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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 If this article appears in sites like and etc then it is piracy of the copyright content of and is a punishable offence under the existing laws.

” GEMS FROM THE MIGRATORS “…….Song No. 1 (New Series).

Pakistan and India are two hostile neighbours in the South Asian Region, who vie with each other in a few fields. A great deal of excitement gets generated on either side of the border whenever the national teams to the two countries face off in cricket (these days) and Hockey (in the past).

But the one field in which India undoubtedly surpasses all other countries in the region, including Pakistan, is showbiz. In fact, India produces more films than even Hollywood while Pakistan’s film industry is yet to make even a mark in the region.

History provides some explanation for this contrast. In undivided India, Lahore (then in the Punjab) was important as a showbiz centre. It had an established film-making centre. The first film ever to be made in a Lahore studio was Delhi Express (1935) and thereafter many Urdu and Punjabi films were produced from Lahore every year. The partition of India into two independent states – India and Pakistan, caused irreparable damage to film production in Lahore. Most of Lahore’s film producers were Hindus and as the city fell on the side of the Islamic state of Pakistan, they migrated to India. This deprived Lollywood, as Lahore is referred to in film circles, of much needed investment and expertise in film production and distribution.

LAHORE an important city in the undivided Punjab in the pre-independence days was one of the major Film making Centres in India. Talented actors and musicians from all Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artiste’s dream to go to Bombay and shine there.

The film activity at Lahore increased considerably in the early 40s in terms of film production and Music. Those days Lahore was called ”a supply source” for Bombay, as many actors and musicians shifted their base to Bombay from there. The list of such people is very long, but it will suffice to mention some well known names-
Noorjehan Pran, Saigal, Prithwiraj Kapoor and his sons, Shyam, Dilip Kumar, Surinder, Karan Dewan, Dev Anand, Balraj Sahni, Singer Khursheed, Mumtaz Shanti, Veena, Begum Para, Meena Shorey, Suraiya, Manorama, Kamini Kaushal, Shyama(Khursheed Akhtar), A R Kardar, M Sadiq, Suresh(Nazim Ahmed), Amar, Chetan Anand, Zande Khan, Ghulam Hyder, Pt.Amarnath and his brothers Husnlal-Bhagatram, Hansraj Behl, S.Mohinder, Firoz Nizami, Khursheed Anwar, Khayyam, Vinod, Shyamsunder, Kidar Sharma, Krishna Chander, O P Dutta, Saadat Hasan Manto, Qamar Jalalabadi, D N Madhok, Tanvir Naqvi, Prem Dhawan etc etc.

Many of the actors and producers used to shuttle between Lahore and Bombay for their work.

And then the PARTITION took place in 1947.

In the communal frenzy, polarisation of artistes took place. Some Hindus shifted to Bombay and Some Muslims left for Lahore.

At the actual time of Partition some artists were in Lahore for film work. They were B R Chopra, Ramanand Sagar, I S Johar, Gulshan Rai, Omprakash, Jeevan, O P Nayyar, Rajinder Singh Bedi, Naqsh Lyallpuri, Surinder and Prakash Kaur Manorama and Pushpa Huns. They all left Lahore hurriedly and reached Bombay Safely.
However this journey was not so safe for one actor-Comedian Durga Prasad, known as Durga Mota. He was very fat. In the melee, he reached the Lahore station and somehow entered the Train to Bombay. Suddenly a group of mad rioters entered the Lahore station and started killing the travellers. Most people ran helter skelter, but due to his heavy body, Durga Mota could not run and was cut into pieces on the Lahore station platform itself !

Same way many artists from Bombay left for Lahore and ALL of them reached safely.

some of the Directors who migrated to Pakistan were-
Syed Shaukat Hussain Rizvi, S M Yousuf, Najam Naqvi, Munshi Dil, Nakshab Jarachavi, M Sadiq, Zia Sarhadi, Sibtain Fazli(of Fazli Brothers), S T Zaidi , Zahoor Raja, Wali saheb, A R Kardar,Nazir,W Z Ahmed,Masood Pervez,Shareef Nayyar,Luqmaan,Dawood Chaand,Rakhan,Nusrat Mansoori,M H Qasim,Roop K Shorey,Butt Kasher,Barkat Mehra and Manto.

Some of the Actors/actresses were- Nazeer, Sadiq Ali, Masood, Sudhir, Santosh, Ratan Kumar, Najmul Hussain, Suresh and Nasir khan(both came back to India later), Sh.Mukhtar, M.Ismail, Ajmal, Gulam Mohd, Kumar, Ghori, Majeed, Shahnawaz, Himalayawala, Shyam Kumar, Allauddin, Shah Shikarpuri, Charlie, Nazar Faizi Noorjehan, Meena Shorey, Khursheed, Zeenat Begum, Asha Posley, Najma, Kalawati, Rehana, Swarnalata, Ragini, Bibbo, Renuka Devi, Geeta Nizami, Maya Devi etc.
Some from the music field were- Khursheed Anwar, Inayat Hussain, Rafiq gaznavi, G A Chisti, Ghulam Hyder, Firoz Nizami, Nissar Bazmi, Nashaad, Tufail Faruqi, Tanvir Naqvi, Faiyaz Hasmi, Iqbal Bano, Premlata,Khursheed,Zeenat Begum,Shevan Rizvi,Rasheed Atre,Fateh Ali khan,Babul etc.

With so many people migrating to Pakistan at a time and given the condition of Pakistan Film Industry then, it is a moot question, whether all these migrants could get work there and shine ?

There were 2 types of people who migrated-

1. Those who had achieved their peaks already in India and
2. Those who had just started their careers.

Obviously the second group, at least some of them, could do well there eventually.

Some of the successful migrants there were- Noor jahan, Khursheed Anwar, G A Chisti, Nissar Bazmi, Firoz Nizami, Najam Naqvi, Nakshab Jarachavi, Sibtain Fazli, Wali Saheb,Manto, Rashid Atre, Sudhir, Santosh, Asha Posley, Shameem, Najma, Yasmeen, Ragini, Zahoor Shah, Shaikh Iqbal, Himalayawala, Nazar, Rafiq Gaznavi, Tanvir Naqvi, Iqbal Bano etc.

The unfortunate ones were-some of them- Meena Shorey, Ratan Kumar, M Sadiq, Charlie, Ghori, Kumar, Shaikh Mukhtar, Najmul Hussain, Neena, Kalavati, Maya devi, Gulam Hyder, Nashaad, Premlata etc.

Almost all the artists who shifted to Bombay prior to Partition did very well here.

(Notes- 1.All lists are only indicative and not exhaustive
2.Migrants means between 1947 to 1970 period.)

The rioting of 1947 set in motion irreversible, irrevocable migration. B R. Chopra and I S Johar were planning films in a big way in Lahore but had to run for their lives. Ramanand Sagar left in July, so did Gulshan Rai. Character actor Om Prakash (of Fateh Din fame, an all-time favourite skit relayed for years by Radio Lahore), comedian-bad man Jeevan and many others also left Lahore for Bombay. O P Nayyar recorded his immortal song Preetam Aan Milo/ Dukhia Jiya Bullai, Aan Milo at the His Master’s Voice studio in Lahore. He left Lahore only in 1948 when it became clear that people with the wrong religion were not going to return to their homes on either side of the Punjab. Writer Rajinder Singh Bedi escaped, sitting on top of a railway carriage carrying loads of Hindus and Sikhs out of Lahore. Song-writer Naqsh Lyallpuri began his literary career in Lahore as a journalist but had to leave in 1947. Punjabi singers, the sisters Surinder Kaur and Prakash Kaur, and Pushpa Hans also left Lahore.

Migration in the other direction also took place. Nazir and his wife Suranlata, Noorjahan and her husband Shaukat Husain Rizvi, character actor Alauddin and many others headed for Lahore. Manto came in January 1948, music directors Ghulam Haider and Khurshid Anwar followed some years later and director M. Sadiq probably in 1969 or 1970. Meena Shori, Khurshid and Mumtaz Shanti also immigrated to Lahore. Some Pakistani actors in Lahore continued to use Hindu filmic names. Santosh Kumar (Musa Raza) and Sudhir (Shah Zaman), the two most famous heroes of the 1950s and 60s followed such practice. On both sides, initially considerable goodwill existed between the two film communities.

Some families were divided. Thus for example, while Nazir shifted to Lahore, his nephew K. Asif stayed on in Bombay. Kardar stayed on but his brother Nusrat Kardar and son Rauf Kardar returned to Lahore. While Suraiya, her mother and grandmother settled in Bombay, many of her other relatives shifted to Lahore. Rafi stayed on to reign supreme in Bombay while his parents and siblings were in Lahore.

There were some cross-religion marriages that created peculiar challenges. Raj Kapoor’s maama (maternal uncle) Mr Mehra married a Muslim, converted to Islam and stayed in Lahore. A unique case of reverse migration took place as well: poet Sahir Ludhianvi (Abdul Hai) left Lahore for India.

Luckily,except for few like Noorjehan, Khursheed Anwar and some others, the well established Muslim artistes like Rafi, Talat, Shamshad, Naushad and hundreds of others chose to remain in India. They prospered here and became popular in Pakistan as well.

After partition,this turmoil subsided after a short period in India and it was business was as usual here, while in Lahore, Pakistan had to build up from scratch, but the Film Industry there too stabilised in a few years’ time. The base of Film industry in Pakistan was built by people who migrated from India. Migration from India to Pakistan continued till about 1970 for the pre-partition artistes. In fact till about 1965 there was an exchange of artistes from both sides to work in other country, but after the 65 war, this working stopped completely.

Music Directors who left India after Partition had done a very good work here. Composers like Nissar Bazmi and Feroz Nizami became exceptionally successful in Pakistan, but Nashad, Rafiq Ghaznavi and others were not successful to that extent. Khursheed Anwar, a very highly respected composer here remained a father figure even in Pakistan.

Partition did lot of damage to both countries and the film industry. With so many artistes leaving at a time surely affected the filmdom, but it also opened up new avenues for singers and new blood composers.

In our New Series,starting from today- ” GEMS FROM THE MIGRATORS “, we are going to discuss some songs composed by Music Directors who migrated to Pakistan. Some of them had done lot of work, some quite less. Nevertheless they all exhibited their talents. To succeed or not is a part of Destiny, but work is work.

The first in our series is Music Director FEROZ NIZAMI, famous in India for his last film here viz. Jugnu-1947.

Popular music composer, Feroze Nizami, was born in 1916, in Lahore, to an enlightened family, which was well versed in various aspects of music and musical instruments.

Feroze Nizami received in-depth music lessons from Ustaad Abdul Waheed Khan and soon mastered the music. Additionally, he graduated from Punjab University and began his working life from Lahore Radio station as a program producer. Due to some unavoidable reasons, he left Lahore and joined Delhi Radio station, where he stayed for fifteen months.Here,he had the company of Khwaja Khursheed Anwar,Krishnachader and Saadat Hasan Manto. They used to exchane musical notes. All of them resigned at a time,over the issue of unethical promotion of a collegue. After this all others separated.

Next, Feroze Nizami migrated to Bombay and worked for the Bombay film industry as a music composer. He got his start in the 1943 film ‘Vishwas’. It was released under the banner of Wadia Movie Tone. Another musician, by the name of ‘Chaila Lal’, also coordinated with Feroze Nizami to compose songs of ‘Vishwas.’ Director, Homi Wadia, songwriter, Safdar Ah, and Pandit Indira. Cast included Surendar and Himaliya Wala. With the passage of time, Feroze Nizami familiarized himself to classical, semi classical music and thumri. In 1944, Feroze Nizami composed songs for the film ‘Bari Baat’, directed by Mazhar Khan, who was also a famous actor and producer during those days.

Soon thereafter, Feroze Nizami made his mark in the film ‘Umang’, in 1944, which was directed by K.M. Multani and songs were written by, Ratan piya – Rasheed. As a result of his focused concentration, Feroze Nizami soon became a huge success in the entertaining world.

In the year 1944, Feroze Nizami also composed music for the film ‘Us Paar,’ director C.M. Lohar, songwriter, Pandit Madhur. His efforts took on new intensity and Feroze Nizami proved his worth in the music world.

In 1945, Feroze Nizami composed songs for the film ‘Piya Milan,’ directed by S.M. Yusuf and released under the banner of Wadia Movie Tone. Songwriters, Tanvir Naqui – S.K. Deepak – Mohammad Naseem – Munshi Shayam. Nirmala and Moti Lal played the lead roles.

Listeners feel as if a wave of emotion rises up from their core as they listen to Feroze Nizami’s music. One feels nostalgic as one encompass all those great memories about him. Feroze Nizami composed songs for the film ‘Sharbati Aankhein’, in 1945. It was released under the banner of Wadia Movie Tone, songwriter, Tanvir Naqui – Pandit Indira, directed by R.C. Thakur.

Feroze Nizami was a natural artist who applied himself earnestly to his work, because he considered it his professional duty. He composed songs in the 1946 film ‘Amar Raj.’ It was released under the banner of Wadia Movie Tone. Songwriter, Pandit Fani, director, Homi Wadia.

Feroze Nizami’s fellow musicians did seem to fall under the spell of his musical talents. In 1946, he enthusiastically accepted the offer to compose music for the film, ‘Nek Perveen.’ It was released under the banner of D.R.D. Productions. Songwriter, Waheed Qureshi, director, S.M.Yusuf. Raagni played the title role in the film.

Feroze Nizami also composed songs for the film ‘Ali Baba’ in 1946.

In 1947, Feroze Nizami composed songs in the film ‘Pati Saiwa’, directed by S.M. Yusuf and also ‘Rangeen Kahani’ which was directed by Anjum Husaini and whose lyricist was Waheed Qureshi.

The 1947 movie which earned him the most name and fame was “Jugnu”(1947). It was directed by Shaukat Husain Rizvi under the banner of Shaukat Art Productions. Lyricsa of this movie were Adeeb Saharanpuri,Nakhshab Jaarchavi,Faiz Ahmed Faiz and Hafeez. Dilip Kumar and Noor Jehan appeared together for the first and last time in ‘Jugnu’ in lead roles.

Feroze Nizami migrated to Pakistan after partition. His first film in Pakistan was ‘Hamari Basti’, in 1949. He composed songs for the 1951 Punjabi movie, ‘Chan way.’ It was released under the banner of Shah Noor productions and its lyricist was Ustaad Daman.

He composed songs for the 1952 mega hit film ‘Dopatta’. These three films ‘Jugnu’ ‘Chanway’ and ‘Dopatta’ were the three most successful films of Feroze Nizami in Pakistan. He also composed music in ‘Shararay’, ‘Sohni’, ‘Intikhab’, ‘Qismat’, ‘Gulshan’,‘Zanjeer.’

He won Pakistan’s Nigar award for ‘Raaz’(1959). He subsequently gave music in Manzil (1960), Mongol (1961) and Saukan (1964).

He used to sing on Radio Pakistan. He was appointed Chairman of the Music Department of Pakistan Arts Council also.

The 1974 Punjabi film ‘Zan, zer tay zameen’ proved to be the last film Feroze Nizami composed music for. Feroze Nizami passed away on November 15, 1975, in Lahore, at the age of 59.

Former Pakistani cricket teams opener, Nazar Mohammad, is the real brother of Feroze Nizami. By virtue of this blood relationship, Feroze Nizami happened to be the paternal uncle of Mudassar Nazar, the son of Nazar Mohammad.

(based on an article written by Anis Shukoor,Lahore-Thanks.)

Film Jugnu (name of the Heroine in the film)-1947 became a great hit in India. There were two reasons for this. One was that Dilip Kumar and Noorjehan worked together for the first and also last time. Secondly,the music of Jugnu became very popular. There were 8 songs in it. The most famous song was ‘ yahan badla wafaa ka” by Noorjehan and Rafi, who was yet to become a phenomena in the industry. This film helped Rafi tremendously. Incidentally, Rafi was seen in person,in one of the songs of this film ” Woh apni yaad dilane ko “.

One song by Shamshad begum “Loot jawaani phir nahi aani” had some vulgar lyrics. It was shot on actress Latika (who later married Gope). Shashikala had the role of Dilip Kumar’s sister and she had a song by Roshan Ara Begum ” Desh ki purkaif..”

The film was running full house in Bombay. One day its Director Shaukat Hussain Rizvi (husband of Noorjehan) met the editor of “Film India’ magazine, Baburao Patel. They had some arguments and a verbal fight ensued. Baburao Patel warned Rizvi not to take ‘Panga’ with him, lest he would ruin him. Rizvi laughed at him. Enraged Patel contacted the Chief Minister of Bombay Morarji Desai and complained that “these days a film ‘ Jugnu’ is running in Bombay in which there are immoral scenes which will spoil the students”.

Within hours Morarji saw the film and banned it in Bombay. The producers went to court and eventually,after few months,the ban was lifted.

This episode,coupled with rumours that after Partition Noorjehan will be murdered, shattered the couple and they hurriedly decided to migrate to Pakistan. With Noorjehan and Shaukat Husain Rizvi, Firoz Nizami, lyricist Asghar Sarhadi, actor Ghulam Mohammed, Agha Mirza and few more also migrated to Pakistan.

Today we will listen a very melodious song by Noorjehan from this film JUGNU-1947….Enjoy.

Song-Umangen dil ki machlin muskuraayi zindagi apni (Jugnu)(1947)Singer-Noorjahaan, Lyrics-Asghar Sarhadi, MD-Feroz Nizami


Umangen aen aen aen
aen aen aen aen
umangen dil ki machlin,
muskuraayi zindagi apni
umangen dil ki machlin,
muskuraayi zindagi apni
aaa aaa aaa

wo shaaaam aam
aa aa aa
aa aa aa
aa aa aa aa aa
kya shaam suhaani thhi
phoolon pe jawaani thhi
kya shaam suhaani thhi
phoolon pe jawaani thhi
un shokh nigaahon mein
ulfat ki kahaani thhi
ulfat ki kahaani thhi
ae ae ae ae ae
sunte hi jise pal mein
halchal si machi dil mein
halchal si machi dil mein
le ke angdaayi ee
jawaan hone lagi apni
umangen dil ki machlin,
muskuraayi zindagi apni

ham dil ko o laga baithhe ho
ham dil ko laga baithhe
kya duniya basa baithhe
kya duniya basa baithhe
ek prem ke devta ko
ham phool chadhha baithhe
jo chaand sa pyaara hai
is preet ki naiya ka
ab wo hi sahaara hai
ab wo hi sahaara hai
Lagaayen ye wohi ab paar naiyya prem ki apni
umangen dil ki machlin,
muskuraayi zindagi apni

aa aa
aa aa aa aa
aa aa aa aa aa aa aa aa
wohi manzar hai aankhon mein
wohi manzar hai aankhon mein
unhi ki yaad tadpaaye
unhi ki yaad tadpaaye
yahi aasha
Laa laa la la la
Yahi aasha hai ab man ki
wahin chaliye
wahin chaliye
wahin chaliye
wo mehfil
haaye jis mein
dil mein duniya lu gayi apni
umangen dil ki machlin,
muskuraayi zindagi apni

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This article is meant to be posted in If this article appears in sites like and etc then it is piracy of the copyright content of and is a punishable offence under the existing laws.

“Dil”(1946) was directed by S F Hasnain. The movie had Noorjahaan, Abdul Latif, Baby Zubaida, Amina etc in it.
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Today (15 august 2013) is the 66th Independence day of India. On this occasion, here is a patriotic song from 1946 when India had yet to acquire her independence.
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

Today’s song is a real treat to the Connoisseurs. It is a group song from the film MIRZA SAHIBAN-1947, sung by Malika-E-Tarannum Noorjahan, Zohrabai Ambalawali, Shamshad Begum and chorus. The music was provided by three brothers together- Pt.Amarnath and Husnlal-Bhagatram.
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this article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

In the last few days, I have been looking for songs composed by Shyam Sundar, the forgotten music director of 40s and early 50s. Whenever I think of him, the name of another forgotten music director Sajjad Hussain creeps in my mind. If Shyam Sundar was called a genius music director, Sajjad Hussain was called an original music director by none other than Anil Biswas, the ‘Bheeshm Pitaamah’ of Hindi film music. Despite these superlatives against their names, Shyam Sundar and Sajjad Hussain composed music for only 20 and 17 Hindi films respectively in their careers. This works out to on an average 2 films per year for Shyam Sunder (1943 to 1953) and less than 1 film per year for Sajjad Hussain ( 1944 to 1977). One common reason attributed for their musical output not being commensurate with their talents was that both were short tempered and perfectionist to the extent that they were uncompromising which was not to the liking of producers/directors of the films.
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Hindi movie titles are often like comets that visits us at periodical intervals. For instance, the title “Dost” seems to get repeated once every decade. We have had movies with this title in 1944, 1954 and 1974. We did not have a movie of the title “Dost” in 1964, but we had “Dosti” in 1964 !
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This blog had songs from “Naadaan”(1951) and “Nadaan” (1971). It turns out that a movie of the same title was also released as early as 1941. Very little information is available about this movie. This movie was directed by Zia Sarhadi. The movie had Aman, Noorjahaan, Masood etc in it.
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“Badi Maa” (1945) was a Praful Pictures production. It was produced and directed by Master Vinayak. The starcast was Noorjahan, Ishwarlal, Yakub, Meenakshi, Sitara Devi etc.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regulkar contributor to this blog.

Folk music has played an important role in popularising Hindi film songs. The films’ producers and more so the music directors knew that folk music based film songs bring instant connectivity with the cine goers especially in the semi-urban and rural areas. The beats and rhythms of most of the folk music are good inspirations for music directors to customise the Hindi film songs accordingly. In the early years of Hindi film music following the advent of talkies, songs were mostly based on classical and semi-classical tunes which included the traditional devotional music. The earliest Hindi film songs recorded on a folk based tune as per my search of the Hindi film songs on the internet was a song bande naav ka langar chhod from ‘Kangan’ (1939) which appears to be based on a bhatiali ( boat man’s) folk song of Bengal. There may be a few more Hindi film songs in the 30s based on folk music.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

I was aware of four popular folklores of Punjab-Sind provinces which are now in Pakistan – Heer Ranjha, Mirza Sahiban, Sohni Mahiwal and Sassi Punnu. These are the tragic love stories in which the lovers die at the end. The common features of all these four folklores are (i) the female character is extremely beautiful, (ii) families of both the lovers resent their unions, (iii) female lovers are forced by their families to marry other man and (iv) at the end, female lovers die first followed by the male lovers except in case of Mirza Sahiban where the two lovers die in the reverse order.
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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.

This is a labour of love, where "new" songs are added every day, and that has been the case for more than six years. This blog has over 10000 songs post by now.

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