Chupke chupke jabse hua hai pyaar
Posted on: March 22, 2014
- In: Actor-Singer song | Badalte Huye Saathi | Duet | expression of love | Feelings of heart | Geeta Dutt songs | Guest posts | Post by Arunkumar Deshmukh | Series of articles | Songs of 1950s (1951 to 1960) | Songs of 1951 | Surendra Geeta Dutt duet | Surendra songs | Yearwise breakup of songs
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular 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.
Badalte Huye Saathi- Episode 4 (Geeta Roy sings with Surendra)
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Nature has its own rules. One of the rules is,’Old must make a way for the New’. Man has understood this. Holy books of practically all major religions of the world echo the same thought-” The old order changeth for the New….”
Change is the spice of life. It is also compulsory. Without change Life would be a big BORE indeed ! The film audience and the Film Music Lovers too expect that after a reasonable time,the trend of music should change and should reflect happenings in the world. That is how Rock N Roll, Cha Cha Cha and Twist songs got introduced in our film music.
Similarly, new singers and new composers keep coming up like breath of fresh air for music lovers. In the early 50s many of the old generation singers like Rajkumari, Zohrabai, Amirbai, Durrani, C H Atma, Khan Mastana, Karan Dewan etc started retiring and new singers like Rafi, Mukesh, Talat, Asha, Lata, Geeta etc began to rise of the playback horizon.
Old composers like Anil Biswas, Khemchand Prakash, Shyamsunder, Bulo C Rani, Vinod, Saraswati devi, K Datta etc started disappearing one by one. Some died prematurely-like Shyamsunder and Khemchand Prakash and others found their assignments drying up.
By the time the 6th decade of the century started, singer Surendra was already going downhill. Songs were coming to him only sporadically and he was not allowed to sing in films where he acted, reducing him to just an actor from his halcyon days of singer-actor. The matlabi film industry changed its attitude towards him. Ace composer like Naushad, who had used Surendra in his hey-days, was not ready to give songs to him now. Afterall, how can they be blamed, when people expected them to give full value to their money spent on songs. The competition amongst the composers was also keen now and Naushad did very selective work, taking his own sweet time in rehearsals and in composing songs.
Surendra was in movies like Baiju Bawra Mughal E Azam, Surendra was in the films and Naushad was the Music Director for both films. However, Surendra did not get even a single song in both films to sing. Instead, he had to lip sync his songs in the voice of other singers.
Geeta Roy started her career in film singing from ” Bhakta Prahlad”-46. Its MD-Pt. Hanuman Prasad (the name sounds more like that of a wrestler than a music composer) will be always remembered for two reasons in Hindi Film History. ONE- he introduced Geeta Roy to films and TWO- he was the First husband of Lalita Pawar (she had 3 husbands, one after another), when she was very young and known as a sex symbol !
A lot has already been written about Geeta, so there is no point in repeating them except some less known facts.
She was one of 10 children of Devendranath Roy Chaudhury and Amya Roy Chaudhury and she took mother’s love of music seriously. She did 3 hours daily riyaz under Pt.Hirendranath Chaudhury.
Her family shifted to Bombay in 1942 and she lived in Dada Hindu Colony.
After her marriage,she should have become Mrs.Geeta Padukone, because Guru Dutt’s name was Vasantkumar Shiv kumar Padukone. But she opted for ‘Dutt’ to rhyme with Guru Dutt and and this incidentally was a Bangla surname !
Her last song was recorded for ‘Anubhav’ in 1971.
She died of Liver Rupture,n seth Harkissondas Hospital Bombay,on 20-7-1972.
Geeta sang only 5 songs with Surendra- 2 in Meri kahaani-48, 1 in Kamal-49 and 2 in Maaya Machhindra-51. The song featuring today was the last song that Geeta sang with Surendra.
Geeta’s golden period was yet to come. It started with Baazi-51. Till then she had to sing songs as they came to her. 1950-51 was a transition period when fresh new singers were coming up while older generation singers were bowing out from the playback scene. In the next episode of this series,it will be interesting to know the name of the singer that would be singing with Geeta.
Maaya Machhindra was a favourite story with film makers. Films with the same title were made in 1932, 1951, 1960 and 1975. Not only in Hindi, but this theme was used by almost all other Language films-particularly in southern languages. It is curious to note that Movies made on this story in Telugu and Tamil saw all major and top class actors of these language movies actin them. But the Top actors of Hindi movies considered it below their dignity to act in Religious or Mythological films. In South Mythological films are also ‘A’ grade, while in Hindi such films were regarded as ‘B’ or ‘C class films.
Maaya Machhindra was a Super pictures presentation, directed by Aspy Irani. The music was by Music Director Premnath. Now,this Premnath is different than actor Premnath. But many writers and sites mention them as one. This is a case of ” Same Name Confusion”. Here is information about Music Director Premnath for our readers.
PREMNATH the Music Director was born on 5-7-1918 in Gujranwala, Punjab. He learnt music from experts in Amritsar, Multan and Lahore. He acted in films like Shahr-e-khamoshi and also sang in Sohni Mahiwal-1938.
After marriage, he moved to Bombay. His first film as a Music Director was Rangbhoomi-1946. In this film ,a novice Mohd. Rafi sang many songs for him. His other films were Dharti-47, Chandrahas-47, Sagar’s Pehla pyar-47. He then produced a film “Chand sitare”-48 under the banner of Ravindra Art productions. Mukesh, Lata and Geeta Roy sang in it. In the film ‘Alakh Niranjan’-50, he used Mohd. Faaroouqi, Sulochana Kadam and Rajkumari.
Premnath gave music to many films of Super pictures of Aspy irani like Bade Bhaiya-51 and Maya Machhindra-51, in which Surendra, Geeta, Rafi and Shamshad sang. Another of his film ‘Qaatil kaun’ in late 50s was not released. Rafi, Asha, Manna Dey, Mubarak Begum and Shamshad had sung songs for this movie.
With time, numbers of his films diminished. Sati vaishalini-59, Main hoon jaadugar-65 and Tarzan in Fairyland-68 were his last films.
After he stopped work as a Music Director, he devoted his time for the welfare of Cine Artists as a trade union leader. He served as Secretary of music directors association for 30 years.
He died in the first week of may-1993 at the age of 75 years.
The cast of Maaya Machhindra ( aka Gorakhnath) was Surendra, Trilok Kapoor, Nirupa Roy, Usha kiron, Parshuram etc.
This film was based on the story from the NAVNATH POTHI (Book).
The story of the film is…
Machhindranath is the First among the NAVNATHs or the 9 incarnations of Narayana to help Lord Narayana(Vishnu) for smoother running of this world.The 9 incarnations or the Navnaths were-
Machhindranath, Gorakhnath, Jalandernath, Kanifnath, Gahaninath, Bhartharinath, Revannath, Charpatinath and Naagnath.
The mention of NATH SAMPRADAYA is available in Bhagwat puran, Mahabharat and some Upnishads too. It combined Bhakti, Gyan and Yoga. Only the Yoga part was understood by the common people and all the Naths were revered as great Yogis with special powers.
The story of MAAYA MACHHINDER was that Saraswati a rich woman without issues goes to Macchindranath and begs for his blessings. He gives her BHASMA(Magic Powder). Not happy with this ,the lady keeps the Bhasma in an empty dust Bin. In due course a child is born in the dust bin. It is named as GORAKHNATH (born from Raksha-Bhasma-Powder).
After 12 years Macchindernath comes there with a loud call” Chalo Gorakh, Machhinder Aaya “. He takes him away as his disciple and teaches him bhakti. Time comes to give him the Gyan. Macchindernath tells him that he will go to the STREE RAJYA (Women’s Kingdom) to Tilottama, to convert her. But once he goes there, he is swayed by her beauty and marries her forgetting his vows of celibacy. When Gorakhnath learns about this he decides to bring his Guru back. He secures entry into the kingdom through a dancer called Kalinga. Instead of meeting Guru directly he waits till the celebrations of VASANTOTSAV begins. Then Gorakh changes himself as a woman and with fgoes to the darbaar along with Kalinga-the dancer. While she dances Gorakhnath plays the Mridung in such a way that the call of “CHALO MACHHINDER GORAKH AAYA” is produced loudly. Macchindernath hears it and suddenly comes to his senses.
When both try to leave, Tilottama captures them and beheads Gorakhnath. His head tumbles down far off. After this Machhindernath restores his head-it comes flying and sits on his shoulders.(all the audience in the theatre would clap and whistle loudly in joy). Then he explains to Gorakhnath that nothing is real and all this is his Maaya jaal to teach Gorakhnath the Gyan of the truth………
The trick scenes of this films were superb and people must have seen the film several times in 1951. I saw this film almost 2 years later but I remember I was thrilled to see the scenes.
After this film the dialogue of CHALO MACHHINDER GORAKH AAYA became very popular and would be used by people for fun.
Let us now enjoy the Surendra-Geeta Roy song from this film. It is written by Neelkanth Tiwari.
Song-Chupke chupke chupke chupke jabse hua hai pyaar (Maaya Macchindra)(1951) Singers-Surendra, Geeta Dutt, Lyrics-Neelkanth Tiwari, MD-Premnath
Both
Lyrics
chupke chupke
chupke chupke
chupke chupke
chupke chupke
jabse hua hai pyaar
jabse hua hai pyaar
o o o
manwa kare pukaar aar
chupke chupke
chupke chupke
jabse hua hai pyaar
chaand se jaise kirnen phooten
man se phooten geet
in geeton se pighal pighal ke
bahe saloney preet
bahe saloney preet
ek achhoota sapna ban ke
naino meinkho jaaun
ek achuta sapna banke
naino mein kho jaaun
piyu piyu ke do bol banoon oon
piyu piyu ke do bol banoon oon
honthon pe so jaaun
teri lagan mein mera jeewan
bana phool ka haar
ho o o
manwa kare pukaar aar
chupke chupke
chupke chupke
jabse hua hai pyaar
nayi umangon ke gehno se
phool ang sanwaaroon oon
phool ang sanwaaroon
nayi umangon ke gehno se
phool ang sanwaaroon oon
phool ang sanwaaroon
prem ke ik sapne par laakhon
mahalon ko main waaroon
waaroon
maahalon ko mai waru
aasan chod sinhaasan baithha
van se mahal mein aaya aa
aasan chod sinhaasan baithha
van se mahal mein aaya aa
man ko maara kuchh na paaya
man ko maara kuchh na paaya
man ko haara paaya aa aa
prem ka aansoo sukh mein tapke
phul uthe sansaar
ho o
manwa kare pukaar aar
chupke chupke
chupke chupke
jabse hua hai pyaar
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
March 22, 2014 at 6:18 pm
I have been following this series very keenly like other series posted on this blog.
Thanks for minute details and beautiful presentation.
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