- In: Baag/Bagiya song | Dance song | Enticement Song | expression of love | Feelings of heart | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | P Bhanumati Solo Songs | P Bhanumati Songs | Post by Arunkumar Deshmukh | Songs of 1940s (1941 to 1950) | Songs of 1950 | Yearwise breakup of songs
- 4 Comments
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 : | 3800 | Post No. : | 14792 |
Today’s song is from film ‘Mangala’ (1950). This was a film made by Gemini Films of Madras and directed by its boss SS Vasan. The music was given by a team of Balkrishna Kalla, MD Parthasarathy and E Sankar Sastry. The cast of this film was P Bhanumathi, Ranjan, Agha, David, Badri Pershad, BS Kalla etc.
The film was a remake of the hit Tamil film ‘Mangamma Sapatham’ (1943). After the unprecedented foray of Gemini’s Vasan’s hit film ‘Chandralekha’ (1948) into the All India market, Subramaniam Srini Vasan or simply SS Vasan, became aware of the unlimited scope of the Hindi belt market for south-made Hindi films. Vasan was a writer, editor, producer and director, but above all, he was a business tycoon. He had established the popular Tamil magazine “Anand Vikatan”, and owned Gemini Studios, Gemini Laboratories and Gemini distribution circuits.
He soon decided to take advantage of the success of ‘Chandralekha’ and made another tri-lingual film . In Tamil it was called ‘Apoorva Sahodarargal’, in Telugu, it was ‘Apoorva Sahodaralu’, and in Hindi it was called ‘Nishan’ (1949). This film too was a great success. Encouraged by this, SS Vasan made his 1943 Tamil Hit film ‘Mangamma Sapatham’, into a remake in Hindi with the name ‘Mangala’.
Not by coincidence, but by design, the hero for all these 3 remakes and the originals was Ranjan. (This film was remade in Simhalese as ‘Mathalan’ in 1955, and in Telugu as ‘Mangamma Shapatham’ in 1965, featuring NT Ramarao, later the Chief Minister of erstwhile Andhra Pradesh, and Jamuna).
Enthused and inspired with Vasan’s success in the Hindi belt, another giant from the South came forward. AVM’s Tamil film ‘Vazhkai’ (1949) was a big hit in south. AVM made a Telugu version of it with the name ‘Jeevitham’ (1950) followed by a Hindi version ‘Bahaar’ (1951). They introduced Vyjayantimala with this film, in Hindi. The story of the film and the Music by SD Burman made film a big hit in Hindi too. AVM then made Hindi film ‘Ladki’ (1953), with a Tamil and Telugu version. This too became a hit film. However by that time the South market had grown manifolds and there was no need for the south film makers to venture into the Hindi belt to earn money. Thus, there was a slow down in this type of activity. The south now started making Hindi films directly in Madras by calling actors from Bombay. And some films were dubbed too.
Actually, the southern film activity, though as old as Hindi talkie films, is strictly limited to four southern states. It was only the adventurous SS Vasan who ventured into the bastion of Hindi film markets, by promoting his film ‘Chandralekha’. In fact this had encouraged other producers like AVM, Prasad, Vijaya etc. to tap the Hindi belt. While making a multilingual film, the south producers always called the Hindi artistes, be it actors, directors ,composers or singers to come to Madras, but they never went to Bombay. It was only through dubbed or remade films that south actors, composers or actors were exposed to the Hindi arena. Those days anyone from south was a ‘madrasi‘ and likewise anyone from other than south was a North Indian or a Punjabi ! No one from the North bothered to distinguish between Tamil, Telugu, Kannada or Malayalam – films or people. Everything was ‘madrasi‘.
The divide between the north and the south went on widening, which finally resulted in the anti-Hindi agitations of the 60s and 70s in Madras and other southern places. Fortunately, in recent times and with the new generation, thanks to the coalition politics at the centre and states as well as IT centres at Hyderabad and Bangalore, the North-South exchange is much better and each state is identified individually. Thanks also to writers like Chetan Bhagat’s novels. Thanks to Modernization.
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, BA – the lyricist (though he was actually MA), or Kavi Pradeep’s pseudo name – Miss Kamal BA or even singer Surendra as BA, LLB etc.
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 did his BA with Physics and then completed M Litt in Carnatak music and dance, and became a Research Fellow for Ph.D. He also became the managing editor of ‘NATYAM‘ a magazine for dance, drama and music. In total contrast to his expertise in fine arts, he learnt fencing (sword fighting) after he saw it in the Olympic Games.
He was spotted by a Tamil producer 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 main 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 type cast in action films. Ranjan was a very poor actor, but his fencing skills were marvelous.
In 1949 came ‘Nishaan’, 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 Bhanumati, he was the villain and the hero too.
He was invited by New York University for a research fellowship, but Vasan did not leave him, so after ‘Mangala’, 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’ (1952), ‘Nishan Danka’ (1952), ‘Kafila’ (1952), ‘Baaghi’ (1953), ‘Shahenshah’ (1953), ‘Baap Beti’ (1954), ‘Baghdad’ (1961), 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 1950s he acted in 23 films, in 1960s he did 18 films and in 1970s his tally was 17 films. A total of 58 films in Hindi.
After sword fighting became obsolete he shifted to writing. The story of film ‘Munim ji’ (1955) was written by him. After few years in south he was seen again in ‘Chor Chor’ (1974) and ‘Chaitali’ (1976). ‘Ram Balram’ (1980) 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 shifted to USA to live with his son in New Jersey. He passed away 12-9-1983, due to a heart attack. He was so much forgotten that even the news of his death was not published in India.
The composers of ‘Mangala’ was a team of D Parthsarthi, Balkrishna Kalla and E Shanker. This team also gave music to few other films like ‘Sansaar’ (1951), ‘Mr Sampat’ (1952), ‘Bahut Din Huye’ (1954). Balkrishna Kalla with Mohd Shafi gave music to ‘Krishna Kanhaiya’ (1952). Independently he gave music to only one film – ‘Do Dulhe’ (1954). The southern composers gave music only to dubbed films or remakes.
In the original version of ‘Mangala’, which was ‘Mangamma Shapatham’ (1943), the heroine was Vasundhara Devi – mother of Vaijayantimala. In Hindi film ‘Mangala’, the heroine was P Bhanumathi, but the hero was same – Ranjan. There were some Hindi actors like Agha, David and Badriprasad. The composer of today’s song, Balkrishna Kalla also did a small role in this film. When Shamshad Begum sang songs for ‘Chandralekha’, her songs were recorded in Bombay, but for ‘Mangala’, Shamshad went to Madras first time and sang 9 songs out of its 15 songs. In this film the songs and dances of Carmen Miranda were freely copied in the Tamil, Telugu and Hindi versions.
The late 1940’s was marked in Bollywood with the remake of several super hit movies from south, especially from Tamil. The 1950 hit ‘Mangala’, produced by Gemini Pictures, was one such movie which was originally made in Tamil. SS Vasan was the director of the Hindi version. The newspaper, The Hindu, in its issue of 3-2-2013 has said this, about film ‘Mangala’,
Bhanumathi Ramakrishna was so bowled over by the performance of Vasundhara Devi (mother of yesteryear heroine Vyjayanthimala Bali) in Gemini’s blockbuster 1943 Tamil hit, Mangamma Sabadham , that she wished, if at all the film were to be remade in Telugu, she would act in it. In fact, the Tamil movie was released by Gemini supremo S.S. Vasan at a few centres in Andhra also and was well received there too. A few years later, Vasan decided to remake the movie in Telugu and Hindi under the title Mangala . Impressed by Bhanumathi’s performance in the Tamil film, Rajamukthi , he decided to sign her and approached her husband, Ramakrishna Rao. It was an opportunity she was waiting for and Bhanumathi immediately accepted the offer. She was paid a remuneration of Rs. 1 lakh for both the versions. Ranjan, who did the hero’s role in Mangamma Sabadham , was retained to play the lead role in both Telugu and Hindi versions. Popular editor of the time, Chandru (who had done commendable work as editor for Gemini’s earlier trilingual, Apoorva Sahodarulu) was entrusted with the job of directing the Telugu movie.
Based on a popular folklore, an engrossing narrative was weaved by Gemini’s story department. Mangala (Bhanumathi), the charming daughter of a rich farmer, is very haughty by temperament. When Prince Sugunapal (Ranjan) fails to win her love, he throws a challenge that he would marry her and then imprison her for life, denying her the marital bliss. She counter-challenges him that she would bear a child from him and make the child whip him in his court.
The prince marries her and puts her in a lonely palace. She makes her father (Doraiswamy) dig a tunnel from the palace to her village, sneaks through it to her house and learns dance. Disguised as a gypsy, she entices the Prince, secretly gives birth to a child, and when he grows up (Ranjan – dual role) gets her vow fulfilled through him. Realisation dawns on the Prince and the tale ends on a happy note.
All through it is Mangala’s show and Bhanumathi essayed it brilliantly. If Vasundhara Devi was admired for her nice dances in the Tamil version, Bhanumathi scored through her acting prowess. Ranjan made his presence felt in dual role.
The songs and dance sequences were all hits of that time. Music was composed by Partha Sarathi, Kalla and E Sankar Sastri. Two songs from this film were inspired by the famous Brazilian dancer Carmen Miranda’s classics. The song “Ma Ma Ma Ma Ma Mummy” was based on Carmen Miranda’s “Mama Yo Quiero” and “Ayyi Ayyi Ayyi Ayyi Mari Main To Laaj Se” (today’s song) in which Bhanumathi is dressed like Carmen, was based on “I Yi Yi Yi Yi — I Like You Very Much” from the film “That Night in Rio ” (1941), sung by Carmen Miranda herself.
Enjoy the dance and song video….
Song – Ayyi Ayyi Ayyi Ayyi Mari Main To Laaj Se (Mangala) (1950) Singer – P Bhanumati, Lyrics – Pt Indra, Music – MD Parthasarthy, BK Kalla, E Shankar Shastri
Lyrics (Provided by Sudhir)
ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ch ch ch ch..ch
ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ch ch ch ch..ch
ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ch ch ch ch..ch
ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa. . .
ta na na na ra naa naa. . .
ta na na na na naa. . .
ta na na na ra naa naa. . .
ta na na na na naa. . .
ta na na na na naa
ta na na na na naa
taa na na naa raa nanna
naa raa nanna
naa raa nannaa
ta na na na na naa. . .
ch ch ch ch..ch
taa na na naa raa nanna
taa na na naa raa nanna
taa raa nanna
ta na na naa raa nanna
ta na na na na naa. . .
taa naa naa naa. . .
ayyi ayyi ayyi ayyi mari main to laaj se
sainyyaan dekhe mohey pyaar se
aayi aayi raja torey paas re
piya se milan ki aas re
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ahaa haa haa haa. . .
kaun jaane kaisa jaadu daal ke
chheen liya dil mora haaye
khili khili khili rahe chaandni
chanda sa ye much muskaaye
chhoti si raat
chhoti si baat
dil ki pukaar
sumba limbaa. . .
suno suno pyaare morey saajna
baaje morey dil ka sitar
gori gori chhori main to baalma
puchho reejho reejho hai kyon nikhar
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ahaa haa haa haa. . .
meri chaal nihaar
kaisi thummakdaar
meri kamar nihaar
kaisi lachakdaar
mere nain nihaar
jaise tez kataar
meri nath nihaar
kaisi hai chammakdaar
ye bahaar
ye nikhaar
tum shikaar
main shikaar
phadak phadak
thadak thadak
ayyi ayyi ayyi ayyi mari main to laaj se
haaye ri main to laajon mari
hanh hanh
ayyi ayyi ayyi ayyi mari main to laaj se
saayyaa ji jee
du du de de dor
ka ka ki ki ku ku ke ke kaye kekor
piya se milan ki aas re
chhoti si raat
chhoti si baat
dil ki pukaar
sumba limbaa. . . aa. . .
suno suno pyaare morey saajna
cha cha chu chu chu chu chaye chechor
ka ka ki ki ku ku ke ke kaye kekor
ta tta ta ti tu tu tuteyi tetor
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yaa. . .
ahaa haa haa haa. . .
ayyi ayyi ayyi yayyi yayyi yaa. . .
ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ta na na naa raa nanna
ta na na naa raa nanna
taa naa naanaa
ta ra ra na na naa naa. . .
ta ra ra na na naa. . .
ta ra ra na na naa naa. . .
ta na na naa raa naa
ta na na naa raa naa
ta na na naa raa nanna naa raa nanna naa raa nanna
taa naa naa naa raa. . .
ta na na naa raa nanna
ta na naa raa nanna
ta na na na naa. . .
ta. . na. . na. . naa. . .
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
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 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 : |
3799 | Post No. : | 14790 | Movie Count : |
4045 |
Missing Films of 1960s – 88
– – – – – – – – – – – – – – –
This journey of searching out the missing films is such an interesting exploration of the unheard and less heard gems – or as they say on Radio Ceylon (SLBC now) ‘कम सुने और अनसुने गीत’.
Today’s song is one such rarely heard gem, but oh what exquisitely crafted gem this one is. The film is ‘Haveli’ from 1970. The name sounds as if this would be a film of the horror genre, of course mixed with police and robber crime drama. The one poster of this film that I am able to locate on the net (actually an image with the song on YT), shows the leading lady with a revolver in her hand. The rest of the poster combines the film title logo, and another image of the lead pair. This image does not exhibit any overt horror type flavor – just that the title gives such an impression.
The film is from the banner of Movies Den, Bombay. It is produced by Jawahar Anand and is directed by Sudarshan Babbar. The lead pair is Shailesh Kumar and Nivedita, and the remaining cast is listed as Azra, Heeralal, Manmohan Krishan, Ravikant, Brahm Bhardwaj, Lata Arora, Yunus Parvez, Ridku, Anand Prakash, Jawahar Kapoor, BK, Rahi, Dharmesh, Rajendra Kapoor, Jaishri T, Meenakshi, and Shefali.
The film has 5 songs, as per the Geet Kosh listings. Four of these songs, including the one being introduced today, are written by Naqsh Lyallpuri, and one is written by Naseem Sahranpuri. Music for this film and composed by Sapan Jagmohan. The singing voice is Asha Bhosle.
Although I have not seen the video of this song, but still, from the flavor of the words and the style of rendition, this seems to be a sensuous song, possibly even a seduction song. The measured deliberateness with which Asha ji has rendered this song, brings in just that right emphasis making this such an attractively sensuous song.
The cast of actors includes names like Jaishree T, Azra, Meenakshi, Shefali – so I would not even start to guess on whom this song might have been picturized. I request our more knowledgeable friends and readers to please add more information about this song and this film, if available.
But regardless, enjoy this wonderfully sensuous song.
Song – Gesuon Ki Haseen Chhanv Mein Humnasheen (Haveli) (1970) Singer – Asha Bhosle, Lyrics – Naqsh Lyallpuri, MD – Sapan Jagmohan
Lyrics
gesuon. . .
ki haseen
chhaanv mein
humnasheen
tu hi bata
tere liye
kya nahin
kya nahin
gesuon ki haseen
chhaanv mein humnasheen
tu hi bata tere liye
kya nahin
kya nahin
ishaaron mein kehti hain angdaaian raat ki
abhi aur behakengi tanhaaian raat ki
ishaaron mein kehti hain angdaaian raat ki
abhi aur behakengi tanhaaian raat ki
kya nahin
kya nahin
gesuon ki haseen
chhaanv mein humnasheen
tu hi bata tere liye
kya nahin
kya nahin
meri jawaani bahaaron ka agaaz hai
kitna haseen mere naghmon ka andaaz hai
meri jawaani bahaaron ka agaaz hai
kitna haseen mere naghmon ka andaaz hai
kya nahin
kya nahin
gesuon ki haseen
chhaanv mein humnasheen
tu hi bata tere liye
kya nahin
kya nahin
kya nahin. . .
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
गेसूओं॰ ॰ ॰
की हसीं
छाँव में
हमनशीं
तू ही बता
तेरे लिए
क्या नहीं
क्या नहीं
गेसूओं की हसीं
छाँव में हमनशीं
तू ही बता तेरे लिए
क्या नहीं
क्या नहीं
इशारों में कहती है अंगड़ाइयाँ रात की
अभी और बहकेंगी तनहाइयाँ रात की
इशारों में कहती है अंगड़ाइयाँ रात की
अभी और बहकेंगी तनहाइयाँ रात की
क्या नहीं
क्या नहीं
गेसूओं की हसीं
छाँव में हमनशीं
तू ही बता तेरे लिए
क्या नहीं
क्या नहीं
मेरी जवानी बहारों का आग़ाज़ है
कितना हसीं मेरे नग़मों का अंदाज़ है
मेरी जवानी बहारों का आग़ाज़ है
कितना हसीं मेरे नग़मों का अंदाज़ है
क्या नहीं
क्या नहीं
गेसूओं की हसीं
छाँव में हमनशीं
तू ही बता तेरे लिए
क्या नहीं
क्या नहीं
क्या नहीं॰ ॰ ॰
Chhaai Aayi Saawan Ki Ghata
Posted on: December 12, 2018
- In: "saawan" song | Duet | Feelings of heart | Guest posts | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Ranjit Roy Song | Shirin Bano - Ranjit Roy Duet | Shirin Bano Song | Song of 1937 | Songs of 1930s (1931 to 1940) | Weather song | Yearwise breakup of songs
- 4 Comments
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 : |
3799 | Post No. : | 14789 | Movie Count : |
4044 |
Today’s song is from a very old film of the early talkie cinema – ‘Khwab Ki Duniya’ (1937) aka ‘Dreamland’.
This was the first film directed by Vijay Bhatt, after he and his brother Shankar Bhatt established Prakash Pictures. In those days, the trend was to make films on mythology, folk tales or social issues. Instead, Prakash Pictures took up a totally new and untried topic like Science Fiction story to make a movie. Film ‘Khwab Ki Duniya’ was based on – or took inspiration from the Hollywood popular film, Universal Studio’s ‘The Invisible Man’ (1933). This film was a cinematic adaptation of the famous novel ‘The Invisible Man’ written by HG Wells in 1897.
Originally, this novel was published serially in the ‘Pearson’s Weekly’ in the early part of 1897. At the end of the year 1897, it was published as a novel and very soon it became a best seller. Translated in almost every language in the world, the novel attracted the film makers of the early era and a film was made in 1933. The film also became a hit and in subsequent years several adaptations and film versions in different languages came up. India too did not lag behind and the adventurous duo of brothers made a film on this story, adapting it to Indian context. Several films in many languages using this as a central theme and adapting the story in various ways, were made in India. Some names I remember off hand are ‘Mr X’ (1957), ‘Mr X’ (1938), ‘Mr X In Bombay’ (1964), ‘Mr X’ (2015), and ‘Mr India’ (1987).
Basic problem was how to show the ‘invisible‘ man. There was no special effect technique available in India till then, like in Hollywood. Vijay Bhatt had an assistant called Babubhai Mistri, who accepted the challenge and using a dim light, a black curtain and a black thread to move articles, he achieved the desired results. This made the film not only a hit and popular one, but also a unique one. Babubhai Mistri, thus, became the father of the trick scenes and special effects in India. In the process Babubhai also earned a moniker of ‘kaala dhaaga‘ (black thread) for rest of his life, in the film industry.
Babubhai Mistri was born on 5th September 1918 in Surat, Gujarat. His father – a building contractor, died suddenly when Babubhai was just 14 year old. Being the eldest he had to take care of his mother and 9 younger siblings. He came to Bombay, where his uncle was working for Krishna Cinetone. With his help, he became an assistant in Bharat Movietone. Starting from making posters and helping in set designing, he learnt from every department of film making.
When he learnt that Prakash Pictures faced a difficulty in special effects he volunteered and made history. Impressed with his skill, Wadia Movietone, famous for fantasy and stunt films, took him in for special effects. During his career, Babubhai not only gave special effects to more than 300 mythological, stunt and fantasy films, but also entered the field of direction. Wadia brothers gave him first opportunity to direct their film ‘Muqabala’ (1942), a Nadia film about twin sisters.
Along with co-director Batuk Bhai i.e. Nanabhai Bhatt, he experimented some new special effects. This film was first in India to use ‘split-screen method’ for double roles, where both sisters could cross each others, shake hands and talk together. Another feature for this film was the night club set, which, in case of a police raid, could be converted into respectable home – on screen for the audience to see. It simply mesmerised the people.
In 1942 Wadia Movietone broke up and Homi Wadia started Basant Pictures. Babubhai directed a film ‘Mauj’ (1943) for him too. He became a free lancer and he directed 48 Hindi films. His last film was ‘Hatim Tai’ (1990). He also directed one Telugu and nine Gujarati films. Many of his assistants became famous as trick masters and special effects experts.
After his retirement he suffered from cancer. His voice box was removed and he had to use an artificial devise for speaking. Tata Cancer Hospital made a film on his courage and will power to overcome cancer, to inspire other cancer patients.
Babubhai won many awards and rewards, for his work in films. He died on 20-12-2010, at the age of 92 years. (Thanks to ‘Beete Huey Din‘ blog for some information used here.)
Film ‘Khwab Ki Duniya’ had a cast of Jayant, Sardar Akhtar, Lallubhai, Umakant, Shirin Bano, Ismail, Jahoor, Madhav Marathe etc. In the early phase of film making, it was difficult to get good looking female actors from educated or respected families for working in films. That is because, it was considered a ‘below the dignity’ job. For silent films, many Anglo Indian and Jew girls became heroines because for them it was not a question of dignity and acting was considered like any other vocation.
Dadasaheb Phalke had described an incident. While making his first film (‘Raja Harishchandra’, 1913), he needed a female actor for Taramati’s role. He found it very difficult to get one. Those days, even in stage plays, the female roles were done by handsome (and sometimes, not so handsome also) males. But even they were not ready. He became desperate and went finally to red light area and talked to some prostitutes. Even they refused to do this ‘lowly’ job. Reluctantly, Dadasaheb settled for Salunke, a male impersonator to do this role.
As the talkie films started, the number of Anglo Indian girls rapidly went down as most of them did not know Hindi nor could they sing. Only a few hard working Anglo Indian girls survived and progressed from silent to talkie films, like Savita Devi (Iris Gasper – who learnt Hindi/Urdu and singing, with efforts), Sulochana (Ruby Myers), Indira Devi (Effie Hippolet), Lalita Devi (Bonnie Bird), Pramila (Esher Abrahams), Seeta Devi (Renee Smith), Madhuri (Beryl Classen), Manorama (Winnie Stewart) etc. Since singing was an important requisite, the field was now open to singing girls from kothas, tawaayafs and professional singers. Reasonably good looks and singing ability was what made them actresses. These girls, who came from kothas and professional singer families used the suffix ‘Bai’ to their names to differentiate their specialty. Thus you had Jaddan Bai, Amirbai, Johrabai, Rattan Bai etc.
Many young singing girls considered cinema as a place where they could get (catch ? ) a good husband from a better family background, earning respectability (forget religion). Many starlets married producers, directors, actors, singers and composers, left acting and settled as respectable housewives. Some girls got husbands from Nawabs and the Royalty, as they were patrons of arts. Many examples from early era can be cited in this connection like,
Gulab Bai alias Kamla Devi married S Fatelal – director in Prabhat Films.
Jaddan Bai married Uttamchand – a medical student and a jaagirdar.
Fatima Bai (mother of Zubeida, of Alam Ara fame) married Nawab of Sachin, Guajarat.
Sultana married Yusuf Laljee, businessman and chief of Bombay Municipal Corporation.
Actress Sarojini (Roshan) married Nanubhai Vakil – producer / director (their daughter was actress Azra).
Actress Indurani (Ishrat) – sister of Sarojini – married Ramniklal Shah – producer / director.
Actress Shirin Bai married Nanabhai Bhatt (their sons are Mahesh Bhatt and Mukesh Bhatt).
Actress Zubeida (of Alam Ara) married Raja Dhanrajgir of Hyderabad (Deccan).
The other actress Zubeida (on whose life, the film ‘Zubeida’ (2001) was made) married Maharaja Hanwant singh of Jodhpur.
etc.
This trend continued in the industry even after things changed and educated and respected family people entered the industry. Now, one could see marriages were taking place between people of film industry itself like Rattanbai and Director Hafiz, Jyoti and Durrani, Nalini Jaywant and Virendra Desai, Noorjahan and Shaukat Hussain Rizvi, Meena Kumari, Sardar Akhtar, Snehprabha Pradhan, Anil Biswas, Lalita Deulkar etc.
In recent era instances are Waheeda Rehman, Kishore Kumar, Asha Bhosle, Hemant Kumar, Manik Verma, Premlata, Geeta Dutt, Geeta Bali, Rishi Kapoor, Rajesh Khanna, Amitabh Bachchan and Abhishek Bachchan etc.
In the cast you find a name Shirin Bano. Yes, she too is one of the above listed artistes who joined films to get a suitable husband and lead a respectable and comfortable life. Shirin, Shirin Bai or Shirin Bano was from a tawaayaf mother from Lucknow. Her father was a Tamil Brahmin – Ram Seshadri Aiyar, who worked as an accountant with Kikubhai Desai (father of Manmohan Desai) in his distribution department. They were 5 sisters and 1 brother. Shirin joined films at an early age. Her first film was ‘Maharani’ (1934). The same year she worked in ‘Vehmi Duniya’, ‘Sewa Sadan’ and ‘Bala Joban’. In 1935 her films were ‘Shamsher e Arab’, ‘Pardesi Sainya’ and ‘Bambai Ki Sethani’. In 1936, she worked in ‘Tope Ka Gola’, ‘Snehlata’, ‘Passing Show’ and ‘Azaad Veer’. ‘Khwab Ki Duniya’, ‘His Highness’ and ‘Challenge’ are her films from 1937, ‘State Express’ and ‘Purnima’ in 1938, and ‘Leather Face’ and ‘Hero No. 1’ from 1939. Total 18 films only.
Her youngest sister Meher Bano also joined films with the name Purnima (she also married a producer / director Bhagwandas Varma). Shirin married producer / director Nanabhai Bhatt, who already had a wife and 9 children. They had 2 sons – Mahesh Bhatt and Mukesh Bhatt.
Very surprisingly, Prakash Pictures themselves brought out another film immediately in the next year i.e. 1938, titled ‘Mr. X’. I do not know if this film was based on the same theme. Today’s song is sung by Shirin Bano and Ranjit Roy. I could not get any information on singer Ranjit Roy, even from my Kolkata contacts. MuVyz says that he sang 23 songs in 10 films, from 1936 to 1946. With this song, the film makes its debut on the blog.
Song – Chhaai Aayi Saawan Ki Ghata (Khwaab Ki Duniya) (1937) Singer – Shirin Bano, Ranjit Roy, Lyrics – Sampatlal Srivastav Anuj, Music – Lallubhai Nayak
Shirin Bano + Ranjit Roy
Lyrics (Provided by Sudhir)
chhaai aayi saawan ki ghata
chhaai aayi saawan ki ghata
baag mein boley papiha
baag mein boley papiha
pee..oo..u ka raag sunaave
pee..oo..u ka raag sunaave
chhaai aayi saawan ki ghata
chhaai aayi saawan ki ghata
mand sameer ki lehren aayin
hey. . .
mand sameer ki lehren aayin
mand sameer ki lehren aayin
hey. . .
mand sameer ki lehren aayin
lehren aayin
gaane lagi chidiya jee ki
gaane lagi chidiya jee ki
baadal se barsat hai paani
baadal se barsat hai paani
sab sarita jal bhar aayin
sab sarita jal bhar aayin
chhaai aayi saawan ki ghata. . .
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
छाई आई सावन की घटा
छाई आई सावन की घटा
बाग में बोले पपीहा
बाग में बोले पपीहा
पी॰॰ऊ॰॰ऊ का राग सुनावे
पी॰॰ऊ॰॰ऊ का राग सुनावे
छाई आई सावन की घाटा
छाई आई सावन की घाटा
मंद समीर की लहरें आयीं
हे॰॰॰
मंद समीर की लहरें आईं
मंद समीर की लहरें आईं
हे॰॰॰
मंद समीर की लहरें आयीं
लहरें आयीं
गाने लगा चिड़िया जी की
गाने लगा चिड़िया जी की
बादल से बरसत है पानी
बादल से बरसत है पानी
सब सरिता जल भर आईं
सब सरिता जल भर आईं
छाई आई सावन की घटा॰ ॰ ॰
Bullet bullet bullet
Posted on: December 11, 2018
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 : | 3798 | Post No. : | 14788 |
“Bullet”(1976) was directed by Vijay Anand for Navketan Productions on the occasion of the silver jubilee of this production house. This movie had Dev Anand, Parveen Babi, Rakesh Roshan, Kabir Bedi, Jyoti Bakshi (new discovery), Sonia Sahni, Shreeram Laagoo, Jagdeep, Mohan Sherry, Ranjana Sachdev, Murad, Ranjan, Sheela, Shefali, Jazebel, Julie, Ratna, Julien, Mamaji, Moolchand, Sharat Saxena etc in it.
This movie had four songs in it. Three songs have been covered in the past. Here is the list of the songs already covered:-
|
Song Title |
Post No. |
Post Date |
| Jab tum chale jaaoge to yaad bahut aaoge | 5100 | 4-Dec-11 |
| Chori chori chupke chupke tere mere bin | 13614 | 26-Sep-17 |
| Mat chhedo gham ki baaten | 14785 | 9-Dec-18 |
The fourth and final song left to be covered is in fact the first song in the movie. It is the title song of the movie as well, where the word bullet appears more than fifty times.
Sudhir Jee, in his comments to the earlier song mentions that
Praveen Babi is the love interest of Dev Anand, and Jyoti Bakshi is the love interest of Rakesh Roshan. Both are police officers. Praveen Babi works for Kabir Bedi, who is actually a gangster. Dev Anand is after him, but Kabir Bedi is successful in getting Dev Anand suspended from the police force on fabricated charges.
In the sequence of events, Jyoti Bakshi gets killed, and that pits Rakesh Roshan against Dev Anand, as the suspicion falls on the latter. Dev Anand then visits Kabir Bedi in his office and drops a bullet on his table, and challenges him that this bullet carries his (Kabir Bedi’s name) and that his days are numbered. That is where the title of the film comes from.
The song is sung by Kishore Kumar. Anand Bakshi is the lyricist. Music is composed by R D Burman.
With this song, “Bullet”(1976) joins the list of movies that have all their songs covered in the blog.
Audio
Video
Song-Bullet bullet (Bullet)(1976) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-R D Burman
Chorus
Lyrics
bullet
bullet
bullet
bullet
bullet
bullet
bullet
bullet
bullet
bullet
hey dekho
yeh kya hai
ispe naam tera likha hai
arre dekho
yeh kya hai
ispe naam tera likha hai
bullet bullet bullet bullet
bullet bullet bullet
bullet bullet bullet bullet
bullet bullet bullet
hey dekho yeh kya hai
ispe naam tera likha hai
bekhabar baitha hai
mast hai peene mein
ek din yeh lagegi pyaare tere seene mein
bekhabar baitha hai
mast hai peene mein
ek din yeh lagegi pyaare tere seene mein
are yaar mere abb hota kya hai aage aage aage aage
dekho yeh kya hai
tere dard e dil ki dawa hai
ispe naam tera likha hai
bullet bullet bullet bullet
bullet bullet bullet
are dekho yeh kya hai
ispe naam tera likha hai
lallalala
lala
lalla
lalla
yeh nahin toh kya hai
jisse tu darta hai
main tujhe aur tu kisko talaash karta hai
yeh nahin toh kya hai
jisse tu darta hai
main tujhe aur tu kisko talaash karta hai
are yaar mere ab hota kya hai
aage aage aage aage
dekho yeh kya hai
yeh kya hai yeh tujhko pata hai
ispe naam tera likha hai
bullet bullet bullet bullet
bullet bullet bullet
are are dekho yeh kya hai, ispe naam tera likha hai
yaad rakh deewaane
yaad rakh deewaane
tu woh parwaana hai
usko apni lagaayi aag mein jal jaana hai
yaad rakh deewaane
tu woh parwaana hai
usko apni lagaayi aag mein jal jaana hai
arre yaar mere abb hota kya hai aage aage aage aage
dekho yeh kya hai,
yeh inaam hai ya saza hai
ispe naam tera likha hai
bullet bullet bullet bullet
bullet bullet bullet
hey dekho yeh kya hai
ispe naam tera likha hai
bullet bullet bullet bullet
bullet bullet bullet
- In: Aspirations of Love | Calling the beloved | Devnagri script lyrics by Sudhir | Eternal love | expression of love | Feelings of heart | Guest posts | Love song | Lyrics contributed by readers | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1970 | Suman Kalyanpur solo | Suman Kalyanpur songs | Yearwise breakup of songs
- 2 Comments
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 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 : |
3796 | Post No. : | 14786 | Movie Count : |
4042 |
Missing Films of 1960s – 87
– – – – – – – – – – – – – – –
Goodness, I am surprised this film is still to appear here. It is titled ‘Patni’ from 1970. The name may be unfamiliar, but when I checked out the list of songs – you know, I had that déjà vu feeling – accha, so these songs are from this film. Geet Kosh lists 5 songs for this film, and I dare say, at least four songs are very, very familiar – resounding memories from the radio listening days. Listening to them again was not the surprise; the name of the film really was.
The film comes from the banner of Film Folk of Bombay, and is directed by VR Naidu. The star cast as listed in the Geet Kosh is Indrani Mukherjee, Dev Kumar, Jagdev, Kumari Padma, Kundan, Harindranath Chattopadhyay, Rafia Sultana, AA Khan, Bazid Khan, Dhanlakshmi, Shefali, Onkar, KK Reddy (Satyajeet), Ramesh Dev, Shashi, Gaffur, Imtiaz, Ashok, and M Shetty. The five songs are all written by Indeewar, and the music is by Vishnu Khanna.
Now this name, i.e. the music director – I am hearing for the first time. As I check the Geet Kosh, his name appears only for two films – this one and ‘Pasand Apni Apni’ from 1972. The melodies of this film are really attractive, and that is why these songs have remained active in the memory for all this time. And yet, this name – the music director, is completely unfamiliar. A quick search on the net has not yielded any information. I request other knowledgeable readers to please add more information about Vishnu Khanna, and also about this film.
The song is a lovely rendition – a wonderful flowing expression of love, of the promises of being together forever and ever. Lovely words, lovely melody and superb rendition. A truly memorable love song.
Song – Poorab Chaloge Chaloongi, Paschim Chaloge Chaloongi (Patni) (1970) Singer – Suman Kalyanpur, Lyrics – Indeewar, MD – Vishnu Khanna
Lyrics
purab chaloge chaloongi
paschim chaloge chaloongi
sang main tumhaare rahoongi
jahaan jaaoge
purab chaloge chaloongi
paschim chaloge chaloongi
tu jo hai gagan to main ghata hoon
tu jo hai chaman to main hawa hoon
tu jo hai gagan to main ghata hoon
tu jo hai chaman to main hawa hoon
tu hi to mera armaan hai
pyaar ka tu hi vardaan hai
sang main tumhaare rahoongi
sang main tumhaare rahoongi
jahaan jaaoge
purab chaloge chaloongi
paschim chaloge chaloongi
tera dil to meri jaan hai
tu mere liye bhagwaan hai
tera dil to meri jaan hai
tu mere liye bhagwaan hai
tu kahe saara jag chhod doon
duniya ke bandhan ko to doon
tu kahe saara jag chhod doon
duniya ke bandhan ko to doon
sang main tumhaare rahoongi
sang main tumhaare rahoongi
jahaan jaaoge
purab chaloge chaloongi
paschim chaloge chaloongi
purab chaloge chaloongi
paschim chaloge chaloongi
purab chaloge chaloongi. . .
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
पूरब चलोगे चलूँगी
पश्चिम चलोगे चलूँगी
संग मैं तुम्हारे रहूँगी
जहां जाओगे
पूरब चलोगे चलूँगी
पश्चिम चलोगे चलूँगी
तू जो है गगन तो मैं घटा हूँ
तू जो है चमन तो मैं हवा हूँ
तू जो है गगन तो मैं घटा हूँ
तू जो है चमन तो मैं हवा हूँ
तू ही तो मेरा अरमान है
प्यार का तू ही वरदान है
संग मैं तुम्हारे रहूँगी
संग मैं तुम्हारे रहूँगी
जहां जाओगे
पूरब चलोगे चलूँगी
पश्चिम चलोगे चलूँगी
तेरा दिल तो मेरी जान है
तू मेरे लिए भगवान है
तेरा दिल तो मेरी जान है
तू मेरे लिए भगवान है
तू कहे सारा जग छोड़ दूँ
दुनिया के बंधन को तोड़ दूँ
तू कहे सारा जग छोड़ दूँ
दुनिया के बंधन को तोड़ दूँ
संग मैं तुम्हारे रहूँगी
संग मैं तुम्हारे रहूँगी
जहां जाओगे
पूरब चलोगे चलूँगी
पश्चिम चलोगे चलूँगी
पूरब चलोगे चलूँगी
पश्चिम चलोगे चलूँगी
पूरब चलोगे चलूँगी॰ ॰ ॰
Mat chhedo gham ki baaten
Posted on: December 9, 2018
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.
| Blog Day : | 3796 | Post No. : | 14785 |
“Bullet”(1976) was directed by Vijay Anand for Navketan Productions on the occasion of the silver jubilee of this production house. This movie had Dev Anand, Parveen Babi, Rakesh Roshan, Kabir Bedi, Jyoti Bakshi (new discovery), Sonia Sahni, Shreeram Laagoo, Jagdeep, Mohan Sherry, Ranjana Sachdev, Murad, Ranjan, Sheela, Shefali, Jazebel, Julie, Ratna, Julien, Mamaji, Moolchand, Sharat Saxena etc in it.
This movie was supposedly based on a James Hadley Chase novel but was slaughtered ( aka adopted) suitably as befitting a movie starring Dev Anand. 🙂
The movie had four songs in it. Two songs have been covered in the past. That leaves two songs to be covered.
Here is the third song from “Bullet”(1976) to appear in the blog. Video of the song does not appear to be available on YT. audio is available and that too is supposed to be a rare song.
The song is sung by Asha Bhonsle. Anand Bakshi is the lyricist. Music is composed by R D Burman.
The audio begins with a dialogue where a lady (played by Parveen Babi perhaps ?) is slapped by her father and then she utters some dialogues which precede the song.
I request our knowledgeable readers to throw light on the picturisation of this song.
PS-Prakashchandra, our extremely knowledgeable reader has provided the video link of the song, and has informed that the song is picturised on Jyoti Bakshi.
Sudhir Ji points out that the dialogue comes after the song in the movie.
Audio
Video
Song-Mat chhedo gham ki baaten (Bullet)(1976) Singer-Asha Bhonsle, Lyrics-Anand Bakshi, MD-R D Burman
Lyrics
dialogues
————————————–
ye chaanta aapko tab maarna chaahiye thha
jab maine pahla cigarette piya thha
us waqt main gyaarah saal ki thhi
lekin aapko meri taraf dekhne ki fursat kahaan thhi
ye chaanta aapko tab maarna chaahiye thha
jab maine pehla boyfriend banaaya thha
us waqt main chaudah saal ki thhi
lekin aapko dekhne ki fursat kahaan thhi
ye chaanta aapko tab maarna chaahiye thha
jab pehli baar main juye mein sau rupaya haari thhi
us waqt main pandrah saal ki thhi
lekin tab bhi aap ko fursat kahaan thhi
tab maarna chaahiye thha
jab maine pehli baar LCD ki goli khaayi thhi
pehli baar charas pi thhi
us waqt main solah saal ki thhi
lekin tab bhi aap ko meri taraf dekhne ki fursat nahin thhi
nahin thhi
—————————–
o o o o
hey hey hey hey hey
hey hey hey hey
mat chhedo o o
gham ki baatein
in baaton mein aen aen aen aen
dum nahin
in baaton mein aen
dum nahin
kaise hum jee rahe hain
aise hum jee rahe hain
kaise hum jee rahe hai
aise hum jee rahe hai
jaise koi zeher hai
hans ke hum pi rahe hain
sote huye ye din guzre
jaagte beetin raaten kayi
peene ke baad
aati hai yaad
bhooli huyi baatein kayi
o o
peene ke baad
aati hai yaad
bhooli huyi ee baatein kayi
jaadu se chal rahe hain
armaan nikal rahe hain
jaadu se chal rahe hain
armaan nikal rahe hain
shole lapak rahe hain
din mein dil jal rahe hain
palkon ke neeche
in aankhon ke peechhe
chhupi hai barsaten kayi
peene ke baad
aati hai yaad
bhooli huyi baatein kayi
o o
peene ke baad
aati hai yaad
bhooli huyi ee ee baatein kayi
bhooli huyi ee ee baatein kayi ee ee
Ram Rahima Ram Rahim
Posted on: December 9, 2018
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.
| Blog Day : | 3796 | Post No. : | 14784 |
Today’s song is from the film Mahatma Kabir-54.
India has been attacked and ruled by outsiders for centuries. Religions other than Hinduism ruled this country and at times it was feared if our religion will become extinct. Perhaps, from this feeling Bhakti Movement started in India in one part and over the years it engulfed the entire Bharatvarsha. During this period, many saints, teachers and holy figures came up and helped the country to be strong once again in matters of religion.
The Bhakti movement refers to the theistic devotional trend that emerged in medieval Hinduism and later revolutionised in Sikhism. It originated in eighth-century south India (now Tamil Nadu and Kerala), and spread northwards. It swept over east and north India from the 15th century onwards, reaching its zenith between the 15th and 17th century.
The Bhakti movement regionally developed around different gods and goddesses, and some sub-religions were Vaishnavism (Vishnu), Shaivism (Shiva), Shaktism (Shakti goddesses), and Smartism. The movement was inspired by many poet-saints, who championed a wide range of philosophical positions ranging from theistic dualism of Dvaita to absolute monism of Advaita Vedanta.
The movement has traditionally been considered as an influential social reformation in Hinduism, and provided an individual-focused alternative path to spirituality regardless of one’s caste of birth or gender. Postmodern scholars question this traditional view and whether the Bhakti movement ever was a reform or rebellion of any kind.
India is a Multi racial, multi language and Multi religions country. It is not only one of the largest Democracies in the world, but also the largest Secular state in the world, where people from different faiths have been living together since centuries.
Many saints and religious leaders have played a significant role in keeping the mixed population of India as One Unit, when it was needed the most. A majority of Hindus, ruled by Muslim Mughals was a natural cause for social divisions, but Saints like Kabir, Surdas, Tulsidas, Ramdas, Tukaram, Ramanand, Narsi Mehta, Purandar das,Namdev, Guru Nanak Dev, Eknath, Bhakta Pundarikar, Rohidas, Mrutyunjaya and many such noble souls, did an excellent job of maintaining harmony amongst peoples of different faiths.
Kabirdas ji is one saint who is revered equally by Hindus and Muslims as well as Sikhs. He belonged, in fact, to all Indian masses.
Kabir was born near Kashi (Varanasi) to a Bramhin widow, who deserted him, for fear of social boycott. He was found and brought up by a Muslim weaver couple-Niru and Naima. Vaishnava Saint Ramanand accepted him as his disciple. Unlike some other saints, Kabir did not become a Sadhu or a Fakir, but he married and led a normal life earning from his Loom works. He had 1 son and 1 daughter also.
Kabir campaigned against social discrimination and economic exploitation. He vehemently opposed dogmas in Hinduism and Islam. His language was straight from the heart, using common vernacular words, which appealed to the masses. He was against Moorti-puja and believed in Bhakti and Sufi ideas. He was an illiterate person. His poems and Dohas were heard ,noted and written by his followers. His works are included in the Guru Granth Sahib of the Sikhs also. His dohas were in Awadhi, Brij and Bhojpuri languages. Through his philosophies, he spread the message of unity during his times. For him Ram and Rahim were the same.
While the authentic period of kabir is 1440 to 1518, there are popular legends about him living for 120 years and after death, his body turning into Flowers.
More than anything else, Mahatma Kabir is remembered for the courage of his convictions. He was a religious reformer who slashed down the orthodox bigotism of Hindus and Muslims alike. He denounced with a touch of satire, the whole apparatus of piety of the temple and the mosque, the idol and the holy water scriptures and the priests, labelling them as cults that vainly tried to replace Reality with Ritual. And thus it was that while courting bitterness from the accepted monopolists of Faith, he tried to eliminate the bitterness that then existed between Hindu and Muslims of that day. The life story of Kabir saheb is surrounded by numerous contradictory legends, on many of which reliance cannot be placed. It is therefore not to be expected that any one version of his life could satisfy all such sections of people who claim to know anything about him.
Mahatma Kabir-54 was made by New premier Films, Bombay and it was directed by Gajanan Jahagirdar. The music was by Anil Biswas and the cast included Surendra, Sulochana, Jahagirdar, Randhir, Lalita Pawar and others. The story of the film is…
The story of Mahatma Kabir begins with the unfolding of a lotus as divine light penetrates through its petals. The infant that lay within, stretched out its chubby arms to Nooru and Naima, a weaver couple of Benares, who brought him up as Kabir, their foster son. But Kabir grew into a strange boy, dreamy and listless, curious of matters spiritual, until one day he saw in Swami Ramananda his destine teacher. Eager to meet his Guru alone, he lay upon the steps of the Ganges, where Ramananda was accustomed to bath. The master trod upon his body unexpectedly and exclaimed “Ram Ram”. Accepting this as a token of the mantra of initiation, and with inspiring words of the Guru, Kabir stepped forth in pursuit of his mystic mission.
As a youth, he found his opposition from the orthodox groups increasing in the threatening proportions. His family was ostracised socially and economically, a calamity to which his foster father Nooru succumbed. All legends agree that Kabir a simple unlettered weaver relied in work as a means of living independently of any charity and earned his livelihood from the loom. The work of his hands helped him rather than hindered the impassioned meditation of his heart from the depths of which he sang the rapturous lyrics of divine love.
Kabir Saheb was constantly harassed by the Mahajan for the repayment of his foster father’s debt which on account of his economic boycott he was not able to repay. He was involved in a theft charge and presented before the Ruler of Kashi who ordered him to be whipped. The sentence was executed but Kabir smiled at the foolishness of those trying to punish him for the offence he had not committed, while the real offender on whom the lashes were actually falling cried in pain. The repentant Kashi Naresh honoured and feted Kabir and the entire ensemble shouted Kabirji ki jai. Returning home Kabir found his ancestral home attached by his Mahajan. People offered to pay off the debt but Kabir declined their offer. He thought that Ram was taking him closer to Himself by removing slowly the barriers of worldly possessions.
With the ancestral house gone, Kabir walked away to the ruins in the outskirts of the Kashi with his foster mother Naima and wife Loi. From there, this apostle of Universal Love, travelled through the length and breadth of the land and the countries beyond, spreading his gospel far and wide while his foster-mother and wife Loi suffered the privations of life. After many years he returned to Benares, where his ailing mother held her breath only to see him for the last time. Now Kabir was an old man, but much revered and still more opposed. This opposition culminated in his being presented before Sikander Lodi on a charge that he was not only an enemy of Islam but also a traitor to the throne of Delhi. Sikander referred the matters to the Kazi of Benares, who ordered him to be thrown into the Ganges tied hand and foot. The cruel sentenced was carried out, while a vast multitude, thronging the Benares Ghats looked on with throbbing hearts and streaming eyes.
As expected Kabir survives and the Kazi and Sikander bow their heads in respect. Finally when Kabir dies, his body turns into flowers and Hindus and Muslims share it for their respective last rites.
The music for this film was given by Anil Biswas. C.H.Atma, who unsuccessfully tried to become a singing star in films like Bhai sahab-54 and Bilwamangal-54, had sung a Bhajan ” Ram Ras Barse re manwa ” in this film as a playback-in Saigal style. Anil Biswas and Saigal were good friends. Whenever Saigal wanted to avoid any unwanted visitor to him, he would escape to Anilda’s home and take his afternoon siesta. Unfortunately, Saigal never sang for Anilda, though he had kept one tune ready for him. This was later used for a song by Mukesh in another film.
Not Saigal, but singers who liked Saigal, sang for Anil Biswas…like Mukeh in Pehli Nazar-45 (dil jalata hai to jalne de), Kishore kumar in film Fareb-53 ( husn bhi hai udas) and C.H.Atma in the film Mahatma Kabir-54 (Ram ras barse re Manwa).
The Hero of Mahatma Kabir was Surendra. At one time he was projected as Bombay’s answer to Calcutta’s Saigal, by Sagar Movietone. While working in Sagar and National, Anil Biswas had used Surendra’s voice in films like Jagirdar, Mahageet, Gramophone singer, Comrade, Aurat and Jawani. Sagar Movietone always tried to compete with New Theatres, Calcutta. When they made President-37, Sagar made Jagirdar-37 and when Street singer-38 was made, Sagar made Gramophone singer-38. Though Surendra was popular, he could never match Saigal. It is to the credit of Surendra, that personally he revered Saigal and never thought of competing with him.
It was Naushad, who first stopped Surendra’s singing and gave him playback of Ustad Amir khan in film Baiju Bawra-52. When he was sporadically heard in films Gharbar-53 and Gawaiya-53, Anil Biswas bloked his singing again and all songs for Surendra in film Mahatma kabir were sung by Manna Dey as playback. After this Surendra only sang in film Pati patni-66. It was rumoured that Surendra himself requested the producer to allow him to sing his last song. He did it free too !
Amirbai Karnataki , who sang in this film was also in her last phase of film singing and after Mahatma Kabir-54, she sang only one song each in 57,61,64 and 72. Thus ended her singing career.
HFGK mentions that today’s song is written by Kabir himself. However, I find that except the Mukhda ‘ Ram Rahima ‘(repeated several times till last), the antara words are from a famous song by Wajid Ali Shah- ‘ Babul mora ‘, which was used in films like The trapped-31, Nachwali-34, Street singer-38 and Shatranj ke khiladi-77.
The song by Manna Dey and Chorus is very good. As such Anil Biswas was an expert in composing chorus songs, in his films. You may find at least one or two chorus songs in most of his films.
Song-Ram Rahima Ram Rahim (Mahatma Kabir)(1954) Singer- Manna Dey, Lyrics- Kabir Das , MD- Anil Biswas
Chorus
Lyrics
ram rahimaa
ram rahim
ram rahimaa
ram rahim
ram rahimaa
ram rahim
ram rahimaa
ram rahim
baabul mora
(ram rahimaa ram rahim
ram rahimaa ram rahim)
naihar chhuta hi jaaye
(ram rahimaa ram rahim
ram rahimaa ram rahim)
baabul mora
(ram rahimaa ram rahim
ram rahimaa ram rahim)
naihar chhuto hi jaaye
(ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
chaar kahaar mil ab doliya aa aa sajaawen
(ram rahimaa ram rahim
ram rahimaa ram rahim)
mora apna begaana aa aa chhuto jaaye
(ram rahimaa ram rahim
ram rahimaa ram rahim)
baabul mora aa aa aa aa aa aa aa
(ram rahimaa ram rahim
ram rahimaa ram rahim)
naihar chhuto hi jaaye
(ram rahimaa ram rahim
ram rahimaa ram rahim)
baabul mora aa baabul mora
(ram rahimaa ram rahim
ram rahimaa ram rahim)
baabul mora aa aa baabul mora aa aa
(ram rahimaa ram rahim
ram rahimaa ram rahim)
baabul mora aa aa aa
(ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim)
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.
| Blog Day : | 3795 | Post No. : | 14783 |
Hullo, hi, pranaam. Good day to all of Atuldom.
Today (8 december 2018) we have a handsome man turning a year older. He has crossed 80 a few years ago but that has not reduced his charisma or charm or fan-following. He is still active on the silver-screen, even if only in home productions, and has his sons as his co-stars.
He has had a rather loooonnnngggg journey having started in 1960. He was the son of a village school headmaster in Ludhiana of Punjab. His mother was the one who supported him in fulfilling his dream of being an actor (he has mentioned this in various interviews of his). He was bitten by the acting bug after seeing Dilip Kumar on-screen. To pursue his dream, he entered the Filmfare New Talent Contest and won it. He was launched by Arjun Hingorani in “Dil Bhi Tera Hum Bhi Tere” in 1960. From then on, he has been entertaining us.
Dharmendra – the he-man with a soft heart. I have read in numerous of his interviews and heard him on television too that his home is always open to anyone who needs his help. The first time I registered this actor or fell in love with him was probably in “Guddi” along with Jaya Bhadhuri (she was also shown to be a Dharmendra fan) or was it in “Seeta aur Geeta”. Or it could be that I saw “Sholay” fell in love with Veeru and then subsequently saw “Guddi” and “Seeta aur Geeta” on Doordarshan and realized who Raka or Dharmendra (he played himself in Guddi) the actor was.
After “Sholay” I have seen many of his movies, even those where he stood next to a bookshelf and sang – “ya dil ki suno duniyawalon ya mujhko abhi chup rehne do” or stood looking out of a window with the “Meghdhoot” in had singing – “tum pukarlo, tumhara intezaar hai”. Loved him even with his heavy lip-sticked- makeup singing “aap ki haseen rukh pe aaj naya noor hai”.
How can anyone forget his pairing with Meena Kumari, Asha Parekh, Waheeda Rehman, Nutan, Vyjayanthimala, Sadhana, Saira Bano, Mumtaz, Babita and all the other ladies of the 60s. He is a lucky guy as he got to romance all the leading ladies of the 70s & 80s. He was sensible enough in not trying to play a romantic lead in the 90s and the few movies where he had heroines it was either Jaya Prada or Sridevi. In the other movies he played a mentor or guardian to the hero or heroine as in “Dadagiri” {1987} he mentors Padmini Kolhapure and helps her in her mission to take revenge against Amrish Puri.
Similarly, in the 1988 “Paap ko jalakar raakh kar doonga” he is shown his to keep his emotions under control in front of his niece played by Farha after her husband is killed by ‘goondas’ and quietly trying to take revenge against the people responsible of the havoc caused in his ‘hasta khelta’ niece’s life. He is an actor who held his ground during the Rajesh Khanna and Amitabh Bachchan wave.
There are many movies starring Dharmendra and we have covered all his popular ones. Atleast that is what I expected. But I am proved wrong there are many more out there which makes it a difficult job to decide what song to present here. I am taking the easy way out and posting the song which is topmost on my head. It is by the Kishore Kumar- Anand Bakshi- R D Burman trio, from the 1978 Pramod Chakravarty produced and directed “Azaad” which was decently successful at the box office.
It was a typical masala movie where Hema Malini played a rich-spoilt- haughty princess and Dharam an eccentric do-gooder (Ashok) who first has his run-ins with the Rajkumari, teaches her to respect food, the poor etc and finally lands up in a factory owned by her. The movie goes through the routine of the princess trying to humiliate Ashok, then falling in love with him and the evil villains trying every trick to bring the movie to the climax.
Today’s song happens when Hema is in the haughty phase and Dharam wants to protect all of the jungle creatures if possible. The song shows our darling Dharam in his trade mark style of being rough and tough (junglee to an extent) and Prem Chopra to be a little stupid. But this is the perfect song to show who or what we experienced when we saw Dharmendra on screen in the late 70s and early 80s.
Wishing you a very Happy Birthday dear Veeru or Garam Dharam alias Dharmendra.
Song-Main Laila ka Majnu Shirin ka Farhaad (Aazaad)(1978) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-R D Burman
Lyrics
O hoooo
o hoooooo
main laila ka majnu
shireen ka farhaad
main hoon sabse pehle
arre sab hain mere baad
main aazaad
main aazaad
main laila ka majnu
shireen ka farhaad
main hoon sabse pahle
arre sab hain mere baad
main aazaad
main aazaad
Ooooo
Ooooo
pehle bano nishaana
phir tum teer chalaana
thhaam ke apne dil ko phir tum saamne aana
arre pehle bano nishaana
phir tum teer chalaana
thhaam ke apne dil ko phir tum saamne aana
tum jaise dekhe hain
maine bade saiyyaad
main laila ka majnu
shireen ka farhaad
main aazaad
main aazaad
mujhse bachke rehna
baat bigad jaayegi
saari raat kasam se tumko
neend nahin aayegi
arre mujhse bachke rehna
baat bigad jaayegi
saari raat kasam se tumko
neend nahin aayegi
bhool na paaogi tum
main aaunga yaad
main laila ka majnu
shireen ka farhaad
main aazaad
main aazaad
inn aankhon ke raste
dil mein bas jaaoonga
tum naagin toh main sapera
tumko das jaaoonga
arre inn aankhon ke raste
dil mein bas jaaoonga
tum naagin to main sapera
tumko das jaaoonga
ab karti ho gussa
phir karna fariyaad
main laila ka majnu
shireen ka farhaad
main aazaad
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