram
Unknown male voice
Unknown female voice

Lyrics

poone se laayi paan re
le le paan re
haan
le le paan re

des des se paan hoon laayi
le le desi poona
des des se paan hoon laayi
le le desi poona
dilli ka hai kathha mera
lucknow ka choona
dilli ka hai kathha mera
lucknow ka choona
laal banenge honth tumhaare
joban hoga doona
laal banenge honth tumhaare
joban hoga doona
mere baanke sajeele jawaan re
le le paan re
haan le le paan re
na len to
maaroongi nainon ke baan re
maaroongi nainon ke baan re
mere baanke sajeele jawaan re
le le paan re
haan le le paan re

Dialogues
——————————-
o paanwaali

kyun raja
aaj paan nahin khilaauge

laa paise de
haan
arre ham to waise hi khaaya karte hain

to phir nahin milne ka
kyon
pehle hi tere ooper kitne udhaar hain
achcha tumhaari marzi mat khilaao
chameli
zara paan to lagaana
tum roz kahaa karti ho
hamse paan nahin khaate
nahin khilaati to mat khilaao

——————————————-
hmph
meethha desi saada poona
kaisa paan lagaaun
bolo kaisa paan lagaaun
saada poona
kam ho choona
saunf mulatthi waala

meethha paan khilaaun tumko
meethha paan khilaaun
haan haan
meethha paan khilaaun
mere baanke sajeele jawaan re
le le paan re
haan
le le paan re

dialogue
—————————–
jaggu paan taiyyar hai

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8 Responses to "Poone se laayi paan re"

It seems history is unfolding and various characters of that time have come out to tell their stories.
Thanks for coming up with this new series.

Is Jagdish Sethi seating in front in the audience?

Nitin ji,
Yes ,he is jagdish Sethi.
-AD

Arun-ji,
Thanks for starting a wonderful series. I look forward to hear many of my personal favorite songs of that period. Was there an earlier series of ‘Thirties’?

Bharat ji,

Yes. ” FLAVOUR OF 30s ” was done from 12-9-2013 to 6-10-2013 comprising of songs from Brahmachari,Dharmaveer,Miss 1933,Comrades,Gol Nishan, Mera Ladka,Gopal krishna,Adhikaar,Maaya and Yahudi ki Ladki.
-AD

Arunji,
Wonderful series and an interesting song. I went through the series in reverse order. Will there be any more?

There will be 10 or more episodes in this series.

well written Arunsaaab, ..vibrant 40…Dadasaheb Phalke Played mighty rRole being great director and if I go beyond 40 …so much to write about , Raja Harishchandra,Jamsetji Framji Madan,Dadabhai Naorji,,Bhagvadas Garga….A decade before Madan’s Birth Grant Road theatre was own by
Jaganath Shankerseth successful businessman ,Performers were Marathi/parsi and Gujrati ……I stress on Hindi Cine film Main pillars were founded strong with Dada Saheb Phalke …..

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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

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