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Posts Tagged ‘C Ramchandra


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 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.

MISSING GEMS FROM THE GOLDEN 50s…. Song No….8
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Today’s song is from a milestone film of 1950 – ‘Sangram’. I call this a ‘milestone’ film for many reasons.

By 1950, it was just about 3 years after we got our Independence. Many talented and gifted artistes from Film industry – composers, actors, directors, lyricists and technical people, chose to leave India, which once was their Motherland, to start a new life in a new born country, their country! The vacuum created by their exit was soon filled up by the then current, and the upcoming and aspiring artistes in India. For that point in the history of India cinema, I would list the following as upcoming and aspiring artists,
– Composers: Shankar-Jaikishan, SD Burman, Madan Mohan, Roshan, Khayyam etc.
– Lyricists: Shailendra, Hasrat Jaipuri, Shakeel Badayuni, Majrooh, Rajendra Krishan, Raja Mehdi Ali Khan, Sahir Ludhianvi etc.
– Singers: Rafi, Mukesh, Kishore, Talat, Manna Dey etc.
Female singers like Lata, Asha, Geeta etc filled up the void created by the departure of Noorjehan, Khursheed etc. And of course, many new actors and actresses also came up shining.

Another important change that took place was in the change in the story lines of films. There was no more need to use subtle, suggestive, double meaning dialogues to talk of independence and national integration – we had attained independence. The new story lines started relating to the new changes in the country. Internationally, in the cinema industries worldwide, stories of intrigue, mystery and crime were also becoming popular and the industry was quick to bring it to the Indian audiences. Towards this end, ‘Sangram’ was the torchbearer. Earlier too, stories of crime and mystery, in milder form were handled by the industry, but ‘Sangram’ was the first film wherein ‘crime’ was the hero and the male lead was an anti-hero.

However, in our culture, we must show that evil never wins and in ‘Sangram’ too, this point was emphasized, underlining another virtue that duty is more important than anything else. So father shoots down the culprit son. ‘Sangram’ thus heralded a change in film concepts. Not that every subsequent film was a crime story, but it did make a bold statement of the New World.

1950 was also a confirmation year of the beginning of the Golden Era of film music, carrying forward the legacy of such musical blockbusters like ‘Kismet’ (1943), ‘Shehnai’ (1947), ‘Jugnu’ (1947) etc. In 1950, the everlasting music from films like ‘Jogan’, ‘Babul’, ‘Baawre Nain’, ‘Samadhi’, ‘Sargam’, ‘Muqaddar’, ‘Arzoo’, ‘Dastan’ etc. was a gift to the audiences. One more milestone film was ‘Har Har Mahadev’. This film was one of the most popular mythological films of all times, after ‘Ram Rajya’ (1943). This film ushered in the decade of devotional films in 1951 to 1960. There were 124 mythological films made in these 10 years. This works out to almost 1 film every 30 days for the next 10 years !

From Rajkamal Kalamandir came ‘Dahej’ directed by V Shantaram. This film became one of the factors instrumental towards the Government passing a new Anti Dowry Law in 1950. New Theatres made a film ‘Pehla Aadmi’, based on the life of Subhash Chandra Bose, for the time period that was in Singapore. With ‘Aankhen’ the military man Madan Mohan changed his tracks and entered the music arena.

Film ‘Sangram’ also changed the career of Ashok Kumar. So far then, Bombay Talkies had projected his image as a lover-boy hero, singing duets and helping in social reforms. ‘Sangram’ became a precursor to his future films of the 50s and 60s, wherein he routinely played mature roles of a detective, a police officer or a parallel / second hero.

The star cast of ‘Sangram’ is Ashok Kumar, Nalini Jayawant (they worked together in 11 films in all), Nawab, Tiwari, Shashi Kapoor (jr.), Tabassum, Hemvati, Sajjan, Ram Singh, SN Banerjee etc. The music director was C Ramchandra, who at that time was competing with Naushad for the top rank amongst music directors in the industry. The film has three lyricists – Brajendra Gaud (who also wrote the screenplay and was also the assistant director), Raja Mehdi Ali Khan and PL Santoshi. In total there are 7 songs. Chitalkar sang 2 duets, one each with Lata and Shamshad.

If you take a re look at the cast, you will find an unfamiliar name – Hemavati. Hardly anyone knows who this actress was. She plays an important role of Mohini, the Club Dancer, and a time pass love of Ashok Kumar in the film. Normal sources will not give any information on Hemavati, but for our readers, here is some information on her.

Hemavati was a Marathi actress and an active worker of IPTA (Indian People’s Theatre Association) in Bombay. She was also a regular actress at Prithvi Theatres and had acted as the heroine of Raj Kapoor in the stage drama ‘Deewaar’. At IPTA, she met actor aspirant DK Sapru and they fell in love with each others. They got married in 1948. By that time she had acted in ‘Ghar Ghar Ki Kahani’ (1947) with Nayampally, ‘Jail Yatra’ (1947) with Raj Kapoor, ‘Mohan’ (1947) with Dev Anand, and a few other films. After her marriage, she completed ‘Sangram’ with Ashok Kumar and stopped working in films to raise a family. The couple had three children. Preeti Sapru became an actress in Punjabi film. Tej Sapru acted in Hindi films and TV. Reema married Rakeshnath and became a successful screenplay writer of popular films. Hemavati’s last film, however, was ‘Patit Paawan’-55, which she produced also for her husband.

Today’s song is also an exclusive song. It shows the famous roly-poly character actor SN Banerjee, singing a romantic song. Perhaps this may be the only song performed by him on screen. Seeing him singing and serenading his lady love is quite hilarious.

SN Banerjee came from a very rich family of Allahabad. A sizable number of Bengali families had settled in Allahabad. Due to the BNR Railway (Bengal Nagpur Railway), many Bengali families had settled down along the tracks of the railways from Bengal to Nagpur. (The Ganguli family (the family of Ashok, Anup, and Kishore) was also from Khandwa junction of this Railway). Banerjee studied up to MA in English Literature. He was a good actor. He started his film career with ‘Dhunwadhaar’ (1935), which was also the debut film for Leela Chitnis. He joined Kardar Productions in the story department. He was friendly with M Sadiq, another protégé of Kardar. Banerjee also tried his hand at film direction. Besides writing the story, screenplay and dialogues of ‘Daastan’ (1950), he was also the assistant director. He wrote stories for ‘Baap Re Baap’ (1955), ‘Naya Daur’ (1957), ‘Sahib Bibi Aur Ghulam’ (1962), ‘Khoobsoorat’ (1952) etc. He acted in 73 films. He directed ‘Dillagi’ (1966). I remember his roles in ‘Baap Re Baap’ (1955) and ‘Chalti Ka Naam Gaadi’ (1958). Banerjee acted in all films of Kardar, Sadiq, PN Arora, Satyen Bose and Hrishikesh Mukherjee.

The story of film Sangram is. . .

Thakur Narendra Singh (Nawab) is a loyal police pfficer. He begets a son after many years, but loses his wife. He brings up his motherless son with lot of ‘laad-pyaar’. Young Raja (role played by the child Shashi Kapoor) is friendly with Kanta (Tabassum). He gets spoiled with excessive freedom, money, and love and pampering. Soon he goes the crooked way, plays cards, bunks school and once even threatens someone with his father’s revolver. When he grows up, he goes to Lucknow and opens a hotel cum casino where all illegal activities go on. He falls for the dancer Mohini (Hemavati) from his club.

Once his henchman Pyaarelal (Tiwari) betrays him and informs the police. In the police raid and firing, Raja is injured but escapes. He meets Kanta again and old love blooms. Meanwhile Pyaarelal tracks him down and starts to blackmail him. To pay him off, Raja steals his own mother’s jewellery and gives to him. During an encounter Pyaarelal falls down and is killed. The police arrest Raja and he is jailed.

Kanta gets married to another person. Raja escapes from the prison and kidnaps Kanta from her home. He wants to marry her. Mohini, who also loves Raja, is jealous and informs the police. When the police arrive, Raja shoots down Mohini and holds Kanta as hostage. The police chief opens fire. Raja kills many policemen. Then, his bullets finish. The police chief, who is his father, warns him to surrender and release Kanta, but he threatens to kill Kanta (with an empty revolver). Finally, the duty bound Thakur shoots and kills Raja, his own son. Before dying, Raja regrets his deeds and asks for pardon. (578)

Today’s song is a duet of Chitalkar and Shamshad Begum. The HFGK does not mention the singers’ names, but the famous record collector and music historian Shri Girdharilal Vishwakarma has confirmed the singer names.

Now let us enjoy this hilarious unique romantic song featuring SN Banerjee in film ‘Sangram’.


Song – Dekho Dekho Gadbad Ghotaala (Sangraam) (1950)  Singer – Shamshad Begum, Chitalkar, Lyrics – Brajendra Gaud,  MD – C Ramchandra
Both

Lyrics

dekho dekho gadbad ghotala
dekho dekho gadbad ghotala
ho oo
daal mein hai kuchh kaala
hoye daal mein hai kuchh kaala
kya kaala
ho kaala
ho kaala
ho kaala
dekho dekho gadbad ghotala
dekho dekho gadbad ghotala
ho oo
daal mein hai kuchh kaala
hoye daal mein hai kuchh kaala

wo pardesi
aur wo maaklin
chhup chhup kar kyon milte hain pal chhinn
wo pardesi
aur wo maaklin
chhup chhup kar kyon milte hain pal chhinn
najar najar se milti hai jab
dil ki kali yoon khilti hai tab
ek chaabi se khul jaata hai
nau kamron ka taala
ho oo
daal mein hai kuchh kaala
hoye daal mein hai kuchh kaala
dekho dekho gadbad ghotala
dekho dekho gadbad ghotala
ho oo
daal mein hai kuchh kaala
hoye daal mein hai kuchh kaala

wo boli
wo boli
kya
mat jaa bedardi
aa haa haa
wo bola
wo bola
bhai teri marzi
na pagdi diya na kiraaya
na pagdi diya na kiraaya
muft mein dil ka bangla paaya
muft mein dil ka bangla paaya
aankhon ki chauki se ghus kar
dil mein dera daala
ho oo
daal mein hai kuchh kaala
hoye daal mein hai kuchh kaala
dekho dekho gadbad ghotala
dekho dekho gadbad ghotala
ho oo
daal mein hai kuchh kaala
hoye daal mein hai kuchh kaala

sun sun maina
kehta hai totaa
hua ye wahi
jo hai hota
hua ye wahi
jo hai hota

unki baat un par hi chhodo
unki baat un par hi chhodo
ab tum humse naata jodo
ishq mein humko yoon na sataao
ishq mein humko yoon na sataao
jaao
jaao
jaao jaao jaao
haaye
re haaye
re haaye re haaye re haaye
tere nakhre mein garam masaala
ho tere nakhre mein garam masaala
ho tere
ho tere
ho tere nakhre mein garam masaala
ho oo
daal mein hai kuchh kaala
hoye daal mein hai kuchh kaala
dekho dekho gadbad ghotala
dekho dekho gadbad ghotala
ho oo
daal mein hai kuchh kaala
hoye daal mein hai kuchh kaala
oye

——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————

देखो देखो गड़बड़ घोटाला
देखो देखो गड़बड़ घोटाला
हो ओ
दाल में है कुछ काला
होय दाल में है कुछ काला
क्या काला
हो काला
हो काला
हो काला
देखो देखो गड़बड़ घोटाला
देखो देखो गड़बड़ घोटाला
हो ओ
दाल में है कुछ काला
होय दाल में है कुछ काला

वो परदेसी
और वो मालकिन
छुप छुप कर क्यों मिलते हैं पल छिन्न
वो परदेसी
और वो मालकिन
छुप छुप कर क्यों मिलते हैं पल छिन्न
नजर नजर से मिलती है जब
दिल की काली यूं खिलती है तब
एक चाबी से खुल जाता है
नौ कमरों का ताला
हो ओ
दाल में है कुछ काला
होय दाल में है कुछ काला
देखो देखो गड़बड़ घोटाला
देखो देखो गड़बड़ घोटाला
हो ओ
दाल में है कुछ काला
होय दाल में है कुछ काला

वो बोली
वो बोली
क्या
मत जा बेदर्दी
आ हा हा
वो बोला
वो बोला
भई तेरी मर्ज़ी
ना पगड़ी दिया ना किराया
ना पगड़ी दिया ना किराया
मुफ्त में दिल का बंगला पाया
मुफ्त में दिल का बंगला पाया
आँखों की चौकी से घुस कर
दिल में डेरा डाला
हो ओ
दाल में है कुछ काला
होय दाल में है कुछ काला
देखो देखो गड़बड़ घोटाला
देखो देखो गड़बड़ घोटाला
हो ओ
दाल में है कुछ काला
होय दाल में है कुछ काला

सुन सुन मैना
कहता है तोता
हुआ ये वही
जो है होता
हुआ ये वही
जो है होता
उनकी बात उन पर ही छोड़ो
उनकी बात उन पर ही छोड़ो
अब तुम हमसे नाता जोड़ो
इश्क़ में हमको यूं ना सताओ
इश्क़ में हमको यूं ना सताओ
जाओ
जाओ
जाओ जाओ जाओ
हाय
रे हाय
रे हाय रे हाय रे हाय
तेरे नखरे में गरम मसाला
हो तेरे नखरे में गरम मसाला
हो तेरे
हो तेरे
हो तेरे नखरे में गरम मसाला
हो ओ
दाल में है कुछ काला
होय दाल में है कुछ काला
देखो देखो गड़बड़ घोटाला
देखो देखो गड़बड़ घोटाला
हो ओ
दाल में है कुछ काला
होय दाल में है कुछ काला
ओए


This article is written by Sudhir, 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 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.

OK, so there are many a piano songs in Hindi films, and we have seen many an actor play the piano on screen. In this song, I see Pran playing the piano. This is the first time I have seen this happen on screen. Other friends and readers may comment on this, but for me, this is the first time.
Read more on this topic…


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 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.

Missing Gems from the Golden 50s….song No. 3
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Today’s song is from a film of 1954-Pehli Jhalak.

The year 1954 was a mixed treat for the film industry. The trend of movies on Detective or crime themes began this year,starting with Aar paar and Taxi Driver. Filmistan was the most successful production house with two superhit films having popular music from composer Hemant kumar. Naagin and Jaagriti were the films. Bimal Roy made three films- Naukari,Biraj bahu and Baap Beti ( based on Guy De Maupassant’s Simon’s Papa). H S Rawail made Mastana based on Chaplin’s The Kid.
Read more on this topic…


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 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.

———————————–
Missing gems from 1950s-Song 2
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Today’s song is a Gem from the film Jhaanjhar-1953.

This was the first film produced by New Sai productions, a company floated by Chitalkar, Omprakash and his only brother Bakshi Ramprakash Chhibber (who took up the name ‘Pachhi’ later on and produced many films like Kanhaiya, Jaali Note, Naughty Boy, Mere Mehboob, Cha ch cha, Teesri Kasam, Around the world etc etc.). many people are under the misunderstanding that even Lata mangeshkar was a partner in this venture, But C.Ramchandra, in his autobiography mentions only these three names as partners. However, at the same time, C Ramchandra and Lata were partners in another company along with a man called P R Bhide, who cheated them later and also dragged both to courts. Lata and C Ramchandra came out of this without any harm, though.
Read more on this topic…


This article is written by Nahm, 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 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.

Mohammed Rafi – The Incomparable – 4
– – – – – – – – – – – – – – – – – – – – – –

maalish
tel maalish
champi. . .
sar jo teraa chakaraaye
yaa dil doobaa jaaye
aajaa pyaare
paas hamaare
kaahe ghabraaye
kaahe ghabraaye
maalesh
tel maalish

This iconic song from ‘Pyasa” was posted in the blog way back in 2009. I just revisited the page. There is only one comment there, so I was in two minds whether to leave my take on this song there on the page or include them in this post . I choose the latter so here goes:
Read more on this topic…


This article is written by Peevesie’s mom, 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 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.

Hullo to all atulwaasis

A few days back our NAHMJI sent a mail on our email chain about a song she was looking for. As is our normal practice she had looked up for it first on our blog (I presume as that is also my method). Then she put out a look out notice for our diggaz to help her and the most unthinkable happened. Our guruji actually put up his hand to say he was sorry he could not help. But one thing is certain in atuldom, someone or other will come up to answer the question. This time it was Sadanandji. Kamathsaab thank you.
Read more on this topic…


This article is written by Avinash Scrapwala, 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 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 Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 2 # Talat Mehmood-1
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This is the second offering in this series. My primary focus in this series is to introduce those films from the decade 1971-1980 that are yet to make a debut on the blog.

But instead of going chronologically I willdiscuss these songs in sequence in which I noticed them in HFGK Vol-V. And of course, special songs are to be discussed first.

And today’s song is definitely a special one – a devotional song in the ‘velvet voice’ – now this one really came to me as surprise when I read the first song in the list under this film’s name in HFGK. The singer was none other than Talat Mehmood.
Read more on this topic…


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.

“Safar”(1946) was directed by B Mitra for Filmistan Limited, Bombay. The movie had Shobha, Kanu Roy, V H Desai, S L Puri, Rajendra, Chandrika, Harun, Mumtaz Banu, Satyanarayana etc in it.
Read more on this topic…


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.

“Amar Rahe Ye Pyaar”(1961) was directed by Prabhu for R P Films, Bombay. This social movie had Rajendra Kumar, Nalini Jaiwant, Nanda, Radha Kishan etc in it.
Read more on this topic…


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.

“Amar Rahe Ye Pyaar”(1961) was directed by Prabhu for R P Films, Bombay. This social movie had Rajendra Kumar, Nalini Jaiwant, Nanda, Radha Kishan etc in it.
Read more on this topic…


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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 10900 song posts by now.

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