Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Musaafir hansi khushi ho paar

Posted on: March 13, 2013


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.

The year 1942 was an important and eventful year in the Hindi Film Industry History.The whole industry was overhauled,as many of the stalwarts in Production, Direction and Acting, established their own Institutions.

The First was a disgruntled group of professionals from Bombay Talkies, led by S.Mukherji and Ashok Kumar, who broke away and established FILMISTAN studios in 1942. Later Gyan Mukherjee and S Wachha also joined them.

Then the person who became the Movie Mughal in later years (but one who had a very insignificant begining-as an extra, as one of the 40 Thieves of Allaudin story, in 1927), the Great Mehboob Khan, established his Mehboob studios, with the famous Hammer and sickle emblem. Its Title she’r was in the voice of Rafiq Gaznavi (muddai lakh chahe to ….).

The doyen of meaningful films from the 30s, V.Shantaram broke away from Prabhat Film Company-which he had established in Kolhapur first and later in Poona, along with some dedicated people like Damle, Dhaiber, Fatehlal etc. He established his own RAJKAMAL KALAMANDIR in 1942. The name came from the initials of his parents-Rajaram and Kamalabai.

Yet another enterprising Director started his own KARDAR STUDIOS.(Abdul Rashid Kardar and Mehboob khan were co-brothers-their wives were sisters).

There was one more Production House which had regaled the Indian audience with their Stunt films from 1933 to 1942. It was the WADIA MOVIETONE.

Jamshed ji, Boman ji, Hormus ji and Homi Wadia had produced 43 stunt/Action films from 1933 to 1942, through their Wadia Movietone. In fact with their HUNTERWALI-1935,it would not be wrong to say that they ushered in a definite class of audience for Stunt/Action films, in India.

Fearless Nadia was in full blast in 1940, and almost around that time only the differences between the two brothers surfaced.

JBH Wadia was of the opinion that the age of infancy of Film Industry was over and the craze for action/stunt films would diminish in a decade or so. Therefore, JBH felt that now WMT (Wadia Movie Tone) should give preference to making films with a social content, which had a better audience share. Probably he considered Bombay Talkies and Prabhat Film Co. films espousing the social causes like Untouchability, Women’s emancipation,Child labour,Dowry ills,Importance of education,oppression of working class and farmers etc, as his Guide lines.

Homi must have thought,however,that when they had a Trump Card like Nadia, thenthere was no hurry to forego stunt films in favour of social films so soon. A decade is a long period and in India, social causes will continue to remain in focus for another 50 odd years.

Both were not only right but also they had a foresight. However, the differences crossed the limits and the brothers separated peacefully. Homi Wadia established Basant Pictures. Nadia was ofcourse with Homi Wadia.(Later in their 50s they married each other).

Though the brothers separated on the issue of ” Film Content”, the first film of JBH Wadia was ‘The Jungle princes” a stunt film and the first film of Homi Wadia was Mauj-a social film !

In 1943,”Wadia Movietone released 2 Social films-Aankh ki sharm and Vishwas. Both films were Hits.

VISHWAS-1943 was directed by JBH Wadia and the music was given by a New and Young Composer-his First Film- Feroz Nizami along with Master Chhaila Solanki ( Father of Usha Solanki-Marathi and Hindi Film heroine). Out of total 8 songs only one was composed by Master Chhaila and the rest by Nizami.

The cast of the film was Mehtab(later,wife of Sohrab Modi), Sulochana Chatterji, Gulab, Surendra, Trilok Kapoor, Nayampalli, Meena and baby Madhuri etc.

FIROZ NIZAMI was a multi faceted personality. More that a composer, he was a classical singer of Kirana Gharana. He was the ‘Chela’ of ustad Abdul Waheed Khan. Nizami had command over Urdu and English. In those days he was one of the few educated, graduate persons in Films. He used to proudly flaunt his B.A. degree in Ads and Credits of the films, after his name. After going to Pakistan he was acknowledged as a master in Music. He was appointed as the president of the Music Department of Pakistan Arts Council till he died on 15-11-1975. He wrote several English articles in papers on music. His book “Asrar -e-Mausiqi” was prescribed as a text Book inPakistan’s Punjab University Music degree course. He was an exponent on Sufi Mystique, Homeopathy, Metaphysics and an universal worshipper of Music-even Hindu Music.

Firoz Nizami will be best remembered for his evergreen songs of JUGNU-1947, perticularly Rafi – Noorjahan song ” Yahan badla wafaa ka…”. Though the film JUGNU-47 was banned by Morarji Desai, the C.M. of Bombay State, as an outcome of a spat between Baburao Patel(editor,Mother India) and Noorjahan’s husband Shaukat Hussain, all the songs continued to enjoy public support.

Nizami was working in AIR at Delhi when he befriended Krishan Chander, Khursheed Anwar and Saadat Hasan Manto. Mohd.Rafi used to come to him for learning music from him.

He left the Radio job and came to Bombay to become a Music Director. His first film was Vishwas-43. Then came Umang, Uss paar, Piya Milan, Amar Raaj, Nek Perveen, Rangeen Kahaani and then JUGNU-47, his last film in India.

After Jugnu, he too migrated to Pakistan along with Noorjehan. In Pakistan he became a very popular composer and gave many hits.

The story of film VISHWAS-1943-

Niranjan, son of Sir Rajendra falls in love with a poor Pujari’s daughter Sharada. This is resented by his father and Niranjan and Sharada leave the town. In the Train they meet dada Gyan and his daughter Prabha. Gyan Dada helps them and gets them married too. When Niranjan gets a job in another town, he starts by train. Unfortunately, the trains meets with an accident. Niranjan becomes mad due to the shock caused by the accident and he starts wandering in jungles.

Here Sharada gives birth to Baby Madhuri. She does tailoring jobs for survival. After a few years, Madhuri joins the same school where Prabha is teaching. Dada Gyan is dead by then.

Coincidentally mad Niranjan comes to this town and meets Madhuri.They become friends. Sir Rajendra and Prakash-his younger son are the trustees of the school where Prabha is teaching.

On one visit Rajendra gets attracted towards Madhuri and plays with her, while Prakash promptly falls in love with Prabha.

After a few days, Prakash refuses to marry Prabha fearing his father’s ire and Prabha decides to commit suicide. Madhuri learns this and she brings Sir Rajendra there. He has already regretted losing one son so Rajendra stops Sharada from suicide and blesses Prakash and her.

Niranjan appears there and when he tries to sit on Rajendra’s car. Prakash beats him, thinking him to be a mad man. Due to this impact Niranjan regains his memory and remembers everything.

Now everybody recognises everybody and all is well with Niranjan/Sharada and Praksah/Prabha.

Audio

Video

Song-Musaafir hansi khushi ho paar (Vishwas)(1943) Singer-Surendra, Lyrics-Dr Safdar Aah Sitapuri, MD-Feroz Nizami

Lyrics

musaafir hansi khushi ho paar
musaafir hansi khushi ho paar
musaafir hansi khushi ho paar
har sookhe patte ki ot se
har sookhe patte ki ot se
jhaank rahi hai bahaar
jhaank rahi hai bahaar
musaafir hansi khushi ho paar
musaafir hansi khushi ho paar

dukh ki raah mein sukh ki galiyaan
dukh ki raah mein sukh ki galiyaan
god me kaanton ki hain kaliyaan
god me kaanton ki hai kaliya
kiye huye sringaar
kiye huye sringaar
musaafir hansi khushi ho paar
musaafir hansi khushi ho paar

rain gayi wo sooraj aaya
rain gayi wo sooraj aaya
aasha ka ujiyaara chaaya
aasha ka ujiyaara chaaya
ab chinta bekaar
ab chinta bekaar
musaafir hansi khushi ho paar
musaafir hansi khushi ho paar

bahut baadab desh hai tera
jahaan suhaana saanjh savera
bahut baadab desh hai tera
jaha suhaana saanjh savera
bas himmat mat haar
bas himmat mat haar

2 Responses to "Musaafir hansi khushi ho paar"

Arunji, many thanks for this warm write-up

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During train journeys I carry a bundle of old unread newspapers and read them on the upper berth. I come down to rest the eyes and softly sing some old songs to while some time but invariably the co-passengers may pick up the thread and join you turning out to be small band of singers. Hours may pass in minutes and minutes in seconds.

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