Aaj sakhi aayi milan ki raat
Posted on: October 4, 2013
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
This is the 9th song in ” The flavour of the 30s” series. It is sung by Harimati Devi under the baton of R C Boral.
Raichand Boral (R C Boral)’s place amongst the early composers is on the Top. In fact he is the Music Director who introduced the concept of Playback singing in India in 1935. Thus his name is written along with Dadasaheb Phalke,Ardeshir irani and Phirozshah Mistry,in the annals of Indian Film History as an early pioneer.
Raichand was the son of a famous singer and Pakhwaj player-Lalchand Boral. He was born on 19-10-1903 in a family where Music was the staple food. Though the conditions were very conducive and favourable,the sudden and unexpected demise of his father changed the situation. He had to depend on his elder brother. He was taught music by Pt. Vishwanath Rao, Ustad Hafiz Ali Khan and Ustad Majid Khan. His Tabla playing became the toast of many Mehfils and soon he was invited by Indian Broadcasting Co. (which later became A.I.R.) as the Head of their Music Department. Later he joined New Theatres on a call by B N Sarcar, where he gave a new look to their orchestra conduction. He used Flute,Organ and other western music instruments to make Robindra Sangeet and Traditional Thumri and Gazal,as simple as possible for the common man. Thus the early songs of hindi films made in Calcutta’s new Theatres had hummable and simple tunes. He dispensed with the classical way of singing in films.
That is the reason why Hindi songs in films made in Calcutta from 1931 to say 1940 were superior and more popular on All India basis than those made in Bombay-which still depended upon classical and Natyasangeet base.( Examples are ALL Saigal songs, ALL Pankaj Mullick songs and songs from New Theatrs Hindi films made in this period.)
In those days, when almost every Music Director sang songs in films, R C Boral was one who kept away from singing songs. One reason was that his singing base was weak and secondly his voice was not that good.
R C Boral used to look almost like Ustad Bade Ghulam Ali Khan, with the same heavy build, height and large fearsome moustaches. His looks were exactly opposite to the melodious music that he gave !
R C Boral made many actors/singers STARs like Sehgal, Kanan Devi, Uma Shashi, Pahadi Sanyal, Asit Baran etc. He made Saigal Hero in his first 3 films- Muhabbat ke Aansoo, Subah ka tara and Zinda Laash all in 1932. Saigal sang many songs in these but I believe, none of these are available now. The first major break came to Saigal in Pooran Bhagat-1933.
R C Boral gave such classics as Rajrani Meera, Chandidas, Daku Mansoor, Rooplekha, After the Earthquake, Devdas(Bangla),Dhoop chhaon (First Play back), Maaya, Anath Ashram, Mukti, President, Vidyapati, Abhagin, Street Singer, Jawaani ki Reet, Sapera, Haar jeet, Lagan, Saugandh, Waapas, Hamrahi, Wasiyatnama, Anjangarh, Pehla Aadmi, Dard e dil, Chaitanya Mahaprabhu.Swami Vivekanand-55 was his last Hindi film.
he left films in 1960, but he was connected to A.I.R. and as a consultant to Sangeet natak Academy, which also honoured him with an award. Dadasaheb Phalke award came to him in 1979. R C Boral-the doyen of Hindi film music, died in 1981.
The singer of today’s song is a less known singer called Harimati Devi (and NOT DUA, as some sites quote). She sang in very few films like Maaya, Manzil, Anaath Ashram, Khudai Khidmatgaar etc, but her name is permanantly written in the History as one of the three singers of the FIRST playback song in India for Dhoop chhaon-1935. She was a fixture in new Theatres films. Todays song-Aaaj sakhi aayee milan ki raat-was also sung by Uma Shashi, but her version is not available freely.
Maaya-1936 was a New Theatres film, directed by P C Barua. The music was given by R C Boral and Pankaj Mullik together. Still there were only 6 songs in the film-a number very less compared to the trend at that time. Here again, I find that Hindi films made in Bangal had less number of songs compared to Hindi films made in Bombay for the same period,apart from melody and popularity resting with Calcutta made hindi films on All india basis in the 30s, specifically.
The cast of the film was Jamuna, Pahadi Sanyal, Azurie, Nawab Kashmiri, K C Dey, Vaid, Jagdish Sethi, Baabulal etc. Today we will talk about an unusual actress-AZURIE.
AZURIE was a famous dancer in Hindi films in the period from the early 30s to almost 1960. Azurie was the daughter of a German Father and a Muslim Indian mother. She was born in 1907 in Bangalore. being of mixed lineage her looks were sharp and different that normal indian features. her real name was ANNA MARIE GUEIZELOR. she got interested in indian style of dancing,despite father’s annoyance,who hated Indian dances. She learnt dancing and her first film was Nadira-1934. She was one of the earliest Jew actresses in India. Till Maaya-1936, she did side and second lead roles, but afterwards she devoted herself to only Dancing in films. her exotic dances in films made it a compulsory feature in many films. So to say, she was the original Item Dancer of the Hindi films. She was the ideal of Cuckoo, who was the ideal of Helen later. Due to Azurie, a dance became a must in Hindi films. This trend continued till almost 1970, after which the heroines doubled up as the lead and the Dancer themselves.
Azurie danced in about 50 films, including Rattan, Parwana(last film of Saigal),Lakharani(Here,Guru Dutt choreographed her), Shajehan, Panna dai, Maaya etc.
Azurie trained many Anglo-Indian dancers and choreographers like, Hermann, Oscar, Satyanarayana, Suryakumar etc. Azurie married a respectable Muslim dance lover and migrated to Pakistan after 1947. She, however, continued to visit Bombay often to dance in several films. Her last indian film was Bahaana-1960.
In Pakistan Azurie opened an Indian dance training school,much to the annoyance of maulavis there. Here is a short note on Azurie (Thanks to Lahore Heritage club) about her activities in Pakistan-
Anna Marie Gueizelor, better known as Madam Azurie, was one of Pakistan’s classical dance pioneers. She was born in Bangalore in 1907, the daughter of a German doctor and an Indian mother. When her parents separated, Anna remained with her father, who did not approve of Eastern classical dancing, but admired the ballet and love music.
Anna was encouraged to study ballet with a group of Russian emigrants, and to practice the piano. As a young girl, she became aware of Eastern dancing during a rare visit to the cinema, but her father did not allow her to practice classical dance. When Anna reached her teens, the family moved to Bombay. Her father became a member of the Three Arts Circle organized by Begum Atiya Rahman from her palatial home, Aiwan-e-Riffat. Atiya Begum was the answer to Anna’s prayers. She arranged for Anna to study the arts of the subcontinent in her home. After her father’s death, Anna stayed with Atiya Begum and later became known as Azurie.
Azurie studied different schools of dance from renowned teachers and explored the rich field of Eastern music. She joined the Bombay film industry and was featured in numerous films. When her career was well established, she married a cultured Muslim gentleman who shared her interests.
After independence, Azurie settled in Pakistan with her husband and then opened the first Academy of Classical Dance in Pakistan. She appeared in a few Pakistani films but soon abandoned them. She toured a number of foreign countries, taking a small troupe with her. In Islamabad, Azurie was a member of the board of the National Council of the Arts. In Karachi, she was founding member of the Pak-American Cultural Centre, where she taught classical dance for a number of years.
Azurie’s dedication to the discipline of dance was so intense that she fought every opponent — club going executives, municipal officials, provincial governmental authorities — like a scalded cat. They felt cowered and left her alone largely because she spoke to them in her rat-a-tat, Anglo-Indian English which they could not understand but which they took to be a command of some sort. She ran her dance school with impunity. Her students were well-heeled ladies, mostly.
Azurie also travelled to many countries. She died a pauper and in penury in Karachi in August 1998,inspite of how much she did for Dance in Pakistan.
The story of Maaya was based on the favourite film topic of the Love Triangle.
Maaya (Jamuna),a beautiful,bubly young girl is from a poor family. Her rich cousin, Shanta is a socialite and is slated to marry equally rich boy, Pratap. once Pratap comes to Shanta’s house, when she is not at home, but sees Maaya and falls in her love. When Shanta learns about this, she is upset. She frets and gets angry too, but can not do much.
Pratap and Maaya get so much closer to each other that she carries his child. Pratap leaves for UK for higher studies in law and promises to marry Maaya on his return.Pratap writes regular letters to Maaya, but cunning Shanta intercepts all letters and Maaya is heartbroken. She delivers a child and has to leave the town for fear of the society.
When Pratap comes back, he does not find Maaya, despite his search. Shanta, meanwhile, tries to get close to him. One day Pratap finds that in his office a case comes where he has to prosecute a lady for a murder. When he sees the lady, he is shocked to find that it is none other than Maaya. Maaya and a murderer ? Pratap goes to her prison cell to meet her and in the conversations, all misunderstandings are cleared.
On further investigations, Pratap finds that Maaya has been falsely implicated in this case by Shanta, so that he will marry her. Pratap leaves his Government job and defends Maaya in the court, getting her acquitted honourably.
Pratap and Maaya reunite, much to the disappointment of Shanta.
Here is a song sung by Harimati Devi, from this film. The song is written by Asghar Hussain Shor. Music is composed by R C Boral.
Song-Aaj sakhi aayi milan ki raat (Maaya)(1936) Singer-Harimati Devi, Lyrics-Asghar Hussain Shor, MD-R C Boral
Lyrics
aaj sakhi aayi milan ki raat
aaj sakhi aayi milan ki raat
kaase kahoon hriday ki baat
kaase kahoon hriday ki baat
aayi milan ki raat
aaj sakhi aayi milan ki raat
aaj sakhi aayi milan ki raat
baajat bansi prem ke sur ma
kau milan ?? gaa re
baajat bansi prem ke sur ma
baajat bansi prem ke sur ma
?? milan ?? gaa re
kaan ke kaan milat man se
kaan ke kaan milat man se
aanand hai din raat
aanand hai din raat
aanand hai din raat
aayi milan ki raat
aaj sakhi aayi milan ki raat
aaj sakhi aayi milan ki raat
5 Responses to "Aaj sakhi aayi milan ki raat"
October 4, 2013 at 4:21 pm
Arun Sir,
Many Thanks for the detailed replies, especially for coming back with the 2nd comment which adequately addresses the point.
Your concerns about records maintenance is so very true.
I have joined this blog too late and missed many posts earlier.
I will try to catch up on these.
Thanks once again.
LikeLike
October 17, 2013 at 2:03 pm
Thanks a lot Arun ji! Your write ups, comments are really illuminating to those who want to know about bygone era of films….
Warm Regards,
Umesh
LikeLike
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
October 4, 2013 at 9:50 am
Arun Sir,
With due respect to all your vast knowledge and untiring research, I would like to get clarification regarding introduction of first playback singing.
Saraswati Devi, also claimed for introducing playback into singing. Her first film as a composer “Jawani ki Hawa ” in 1935 is yet to debut on this blog. I am not sure if this film had songs or not.
I request you to do a special post on Saraswati Devi and her unique achievements since we are discussing about the 30’s.
LikeLike
October 4, 2013 at 10:50 am
mahesh ji,
You have raised a point which actually could be the subject matter of a long article,however,in short,I would like to state few things here.
1. The pitiable state of affairs in India to maintain/preserve history of any national event is well known. Movies are no exception.In my trips abroad I have seen the meticulous methods of preserving historical
events in those countries and I felt miserable about Indian apathy in this regard.
2. In a country where even the First 24 films of 1931-the first talkie films-are not available,what do you expect to have details of other related matters.
3. Once some Record claim is made,there arise many other claims to similar achievement. most claims are NOT substantiated.
4. There are some dedicated selfless workers who try to dig and record History for the benefit of new generations (like Harmandir ji Hamraz or Dr.Surjit singh ji-who has kept thousands of rare old songs open for all-),but such are very few persons.
5. As far as your doubts about the First Playback recordings,there have been umpteen discussions,even on this Blog,earlier. With all due respect to all claimants,I feel Dhoop-Chhaon-1935 song is the First Playback song,as it has all types of proofs in its support.
6. About Saraswati Devi- a lot has already been written about her on this Blog by Sudhir ji,Sadanand kamath ji and others from time to time.
Thanks.
-AD
LikeLike
October 4, 2013 at 1:14 pm
Mahesh ji,
In the above reply,your main query was not answered properly.
In the film JAWANI KI HAWA-1935,first film of Bombay talkies as well as of Saraswati devi-there were 9 songs.
As playback singing was not yet established/introduced in India,those days there used to be LIVE singing and acting shooting cum recording at a time,on the set itself. The actor used to sing his or her song.
In this film the elder sister of saraswati Devi-manek,with the screen name of CHANDRAPRABHA-was acting. Sarswati Devi was NOT acting in the film. As Chandraprabha was unable to sing the song ” Ankhiya mori rain ki jaagi,goondh rahi asuwan ke moti..”, the Director asked Saraswati Devi to act and sing the song. She did not want to act in the film,so she refused,but agreed to sing for her sister. Thus it was decided that Chandraprabha will act and do the lip movement and Saraswati Devi will sing at the same time .Thus recording of the song and shooting of the scene will be done at the same time,as usual.
The definition of Playback singing is- Web definitions
A playback singer is a singer whose singing is prerecorded for use in movies. Playback singers record songs for soundtracks, and actors…
en.wikipedia.org/wiki/Playback_singing
Thus since it was not a prerecorded song to be used for any actor,it can not be said to be “PLAY BACK”.
Above all, the film Dhoop Chhaon was released much earlier than jawani ki Hawa,so even on this count the First playback is from Dhoop chhaon-1935.
I hope the matter is very clear now.
LikeLike