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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.
| Blog Day : | 4053 | Post No. : | 15184 |
Songs Repeated in Hindi Films – 9
– – – – – – – – – – – – – – – – – –
Ah ha, even this song. 🙂
The film is ‘Alag Alag’ from 1985. Repeating an iconic song from the 1969 film ‘Aradhna’. And surely, the important thing to note is that the repeat would have involved no negotiations etc. The director, Shakti Samant, and the song writer Anand Bakshi, are the same. The producer of ‘Aradhna’ is Shakti Samant, and the producer of ‘Alag Alag’ is Rajesh Khanna, who incidentally appears in both the films. The music director of ‘Aradhna’ is SD Burman, and the music director for ‘Alag Alag’ is his son, RD Burman. I would believe that getting permission to repeat this song would have been quite easy. 🙂
As I checked out the the earlier posted original song (on 13 Jan, 2013) I notice that this repeat song is already identified by Sadanand ji in a comment posted on 31st Oct last year. And so, this song found its entry on the blog via this series. Well, for one, it is not listed in the Geet Kosh. That is the interesting part. There are seven songs listed for this film, and the singers listed against each one. The name Kavita Krishnamurthy, the singing voice of this version of the song, does not appear against any of the listed songs. Then, in the footnote, there is compiled list of playback singers given, which includes Kavita’s name, indicating that she has sung something for this film. If one does not view the film, and is not aware of this repeat performance of this song, one will keep wondering why does Kavita Krishnmurthy’s name appears in the list of playback singers, when she has not lent her voice to any song.
The 1985 film ‘Alag Alag’ is produced by Rajesh Khanna and Kusum Narula, under the banner of Aashirwaad Films International, Bombay. With this film, Rajesh Khanna made his debut as a producer in the industry. A small anecdote is noted – that Kishore Kumar did not accept any payment for his singing assignments in this film. He said that he felt indebted to Rajesh Khanna and ‘Aradhna’ for catapulting his career to a new high, and this being Rajesh’s first film as a producer, he would sing for him without accepting any payments.
The star cast of this film is listed as Shashi Kapoor, Rajesh Khanna, Tina Munim, Deven Verma, Sushma Seth, Gita Siddhartha, Urmila Bhatt, Anjana, Raj Rani, Rajesh Puri, Subiraj, Asit Sen, Bharat Bhushan, Bhagwan, Satyen Kappu, Mohan Choti, Birbal, Vikas Anand, Manmauji, Manik Dutt, Sunil Dhawan, Kamal Kanchan, Anoop, Pratap, Surendra, Shyam, Mohit, S Chavan, Gurubachan, with special appearance by Bindu and friendly appearances by Om Prakash and On Shivpuri.
Briefly, the story of this film is,
Tina Munim is a village belle, whose only dream in life is to marry a rich man. She comes to Bombay, meets Rajesh Khanna, and mistakes him for a rich man. When he reveals that he is not a rich man, but is a struggling singer looking for work in the film industry, she dumps him. Later in the film, we find out that he is actually a rich man’s son, who is out on his own, because his parents do not appreciate his desire to be a singer. The next set of events brings Tina to the home of Shashi Kapoor, who is a doctor and is widowed. Pursuing her goal with the single minded devotion, she now attempts to become his wife, This song is placed in the film at this juncture, as she tries to woo him.
The rest of the story is quite intertwined. Shashi Kapoor actually treats Tina Munim as a daughter. Rajesh comes to the doctor to get a false disability certificate as a reference. Tina meets him, confronts him and exposes him. Rajesh leaves, then is involved in an accident in which he loses his voice. He rejoins his family. Shashi Kapoor passes away on account of some illness. Tina is back on the road. With the help of his mother, Rajesh tries to promote Tina as a singer, without letting her know. They meet again, but Rajesh leaves because of his disability. Tina mistakes this to be that Rajesh hates her. And on goes the storyline, inching towards a happily ever after and a miraculous restoration of voice etc. 🙂
We come to this repeat song with a difference. So far in this series, most of the songs that have been reused, are presented as the original recording – barring “Babul Mora. . .” and “I Am A Disco Dancer“, which have been re-recorded in different singing voices. Today’s song also belongs to this latter group – that it is also a re-recorded version and not the original. The original, of course is Kishore Da, and in this female re-rendered version, the singing voice is Kavita Krishnamurthy.
You will notice that Tina’s attire in this song is quite similar to Sharmila’s in the original. An interesting repeat this one is. Enjoy.
Song – Roop Tera Mastaana, Pyaar Mera Deewaana (Alag Alag) (1985) Singers – Kavita Krishnamurthy, Lyrics – Anand Bakshi, MD – RD Burman
Female Voice + Male Voice
Lyrics
roop tera mastaanaa
pyaar mera deewaana
roop tera mastaanaa
pyaar mera deewaana
bhool koi humse na ho jaaye
roop tera mastaanaa
pyaar mera deewaana
bhool koi humse na ho jaaye
raat nasheelee
mast samaa hai
aaj nashe mein
saara jahaan hai
raat nasheelee
mast sama hai
aaj nashe mein
saara jahaan hai
haay sharaabi mausam behkaaye
ae ae ae ae
roop tera mastaanaa
pyaar mera deewaana
bhool koi humse na ho jaaye
——————————–
Hindi script lyrics (Provided by Sudhir)
——————————–
रूप तेरा मस्ताना
प्यार मेरा दीवाना
रूप तेरा मस्ताना
प्यार मेरा दीवाना
भूल कोई हमसे न हो जाये
रूप तेरा मस्ताना
प्यार मेरा दीवाना
भूल कोई हमसे न हो जाये
रात नशीली
मस्त समां है
आज नशे में
सारा जहां है
रात नशीली
मस्त समां है
आज नशे में
सारा जहां है
हाय शराबी मौसम बहकाए ए ए ए ए
रूप तेरा मस्ताना
प्यार मेरा दीवाना
भूल कोई हमसे न हो जाये
- In: Asha Bhonsle solo | Asha Bhonsle songs | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | One singer singing for two actors | Post by Sudhir | Raj darbaar song | Songs of 1960s (1961 to 1970) | Songs of 1964 | Twin Dance Song | Yearwise breakup of songs
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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.
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Blog Day : |
4053 | Post No. : | 15183 |
22nd August (yesterday) was the remembrance day of the exceptional, yet unsung music director – Ram Prasad Sharma. He had passed away this day in 1995. May be not easily identifiable by himself, he is probably known more through his sons. His four sons have all been well known musicians and instrumentalists, and all have been connected with the film industry. Two of them are also famous as music directors – Pyaarelal ji, of the Laxmikant Pyaarelal duo, and Ganesh.
Ram Prasad’s biographical and filmographic details have been presented earlier on this blog, in the article on the song “Antul Habi Ke Dekho Kabhi” from the film ‘Magic Carpet’, released in 1964. There is also a detailed article by our dear Arun ji, posted here on the blog – Anmol Fankaar.
Today’s song is also from the same film – ‘Magic Carpet’. The film is directed by Babubhai Mistry, under the banner of Unique Pictures, Bombay. This is stunt cum fantasy film – a typical ‘jaadugar sainyyaan’ type film. The cast of actors includes Chitra, Azaad, Bhagwan, BM Vyas, Bela Bose, Dalpat, Kesri, Bimla Kashmiri, and a host of junior artists, listed as Aroon, Maqbool, Radhe Shyam, Arvind Kumar, Mehroo Bai, Bakshi, Master Kisore, Kalla, Rafiq, Sandow, Dawood, Amir, Musa, Julian, Khalil, Rehman, Salim, Zippy and Nagina.
The film has five songs which are penned by four songwriters – Farooque Kaiser, Shakeel Nomaani, Arsh Farooque and Jia Dehalvi. This song is written by Jia Dehalvi – as the pseudonym suggests, he is from Delhi. 🙂 Music is by Ram Prasad Sharma. The singing voice is that of Asha Bhosle.
On screen, the song is performed as a twin dance, with both dancers lip syncing the playback from Asha. The dancers are Chitra and Bela Bose. Now, I am not completely certain, and am open for being corrected. Some familiarity with the performers and the absence of any other name that sounds like a dancer, in the list of actors given above. I request other more knowledgeable friends in the group to please correct or confirm. 🙂
There are two other gentlemen in the frame. I request for help to identify them, as I do not yet have access to software that will help to remove the beards from the faces of men in video clips. 😀 😀 Given the names in the list of actors, I believe one of them could be Dalpat. Please help to identify them.
A lilting dance song this one. Listening to this song, I can hear the sources of inspiration for the torrent of music that flowed from the works of L-P. This, and many others like this from B and C grade films of 1950s and 1960s, form a string of very pleasing memories from the radio listening days. I am sure you will enjoy this.
Song – O Sainyyaan Be-Peer Koi Teer Na Chalaana (Magic Carpet) (1964) Singer – Asha Bhosle, Lyrics – Jia Dehlavi, MD – Ram Prasad
Lyrics
o sainyyaan be-peer
koi teer na chalaana
o sainyyaan be-peer
koi teer na chalaana
tu mere
chhote se
dil ko na tadpaana
tu mere
chhote se
dil ko na tadpaana
o sainyyaan be-peer
koi teer na chalaana
o sainyyaan be-peer
koi teer na chalaana
maine maana tu hai
puraana
sharaabi
maine maana tu hai
puraana
sharaabi
lekin in aankhon ki
juda hai
gulaabi
nazar se
pee le to boley tu
mai to fuzool hai
o sainyyaan be-peer
koi teer na chalaana
o sainyyaan be-peer
koi teer na chalaana
aisi berukhi na
kar hum se
khudaara
aisi berukhi na
kar hum se
khudaara
de de mujhko apni
baahon ka
sahaara
sanam ke
naaz uthaana to
pyaar ka usool hai
o sainyyaan be-peer
koi teer na chalaana
o sainyyaan be-peer
koi teer na chalaana
tauba teri nazren
hain tirchhi
kamaanen
tauba teri nazren
hain tirchhi
kamaanen
tu ne to li hongi
hazaaron
ki jaanen
sitamgar
kisko jawaani mein
marna qubool hai
o sainyyaan be-peer
koi teer na chalaana
o sainyyaan be-peer
koi teer na chalaana
tu mere
chhote se
dil ko na tadpaana
tu mere
chhote se
dil ko na tadpaana
o sainyyaan be-peer
koi teer na chalaana
o sainyyaan be-peer
koi teer na chalaana
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
ओ सैंया बेपीर
कोई तीर ना चलाना
ओ सैंया बेपीर
कोई तीर ना चलाना
तू मेरे
छोटे से
दिल को ना तड़पाना
तू मेरे
छोटे से
दिल को ना तड़पाना
ओ सैंया बेपीर
कोई तीर ना चलाना
ओ सैंया बेपीर
कोई तीर ना चलाना
मैंने माना तू है
पुराना
शराबी
मैंने माना तू है
पुराना
शराबी
लेकिन इन आँखों की
जुदा है
गुलाबी
नज़र से
पी ले तो बोले तू
मय तो फ़ज़ूल है
ओ सैंया बेपीर
कोई तीर ना चलाना
ओ सैंया बेपीर
कोई तीर ना चलाना
ऐसी बेरुखी ना
कर हमसे
खुदारा
ऐसी बेरुखी ना
कर हमसे
खुदारा
दे दे मुझको अपनी
बाहों का
सहारा
सनम के
नाज़ उठाना तो
प्यार का उसूल है
ओ सैंया बेपीर
कोई तीर ना चलाना
ओ सैंया बेपीर
कोई तीर ना चलाना
तौबा तेरी नज़रें
हैं तिरछी
कमानें
तौबा तेरी नज़रें
हैं तिरछी
कमानें
तूने तो ली होंगी
हजारों
की जानें
सितमगर
किसको जवानी में
मरना कुबूल है
ओ सैंया बेपीर
कोई तीर ना चलाना
ओ सैंया बेपीर
कोई तीर ना चलाना
तू मेरे
छोटे से
दिल को ना तड़पाना
तू मेरे
छोटे से
दिल को ना तड़पाना
ओ सैंया बेपीर
कोई तीर ना चलाना
ओ सैंया बेपीर
कोई तीर ना चलाना
Zara dil ko lagaana sambhaal ke
Posted on: August 23, 2019
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 : | 4053 | Post No. : | 15182 |
“Dolti Naiyya”(1950) was directed by Mirza Musharraf for Shaan e Hind pictures, Bombay. This social movie had Nigar Sultana, Sham Dulaari, Amarnath, S Mazhar, Cuckkoo, Veena Kohli, Sabodhani, Pratima Malhotra, Laxmi, Sikandar, Sharief Mirza, Jleel A, Bhudo adwani, Mukri, Ameer Ali, Munshi Munaqqa, Mirza Musharraf etc in it.
“Dolti Naiyya”(1950) had ten songs in it that were penned by eight lyricists.
One song has been covered in the past.
Here is the second song from “Dolti Naiyya”(1950) to appear in the blog. This song is sung by Geeta Dutt (then Roy). Prakash B A is the lyricist. Music is composed by Ram Prasad.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song. It sounds like a club dance song to me.
Song-Zara dil ko lagaana sambhaal ke (Dolti Naiyya)(1950) Singer-Geeta Dutt, Lyrics-Prakash B A, MD-Ramprasad
Lyrics
zara dil ko
haan zara dil ko lagaana sambhaal ke re ae
koi dilbar banaana banaana
ho koi dilbar banaana dekh bhaal ke
ho dekh bhaal ke
dil ki keemat hai dil
de ke dil
dil se mil
rakh le haathon pe dil ko nikaal ke
ho o o
rakh le haathon pe dil ko nikaal ke
koi dilbar banaana dekh bhaal ke
ho dekh bhaal ke
dil hai bhola naadaan nahin
isko pahchaan tu
bikta hai muft bina maal ke
dil hai bhola naadaan nahin
isko pahchaan tu
bikta hai muft bina maal ke
ho o bina maal ke
haan bina maal ke
ho o o
koi dilbar banaana banaana
ho koi dilbar banaana dekh bhaal ke
ho dekh bhaal ke
dil ko
ho dil ka jaadu balam
o bole meethhi sargam
ho bole meethhi sargam
gamapadha
pa ga ma
dha ni sa ri ni sa
ni dha pa ma dha ni pa
rakh de saath mein duniya ko dhaal ke
o o o
rakhde saath mein duniya ko dhaal ke
koi dilbar banaana dekh bhaal ke
ho dekh bhaal ke
zara dil ko lagaana sambhaal ke re ae
koi dilbar banaana banaana
ho koi dilbar banaana dekh bhaal ke
ho dekh bhaal ke
zara dil ko lagaana sambhaal ke re ae
koi dilbar banaana banaana
ho koi dilbar banaana dekh bhaal ke
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 : | 4052 | Post No. : | 15181 |
“Guru Dakshina”(1950) was produced by Rajasthan Studios, Bombay. This is all the detail that is mentioned about this movie in HFGK.
According to HFGK, the movie had at least eight songs in it, and perhaps more. One song from the movie has been covered in the psst.
Here is the second song from the movie. According to HFGK, it is sung by Prempal. Music is composed by Pt Lachchiram. Mr Deepak, a visitor of this blog and a record collector has mentioned Gulab, Prempal and Krishna Rane as the actors in this movie in a comment in YT. He also mentions Saarshaar Saliaani as the lyricist.
I thought that Prempal must be a male actor. But on listening to this song, it appears that Prempal was a lady. And going by the star cast mentioned by Mr Deepak, this song was picturised on Prempal herself.
I request our knowledgeable readers to throw light on the movie as well as on this singer, who makes her debut in the blog with this song.
Song-Bedard zamaana kya jaane kyun dard ke maare rote hain (Guru Dakshina)(1950) Singer-Prempal, Lyrics-Sarshar Sailaani, MD-Pt Lachchiram
Lyrics
bedard zamaana kya jaane
kyun dard ke maare rote hain
wo paas thhe lekin door huye
wo paas thhe lekin door huye
aashaaon ke darpan choor huye
ab hook jigar mein uthhti hai
aur nain humaare rote hain
bedard zamaana kya jaane
kyun dard ke maare rote hain
manjhdhaar khiwaiyya chhod gaya
jeevan ka sahaara tod gaya
jeevan ka sahaara tod gaya
ummeed ki naiya doob gayi
hum baithh kinaare rote hain
bedard zamaana kya jaane
kyun dard ke maare rote hain
bedard zamaana kya jaane
kyun dard ke maare rote hain
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 : | 4051 | Post No. : | 15180 |
Today’s song is from film Raj Mukut-50.
From the title itself one would know what type of film this could be. In our childhood we were fond of, first listening and then reading stories of Raja-Rani. As we grow older, this liking seems to have ended,but it is not so, in reality. Every adult has a child in him and the love for the Raja Rani stories is hiding behind the facade of other serious life matters of the adult age.
Precisely, this liking was identified by B and C grade action and costume filmmakers and films on Kings, Queens, the evil Vazier or the Army Chief, plus or minus the evil Magician were made. From the point of business, it was wise to make such films, because its Producers never suffered loss, where as failure of an A grade film invariably ruined the producer.
The simple reason was, the production cost, distribution cost, actors’ payments etc were very low and the income was very good. May be that was the reason, that even the big banners also sometimes or the other had made costume films about Kings and Queens etc.
Going by the film title list made by Hamraz ji, I found at least 43 films starting with Raaj – like Raaj Mukut, Raaj Tarang, Raaj Ratan, Raaj Nandini etc etc. There were 32 films having titles starting with Raja, like Raja Gopichand, Raja Harishchandra, Raja Vikram etc etc. Movie titles with Rani prefix were just 11 (Gender Bias ?).
Coming to the story of Raaj Mukut-50, it is no different than hundreds of its ilk. I wonder why are there story shortages in films ? Why do films have similar stories ? In the 40’s decade ,Master Bhagwan used just one story to make 11 action films. In later times, it was Nasir Hussain, who – starting with Tumsa Nahin Dekha-57 – used only one skeleton story for most of his films and what’s more surprising is that his most film were Hits.
While thinking about it, I found that, in 2004, a book called “Why we tell stories”, written by Christopher Booker was published. It is a book having 728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are
1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth
6.Comedy and
7.Tragedy “.
After this book was published, there was a chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied to all points and stuck to his statements. If we look at Hindi films, I personally feel that what the author has said is true in our case. Only thing is that our film stories are always a clever mixture of all or some of the above points.
If we take a look at the cast of the film Raaj Mukut-50, we find some heavyweights like Veena, Jairaj, Nimmi, Sapru, Gulab, Janakidas, Baby Tabassum etc. The decade of the 50s started with the decline of old stalwarts of 30s and 40s, because of the rise of new generation of actors, actresses, directors, MDs and almost all departments of film making. Nimmi was a ‘ Black Sheep’ in this cast because she was from the newer generation rising star.May be she did this film to get well entrenched in the film industry. Moreover the banner was good and the other actors were well known too. Director Nanubhai Vakil was an expert veteran in costume and action film direction. The music was given by Gobindram, a respected name in the musical circles.
Baby Tabassum had debuted with film Nargis-46 ( released in 47). Tabassum – real name Kiran Bala Sachdev was born in 1944 in Mumbai to Ayodhyanath Sachdev, an Indian freedom fighter, and Asghari Begum, freedom fighter, journalist and an author. Her father named her Tabassum, keeping her mother’s religious sentiments in mind, while her mother kept her name Kiran Bala, keeping her father’s religious sentiments in mind. Her official name as per pre-marriage documents was Kiran Bala Sachdev.
Tabassum made her film debut as a child actor with Nargis (1947) followed by Mera Suhaag (1947), Manjhdhar (1947) and Bari Behen (1949). Later in Deedar (1951), directed by Nitin Bose, she played the childhood role of Nargis; the hit song Bachpan Ke Din Bhula Na Dena sung by Lata Mangeshkar and Shamshad Begum was picturised on her. Also, in the next year, she appeared in another important film Baiju Bawra (1952) directed by Vijay Bhatt, where she appeared in the childhood role of Meena Kumari. After a gap, she reentered films in adult roles, working as a character actress.
She hosted the first talk show of Indian television, Phool Khile Hain Gulshan Gulshan, which ran for 21 years from 1972 to 1993. Produced by Doordarshan Kendra Mumbai, it was based on interviews of film celebrities and became immensely popular. This also led to a career as stage compere. She was also the editor of Grihalaxmi, a Hindi women’s magazine for 15 years and wrote many joke books.
In 1985, she directed, produced and wrote her first film, Tum Par Hum Qurban. In 2006, she returned to television, as an actress in Pyaar Ke Do Naam: Ek Raadha, Ek Shyaam, produced by Rajshri Productions. She became a judge in a reality stand-up comedy show Ladies Special (2009) on Zee TV.
She continued to work as an interviewer for television and is currently doing a TV show on TV Asia USA and Canada titled Abhi Toh Main Jawaan Hoon based on the Golden Era of Hindi Cinema. Currently, she has launched her own channel on YouTube, titled “Tabassum Talkies” which consists of nostalgic talks, interviews of celebrities, shayaris, jokes and more.
She is married to Vijay Govil, elder brother of TV actor Arun Govil. Their son Hoshang Govil had brief career as a lead in three films Tum Par Hum Qurbaan (1985), which was produced and directed by Tabassum in which she introduced Johnny Lever for the first time on screen as a comedian. Kartoot (1987) and Ajeeb Dastaan Hai Yeah (1996) produced by Zee TV and directed by J Om Prakash (grandfather of Hritik Roshan). In 2009, her granddaughter Khushi (daughter of Hoshang) made her film debut with Hum Phir Mile Na Mile. ( courtesy- Wikipedia).
Tabassum is an actress of a kind who was an All rounder-not in body shape-(that she is in now!), who is the only one having succeeded in 5 different mediums of entertainment. Films,TV,Radio,Print Media and Stage. Here is a small note about her,as it appears on her Facebook page-
“Tabassum ,during her years as child star ,was dubbed by her fans ,the movie -industry and the media as “THE SHIRLY TEMPLE OF INDIA”.
FILMS
She made her debut at the age of two and half years, in 1946, in her first film –Famous Pictures “Nargis’.This film was produced by Baburao Pai ,directed by D.D.Kashyap ….“Nargis” starred the legendary Nargisji herself with Rehman ,Shahnawaz ,Alka ,Achrekar and BABY TABASSUM.
In a short span of about six years Tabassum chalked up a record of child artist roles in more than thirty films ,and she’s working in films even today with a total of more than 100 films to her credit.
TELEVISION
Tabassum was the first to start the movie- oriented T.V. series on Doordarshan (India’s Government owned Television channel) which started on October 2nd, 1972. On October 8th 1972 , she launched her famous series of film-personality interviews. The first person to be interviewed in these series , titled “PHOOL KHILE HAIN GULSHAN GULSHAN” was a veteran music director Naushad.
This programme ran continuously on Doordarshan for 21 years ..
Various cultural organizations ,audiences ,and the media in general even the then INFORMATION AND BROADCASTING MINISTER Mr. V.P.Sathe have dubbed Tabassum as THE T.V. QUEEN OF INDIA .
RADIO
Tabassum started on radio in 1946 with children programmes and did many other programmes regularly on All India Radio.
For 15 years from 1970 to 1985 Tabassum ran a regular radio programme of jokes on the commercial services of Radio Ceylon.The same programme was later switched also to Vividh Bharti where continued for many years. She is still doing programmes regularly on Vividh Bharti.She was conferred the award of “JOKES QUEEN OF INDIA”.
AUTHORSHIP AND JOURNALISM
Tabassum has been writing Urdu poetry , jokes ,short stories since her childhood which were being regularly published in Urdu and Hindi magazines ,newspapers ,etc.
During her more than sixty four years long career in show business ,Tabassum has also written seven books of Jokes ,Poetry ,and Urdu shayris ,the first of which was published at the age of 17 years when she had just passed her matriculation examination. She did her B.A. in Urdu from Aligarh University.
For the past many years Tabassum has fitted also journalism into her over crowded schedule when she took over as editor of the large circulation of a Woman’s magazine GRIHA LAKSHMI which is published monthly from New Delhi since last 17 years.
STAGE
As Baby Tabassum , Filmland’s original child-star the Shirley Temple of India ,began to appear on stage shows since the tender age of three to four years.Over three decades ago she launched her own stage show unit named “TABASSUM HIT PARADE’.This stage entertainment unit has over the past three decades performed variety entertainment shows all over India and in almost every country of the world from U.S.A.and Canada to the United Kingdom and Europe ,the Middle east and Gulf countries to South-east Asia ,Singapore and the far east in Hong Kong ,China ,Taiwan and Japan.
Now she is busy in promoting a stage programme titled “Tabassum Bhajan Sandhya” in India and abroad as spiritual entertainment.
On May 8th 1995 various well known cultural organizations of India celebrated TABASSUM’S HALF CENTURY IN FILM INDUSTRY AND SHOW BUSINESS AND WAS LARGELY ATTENDED BY FILM AND OWN MEDIA PERSONALITIES INCLUDING THE PRESS. ”
Film Raaj Mukut-50 story was about a Prince who is more interested in doing social service for the poor and down trodden ( and a love affair with the Village Mukhiya’s daughter) than getting crowned legitimately. So he disappears and goes to a village, to do what he always wanted to do, but could not do so far.
He learns that his younger brother, crowned after the deliberate false rumour of the prince- was perpetrating tyranny on kingdom’s people and also arrested his own parents and jailed them. His blood boils and he enters the capital incognito, along with his girlfriend and others. There is a fighting and the younger brother is killed. The King and Queen are released. The prince becomes the King and his girlfriend becomes his Queen. Clap, Clap !
The film had 11 songs. 4 songs are already discussed. Today’s song is the 5th song. It is sung by Shamshad Begum, Amirbai, Rafi and another unknown male voice. Incidentally, Gobind Ram had a special affinity for Shamshad Begum. He gave music to 32 films and composed 302 songs. Out of these, he composed as many as 86 songs in 19 films for Shamshad Begum. I believe, he may be the music director who has most songs for Shamshad Begum- atleast percentage wise (28.4 %).
Song- Dil hai lagane ke liye (Raj Mukut)(1950) Singers- Amirbai Karnataki, Shamshad Begam, Rafi, Lyrics-Bharat Vyas, MD- Pt Gobind Ram
Amirbai Karnataki + Shamshad Begam
Rafi + Unknown male voice
Lyrics
dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin
nahin nahin jee nahin nahin
nahin nahin jee nahin nahin
dil hai lagane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin
nahin nahin jee nahin nahin
nahin nahin jee nahin nahin
chaar dinon ki hai ye jawaani
chaar dinon ka khel
aji chaar dinon ka khel
chaar dinon ki hai ye jawaani
chaar dinon ka khel
khatkhat karti chali jaa rahi
jeewan ki ye rail
suno jee
jeewan ki ye rail
mauj manaa lo phir nahin kehna
haan
mauj manaa lo phir nahin kehna
dil ki baaten dil mein rahin
is dil ko laga lo yahin kahin
nahin nahin jee nahin nahin
nahin nahin jee nahin nahin
dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin
jaante hain haal hum
majnu dil e barbaad ka
haan aan aan aan
haan aan
jaante hain haal hum
majnu dil e barbaad ka
aur ishq mein anjaam dekho
kya hua farhaad ka
aur ye barbaadi ka rasta hai
is par chalna nahin nahin
hoy ye barbaadi ka rasta hai
is par chalna nahin nahin
is dil ko lagaa lo yahin kahin
nahin nahin jee nahin nahin
nahin nahin jee nahin nahin
dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin
honthon par hai naam tumhaara
soorat dil mein basi huyi
aeji soorat dil mein basi huyi
honthon par hai naam tumhaara
soorat dil mein basi huyi
tum chaaho na chaaho
ham hain prem jaal mein phansi huyi
ham prem jaal mein phansi huyi
duniya mein badnaam huyi hain
haay
duniya mein badnaam huyi hain
kya kya baaten hamne sahin
is dil ko laga lo yahin kahin
nahin nahin jee nahin nahin
nahin nahin jee nahin nahin
dil hai lagaane ke liye
ise laga lo yahin kahin
aji ise laga lo yahin kahin
Kab yaad mein tera saath nahin
Posted on: August 20, 2019
This article is written by Sadanand Kamath, 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 : | 4050 | Post No. : | 15179 |
shaam-e-gham ki kasam aaj ghamgeen hain ham
The evening in the first line turned into a night of sadness when I came to know from ASAD Group that Khayyam saab is no more with us. His popular songs started ringing in my ears. Those were the songs with which I have grown up from a teenager to a senior citizen. I had a disturbed sleep last night as some of his songs resonated intermittently in my mind. In the morning, I thought that the best way to get out of such feeling is to write a tributary article for Khayyam saab.
With his death, we have lost the last icon among the music directors of the golden period of Hindi film music He created his own ‘gharana’ of Hindi film music and very rarely deviated from it. The melodious songs he composed were mainly based on Hindustani classical raagas.
As I said, some of his songs were often coming to my mind. The emotional support song tum apna ranz-o-gham apni pareshaani mujhe de do was the one which gave me goosebumps. Not only Khayyam saab and Jagjit Kaur were creators of this melody, I felt that the latter was actually the emotional support system for the former. I identify wo subah kabhi to aayegi as optimistic in the midst of pessimism. I remember Khayyam saab in bahaaron mera jeevan bhi sanwaaron for its a long prelude of nearly 100 seconds of santoor, sitar and flute which created the right ambiance for Raag Pahadi based melody. Among other songs, how can I forget ye kya jagah hai doston and the ‘haunted feel’ song with pauses, ae dei-e-nadaan arzoo kya hai?
Khayyam saab who was so much committed to the quality of his musical compositions, selected only films with good story line. His musical compositions had the benefit of poetry rather than the lyrics. This is reflected in his working mostly with poets of repute like Sahir Ludhianvi, Kaifi Azmi, Jaan Nisar Akhtar, Raja Mehdi Ali Khan, Nida Fazli, Shahryar etc.
There was something for his young listeners and audiences too. Like hai kali kali ke lab par from ‘Lala Rukh’ (1958), a teasing song, jis pyaar mein ye haal ho us pyaar ki tauba from ‘Phir Subah Hogi’ (1958), a jazzy number rut jawaan jawaan raat meherbaan from ‘Aakhri Khat’ (1966), an aspiring love song, aankhon mein hamne aapke sapne sajaaye hain from ‘Thhodi Si Bewafaayi’(1980) and many more.
Coming from a highly educated family from Jalandhar, Khayyam saab could not complete even his high school studies as he was smitten by his idol, K L Saigal and Hindi films. His wish was to become an actor-singer like K L Saigal. Expelled by his father from his house for neglecting his studies, Khayyam saab came to Delhi and stayed with his uncle. Realising his nephew’s interest in music, his uncle arranged his musical training under Pandit Amarnath and his brothers, Husnlal and Bhagatram.
A filmy career which spanned over 7 decades, Khayyam saab started as an apprentice to music Director, G A Chishti in Lahore in 1945. He came to Mumbai in January 1947 with Rahman Verma who was also assisting G A Chishti. Khayyam saab sang his first song ‘dono jahaan teri mohabat mein haar ke’ a duet with Zohrabai Ambalewali under Husnlal-Bhagatram for the film ‘Romeo & Juliet’ (1947). His first film as a music director in partnership with Rehman Verma was ‘Heer Ranjha’ (1948) under the pseudo name Sharmaji-Vermaji.
The song which brought Khayyam saab into limelight was akele mein wo ghabraate to honge from ‘Biwi’ (1950), his third film. This did not help him much in his career path. ‘Footpath’ (1953) was his first film in which he gave the music under his real name, Khayyam on the advice of the film’s director, Zia Sarahadi. shaam-e-gham ki kasam aaj ghamheen hain hum from this film became very popular as a ‘blue mood’ song. Khayyam saab had revealed that he had used western symphony based interlude in this song, especially the first interlude.
The high points in musical compositions of Khayyam saab were reflected in all the songs of ‘Lala Rukh’ (1958), ‘Phir Subah Hogi’ (1958), ‘Shola Aur Shabnam (1961), ‘Shagoon’ (1964), ‘Mohabbat Isko Kehte Hai,’ (1965) and ‘Aakhri Khat’ (1966). Still the success in terms of recognition and box office alluded him. By this time, he had already spent about 2 decades in Hindi film industry but was not in the reckoning in the list of top music directors.
Sometime in the latter half of 1960s, Khayyam saab decided to take a sabbatical from Hindi film industry when he felt that the films he was being offered were not his worth. The sabbatical continued for nearly 8 years. During this period, he devoted his time and energy to compose some of his finest non-film songs among 200 odd songs. Here also he did with the top playback singers like Talat Mehmood and Mohammed Rafi. Begum Akhtar who was very close to Madan Mohan, chose Khayyam saab for composing ghazals for her LP Ghazal album in 1974.
Generally, it is said that once a film artist remains out of film industry for a long time, it is difficult for that artist to make a comeback. I think, Khayyam saab is the only among music directors who made a grand come back with the success of ‘Kabhie Kabhie’ (1976) for which he got Filmfare Award. The next feather in his cap was the outstanding music in ‘Umrao Jaan’ (1981). He was bestowed with National Award for music in this film. In his second coming, he remained active for about 10 years.
It was interesting to know that some of his best music compositions had come from films like ‘Phir Subah Hogi’ (1958), ‘Kabhie Kabhie‘(1976), Umrao Jaan’ (1981) and ‘Razia Sultan’ (1983) where he was not the first choice as a music director. How much efforts and pain he must have taken to prove his credentials to the respective producers/directors to make the music of these film extraordinaire to justify their faith in him.
I have always felt that God has been unkind to Khayyam saab. At every stage of his life – from his childhood time onward, he had to struggle for survival. It took nearly 3 decades to come under the category of a successful music director when ‘Kabhie Kabhie’ (1976) became successful. He got recognition from the film industry as well as from the Government. But his success gave him company for less than 10 years. When he had everything for his modest living, he lost his only son, Pradeep in March 2012. But Khayyam saab had no complaint against God. In almost all his interviews I had read and watched, he had always said ‘Allah ki meharbaani hai, waah Guruji ki kripa hai, Ishawar ki kripa hai’.
Khayyam saab had also composed songs for about dozen unreleased films, one of which was ‘Anjuman’ (1986). As a tribute to Khayyam saab, I am presenting one of songs from this film, ‘kab yaad mein tera saath nahin kab tera haath mein haath nahin’ which is close to my heart. This ‘Faiz Ahmed Faiz’s song is rendered by Khayyam saab and his wife, Jagjit Kaur. I think, this is the only film song which they have sung together.
I offer my condolences to the bereaved family and his friends.
Khayyam saab, you will always be with us through your melodious music.
Video Clip :
Audio Clip:
Song-Kab yaad mein tera saath nahin (Anjuman)(UR)(1986) Singers-Khayyam, Jagjit Kaur, Lyrics-Faiz Ahmad Faiz, MD-Khayyam
Both
Lyrics
kab yaad mein tera saath nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin
tab shukr ke apni raaton mein
tab shukr ke apni raaton mein
ab hijr ki koi raat nahin
tab shukr ke apni raaton mein
ab hijr ki koi raat nahin
maidaan-e-wafa darbaar nahin
jaana munsab ki poochh kahaan
maidaan-e-wafa darbaar nahin
yahaan munsab ki poochh kahaan
aashiq to kisi ka naam nahin
aashiq to kisi ka naam nahin
kuchh ishq kisi ki jaat nahin
aashiq to kisi ka naam nahin
kuchh ishq kisi ki jaat nahin
kab yaad mein tera sath nahin
kab haath mein tera haath nahin
jis dhaj se koi maqtal mein gaya
wo shaan salaamat rahti hai
jis dhaj se koi maqtal mein gaya
wo shaan salamat rahti hai
ye jaan to aani jaani hai
ye jaan to aani jaani hai
is jaan ki to koi baat nahin
ye jaan to aani jaani hai
is jaan ki to koi baat nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin
gar baazi ishq ki baazi hai
jo chaaho laga do dar kaisa
gar baazi ishq ki baazi hai
jo chaho laga do dar kaisa
gar jeet gaye to kya kahna
gar jeet gaye to kya kahna
haare bhi to baazi maat nahin
gar jeet gaye to kya kahna
haare bhi to baazi maat nahin
kab yaad mein tera saath nahin
kab haath mein tera haath nahin
tab shukr ke apni raaton mein
ab hizr ki koi raat nahin
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.
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Blog Day : |
4049 | Post No. : | 15178 | Movie Count : |
4171 |
Today’s song is from a Marathi film- Dhananjay-66. This is a Hindi song, sung by Chitalkar, under his own baton ! Lyrics are by P L Santoshi. The film was based on a story by Marathi’s renowned Detective Novelist of yesteryear – Baburao Arnalkar.
In the early 50s,when I was about 10-11 years old, I first read a Marathi detective novel written by Baburao Arnalkar. In those days, reading such stuff was a no-no for children, and so I had to read it, sitting in some lonely corner, keeping one eye and one ear for checking if anybody is seeing me. I was simply thrilled by reading this book and then started the marathon reading of detective novels- of course chori chori ! Happily I found some of my friends also doing the same thing and even my elder brother was seen reading these books.
Shortly, this became an open programme and I joined a local book library, catering to such books. Every month such 10 books used to come there and all these books were written by one author- Baburao Arnalkar. We always wondered how can any one man write so many books, so varied and entertaining every month. As the time went by, the author wrote in a magazine, how he was impressed by novels of Edgar Wallace, Berkeley grey, Roderick Graeme, Peter Cheyney, Sax Rohmer and few others. He decided to adapt their stories to Indian environment, culture and customs, so that Marathi readers felt affinity for them. Certain books, however, were just not possible to adapt lest they lost their charm and such books were presented just in a translated form, with same name and places to maintain reality.
Baburao’s main character, on whom he wrote more books was Dhananjay ( he got this name from Bhagwadgeeta) – a private detective with a sharp intelligence, fearlessness, a high degree of common sense and an ability to use logic rightly. This character seemed to be a combination of Perry Mason (Earl Stanley Gardener), Hercule Poirot (Agatha Christie) and Sherlock Holmes (Arthur Connon Doyle).
Baburao also brought into Marathi the dashing ” Normon Conquest ” of author Berkeley Grey as Zunjar (झुंजार) along with his wife Joy (Vijaya) and the faithful assistant Biji (Netaji). Novels of Zunjar were particularly more popular because he was flamboyant, adventurous and of humorous nature with a speciality of getting his commission from every villain,before Police arrested him. He was one who would not hesitate to cross legal boundaries in order to book the villains in the final chapter. Zunjar’s Guru Bhimsen and successor Golandaz also had many books on them.
The other popular character Baburao Arnalkar brought was Roderick Graeme’s famous “Black Shirt”. In Marathi he became Kalapahad(काळापहाड)- a successful Novelist by day and a daring adventurer by night. Baburao brought stories of Peter Cheyney and Ellery Queen. Brett Haliday’s Mike Shane became Jayant in Marathi. Carter Brown’s private detective was Sanjay in Marathi. Additionally he created from Edgar Wallace, Kodand rao- Public Prosecutor (J.G.Reader), Major(Retd.) Sudarshan- a private investigator and C.I.D. Inspector Murar Rao.
Shifting from the usual, Baburao brought Jungle stories of British Settlements in Africa by Edgar Wallace, featuring Commissioner Sanders, Capt.Hamilton and funny but brave Lt.Bones. These were brought in original form having English names and places. Similarly, the “Justmen” series by Edgar Wallace featuring George Manfred, Leon Gonsalves and Raymond Poicort – each having different skill and together punishing secretly the difficult to catch criminal, helping the Police. Baburao was too versatile. he brought stories of Sailors, featuring Capt Daryasarang and his assistant Savlaram. The seafaring criminal stories were an entirely different world for Marathi readers.
Baburao also gets credit for introducing the deadly Dr. Fu Manchu, a character created by Sax Rohmer. Fu Manchu is a Chinese scientist who wants to rule the world. An entire generation born in the 40s was mesmerised by Baburao’s detective novels and feasted on the stories of heroes created by British, American and German authors, in the 1920s and 1930s. These novels re-created the pre-war times and entertained people.
Having read Baburao Arnalkar’s books based on foreign authors, I got and read almost every English book that Baburao had translated. Novels by Edgar Wallace and others are still in my library. I had about 200 selected books-Marathi- of Baburao Arnalkar, which I gifted to my niece recently.
Baburao Arnalkar (real name Chandrakant Sakharam Chavan) was born on 9-6-1906 at Arnala in Vasai. He studied only up to 10th, but earned a proficiency in English, as he was an avid reader of books. In the 1942 Freedom struggle, he was jailed for 18 months. In this jail, he got hands on the books of Edgar Wallace. He was so thrilled that he decided to bring these books in Marathi. He had already written his first detective novel ” Queen of Diamonds” (चौकटची राणी) in 1939.
He started an Optical lenses shop in Bombay for earning a living. His writing started from 1946, but in the period 1952 to 1966, he was very prolific, writing 6 to 10 books a month. On completing 500 books,the then Maharashtra Government felicitated him and awarded Rs. 10000 also. He wrote 1042 detective novels, before he put his pen down due to old age. His name was entered in Guinness Book of World Records in those days.
He received several awards and honours from prestigious institutions. However the so called Classic literature writers never conceded Detective Novels as a respected form of literature. This always remained an entertainment for the middle class society who dreamt of super powered heroes. More than this recognition, he valued the love and affection an entire generation poured on him. He not only gave entertaining books but also sustained and developed the reading habit among the youngsters of those times.
Baburao Arnalkar died peacefully on 5-7-1996 at the ripe age of 90 years. He must have been a contented man. My thanks to him, for being a true entertainer.
Film Dhananjay-66, based on Baburao Arnalkar’s story, was produced by C.Ramchandra. After parting ways with Lata, in the late 50s, C.Ramchandra did not do well in Hindi films. He disappeared slowly. He turned to Marathi films and stage shows around the world. He got married second time to Shantabai and had a son and a daughter from this marriage. Most of his time he stayed in his Poona Bungalow. His son and daughter are leading doctors in USA, and are well settled. I do not know if Shantabai is still alive. C.Ramchandra had produced 2 Marathi films. The other film was Gharkul.
C.Ramchandra played the Hero- Dhananajay’s role in this film. After his first flop film Naganand-1935 ( only 9 people in the first show. There was no second show), this was his second film in the Hero’s role. The film did average business. The cast was Chitalkar, Uma, Arun Sarnaik ( he had acted in 2 Hindi films…Subhadra haran-64 and Lady killer-68), Ashalata, Gulab Mokashi, Jaymala , Shakuntala etc etc.
The film was directed by Raja Thakur. Rajaram Dattatreya Thakur was born in 1923 at Ponda in Goa. He did work as an assistant to Master Vinayak and later Raja Paranjape. Raja Thakur had produced an English film ” Birbal – My brother “-1973. His another film “Mumbaicha Jawai” (मुंबईचा जावई)-1970, was remade in Hindi as ‘Piya ka Ghar’-1971 by Basu Chatterjee.
There were 6 songs in the films. 3 songs were in Hindi. 1 song was in Konkani. This song “Hatat bangdi sonyachi, hi pori konachi ( हातात बांगडी सोन्याची, ही पोरी कोनाची ) became an evergreen song, so popular that even now, it is played in Ganesh utsav, Holi etc. programmes. Only 2 songs were in Marathi, in this Marathi film.
Today’s song has a tune, which Chitalkar seems to have borrowed from his own film Aazad-1955 – “Marna bhi muhabbat mein kisi kaam na aaya”. Enjoy today’s song in Chitalkar’s voice.
Song- Na mila hai na milega mujhe aaraam kahin (Dhananjay)(Marathi)(1966) Singer – Chitalkar, Lyricist – P L Santoshi, Music – C Ramchandra
Chorus
Lyrics
Na mila hai na milega mujhe aaraam kahin
Na mila hai na milega mujhe aaraam kahin
Na mila hai na milega mujhe aaraam kahin een een een
suniye
main musaafir hoon
meri subah kahin shaam kahin
main musaafir hoon
meri subah kahin shaam kahin
main musaafir hoon
meri subah kahin shaam kahin
o o o
o o o
main chala to chal diya zindagi ka kaarwaan
arre main ruka to ruk gaya zindagi ka kaarwaan
hans ke jisne dekh liya
arre hans ke jisne dekh liya
main usi ka ho gaya
aa aa aa aa
do ghadi bhar ke liye kar liya mukaam wahin
do ghadi bhar ke liye kar liya mukaam wahin
do ghadi bhar ke liye kar liya mukaam wahin
do ghadi bhar ke liye kar liya mukaam wahin een een
Na mila hai na milega mujhe aaraam kahin
Na mila hai na milega mujhe aaraam kahin
main musaafir hoon
meri subah kahin shaam kahin
o o o
o o o o
raat ke hai baad din aur din ke baad raat hai
arre chal rahi isi tarah saari kaaynaat hai
main bhi chala jaa raha
main bhi
main bhi chala jaa raha
gham aur khushi saath liye
ae ae
meri is zindagi mein thaharne ka kaam nahin
meri is zindagi mein thaharne ka kaam nahin
meri is zindagi mein thaharne ka kaam nahin
o meri is zindagi mein thaharne ka kaam nahin
een een een
Na mila hai na milega mujhe aaram kahin
main musaafir hoon
meri subah kahin shaam kahin
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