Gaaye jaa tu apna geet
Posted on: May 10, 2014
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.
THE VIBRANT 40s (Episode No. 13)
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Today Mumbai (erstwhile BOMBAY) boasts of being the only place where Hindi films are made, but in the initial stages of Film-making, it was not so. There were other centres too, which made Hindi films like Calcutta, Poona, Kolhapur, Madras, Hyderabad, Bangalore, Lahore and some odd towns as well. Out of all these,the most famous and the biggest-qualitatively- had always been CALCUTTA.
Calcutta had been making silent films from the 20s. Even in those days, there were several film making companies in Bengal. The most famous company was that of the Madans-Madan Theatres. Started and developed by J.F.Madan and his sons, Madan Theatres was the company to make the First Bangla Talkie “Jamai Shashti”, released on 11-4-1931, just shortly after Bombay had taken the lead by releasing Aalam Ara.
At the beginning of the 30s, a large share of Bangal’s Film Industry was controlled by Madans. They had started making silent films with ‘Bilwamangal’-1919. In the next 10 years, their distribution and production business grew so rapidly that they controlled 50% of all cinemas in the Indian subcontinent-127 to be exact !
New Theatres was established in 1931 as a family business, with B.N.Sircar as the Managing Director. Once New Theatres started growing, the local regional pride almost forced Madan Theatres-belonging to a Parsee family from the western India-to pack up. By 1937, Madan Theatres had produced over 50 films-silent and Talkie. They made their last Talkie, appropriately named ” Zinda Bhoot”in 1937 and then the company closed down.
New Theatres had the Best actors, best Directors, Best composers and the very best Technical staff in India. There were 4 major points going in their favour…
1. Right from the beginning, Bengal had an edge over Bombay and Lahore etc in that the Educated and Respectable family members did not hesitate to join the Film Industry in Bengal.In fact, over 90% of its people were educated-some of them even Foreign educated. In this ,Bengal was very Progressive. On the contrary, the western centres of film making were dependent on Courtesans, Tawayafs and uneducated run-aways in their movies.
2. New Theatres or the Bengali film industry had a very wide market spread out over entire West and East Bengal, Bihar, Orissa, Assam,the North-East states and Burma. Their Distribution network included Madras, Madurai, Erode, Trichannapally, Bangalore, Mysore, Poona, Bombay, Cawnpore(Kanpur), Kangra valley and Lahore circuits.
3.People who worked for New Theatres were like a united family. Feelings of Goodwill and Happiness permeated the studio. Workers came in the morning and worked till the work was finished. Discipline and adherence to deadlines and principles regulated their lives. projects were therefore completed always as planned and in time.
( Only Madras of the 40s and 50s came near this. Bombay and Lahore were exactly the opposite, where discipline and punctuality were never Virtues (This trradition continues even today…)
4. Almost all films made in Bengal by New Theatres or any other company were based on either stories or dramas or Novels by renowned authors from the East(read Bangal). Thus, the film’s story content was so solid that they did not need appendages of comedians or a CSP (comic side plot) or too many songs.
( IN other parts like Bombay and Lahore, studios had what was called “The story Departments”, consisting of 4-5 writers, the owners and directors, who would work up a story in unison !)
New Theatres popularised a new brand of Music.i.e. Rabindra Sangeet, which was hitherto confined to only Shantiniketan. With all this in place, New Theatres reached its peak in 1940. It was then that their slide started. One of their pillars P.C.Barua left New Theatres. This was the beginning of the exodus. After him, Debki Bose left. Nitin Bose left after copleting ‘Kashinath’ in 1943. Kanan Devi left to join Barua and Uma Shashi eloped with her lover.
Pankaj Mallick, though unhappy over the treatment meted out to him in New Theatres, did not leave till the end. He did Bombay film music at Calcutta-like Kasturi or Zalzala etc. He always considered New Theatres as his Alma Mater.
The ongoing II world war, the communal riots of 1946,the Partition of 1947 and the deteriorating civil conditions of Bengal (specially Calcutta),due to the influx of Refugees proved the last straw and broke New Theatres completely. The Government had regulated the supply of Raw Film, East Bengal market was lost totally, artistes had left for Dhaka or Bombay…all this took New Theathres rapidly to its end.
Dilip Sircar, son of B N Sircar said in 1951,” Our people left for Bombay, Film industry was in disarray, there were several court cases….my father had virtually closed shop ! ”
In such worsening conditions in 1944/45, Sircar tried to mend things by replacing the II and III level artistes to fill up gaps left by departed people. Thus Bimal Roy, who was a Cinematographer and an Editor, got an opportunity to sit in the Director’s Chair. They made an ambitious film ” Udayer Pathe” -44, based on Tagore’s famous novel,’Nauka Dubi’. A Hindi version was made as “Hamraahi”-45. It was Bimal Roy’s First brush with directing a Hindi Film. Both versions were successful.
Bimal Roy was one of the greatest ever directors of Indian cinema. In his films we see a romantic idealist to whom any form of exploitation – social, religious or economic was unacceptable. He is particularly noted for his realistic and socialistic films like Do Bigha Zamin, Parineeta, Biraj Bahu, Madhumati, Sujata, and Bandini, making him an important director of Hindi cinema. He won a number of awards throughout his career, including eleven Filmfare Awards, a National Film Award, and the International Prize of the Cannes Film Festival.
Born in 1909, Bimal Roy came from a well to do Bengali family and entered films as a cameraman with New Theatres Pvt. Ltd. where he photographed films like “Devdas” (1935) and “Mukti” (1937). His first film as Director was “Udayer Pathey” (1944) in Bengali. The film was a big critical success.
Bimalda migrated to Bombay after the collapse of New Theatres. His first film there was “Maa” (1952) for Bombay Talkies. He then formed his own production unit and made his breakthrough film, “Do Bigha Zamin” (1953). It was both a commercial success and a critical success, winning an International Prize at the 1954 Cannes Film Festival. The film’s success paved the way for the Indian New Wave cinema. This followed three adapatations of Sarat Chandra Chatterjee, “Parineeta” (1953), “Biraj Bahu” (1954) and “Devdas” (1955). In between Bimalda also directed the emotional “Baap Beti” (1954) and the sensitive “Naukri” (1954).
Bimalda’s last production before he died was “Benazir” (1964) directed by S Khalil. He was working on a project to star Dharmendra and Sharmila Tagore when he passed away in 1966 after a long illness.
Today’s song is from the film Hamraahi-45. It is sung by Rekha Mullick. I was not very familiar with her name ,so I tried to collect information about her and I found it extremely difficult. This is a common problem with any II level Bangla artiste. You simply can not get any information. It is like an iron Curtain. Their information at times, is available,but only in Bangla. I tried to establish contacts across Bengal, but did not find much cooperation. probably the Cysts are too thick to break.
Anyway, I got some information from my old notes. Rekha Mitra was born on 26-8-1929 at Calcutta. She started working and singing in films when she was just 12 year old. Her first film was ‘Kabi Joydev’-1941. Then came Bramhan kanya etc. She got married to Music Director Gopen Mullick, who composed music in Bangla films ( His name appears in at least One Hindi film ‘Ek Aurat’-1948, along with Harbaksh Singh). Gopen Mullick continued in Bangla films till 1966.
Rekha acted as Rekha Mitra and sang as Rekha Mullick. Some of her films are My sister-44, Hamraahi-45 (Udayer pathe-44),Shair-49,Do Bigha Zameen,53,parineeta-53, Kohinoor 60,teesri Kasam-67 etc. She also acted and sang in Bangla films like ‘Bidrohi’-87. She seems to have acted in some Tamil films also.
The film’s music was composed by the Giant of Music-R C Boral. Hamraahi-45 is the First available Hindi film to feature our future national Anthem-Jana Gana Man. Ofcourse it had not become the National Anthem at that time. For the records, however,the first time ‘Jana gana mana’ was featured was in the film ” Insaan ya Shaitaan”-1933.) Hamraahi had only 7 songs penned by Munshi Zakir Hussain. The cast of the film was RadhaMohan Bhattacharya, Rekha Mitra, Binata Bose Heeralal, Ramesh Sinha, Boken Chatte, Amita Bose etc . The story of the film was…
Anup(Radhamohan Bhattacharya) is a poor literary man. Sumitra( Rekha Mitra) is his sister. . A rich friend of Sumitra, Gopa ( Binta Bose), invites her to a party at her house. Sumitra had to come back from her friends house with the stigma of a thief. Anup sees his editor friend. The friend gives Anup a tip for a job. Anup takes it and accepts the job of a publicity officer under Rajendranath, a millionaire. Anup has to write speeches for Rajendranath( Ramesh Sinha), the very first of which brings him great acclaims.
Rajendranath craves for more fame and name. Anup meets Gopa at Rajendranath’s library while writing a speech. He learns that Gopa belongs to the house where his sister Sumitra was insulted. He leaves the job then and there. Rajendranath cannot do without Anup. He sees Anup at his house and somehow manages to get him back to write a presidential speech for him. He also promises to publish Anup’s forthcoming novel and takes the manuscript from him. Gopa sees the manuscript and starts reading it half heartedly but by the time she finishes the manuscript she is over-whelmed. She feels a deep sense of respect for the authour Anup. The novel deals with the lives of the workers and their problems in life. Gopa becomes deeply interested in the subject. She visits workers cottages in the bustees with Anup, and see things first-hand. She feels herself a stranger amongst the labourers but feels that Anup belongs to them. He is one of them.
Gopa attends labour meetings inccognito. Rajendranath comes to know about Gopa’s recent movements and is worried. Meantime, he publishes Anup’s novel claiming the authorship for himself. Gopa gets the shock of her life at Rajen’s conduct. Rajendranath receives great ovations from all sides for writing such a masterly novel. The day of the big labour meeting. Gopa, while passing by the library hears her brother speaking on the phone. Rajen is instructing Ambika a man of the mill, to break the meeting, even at the cost of physical injury to Anup the leader. Gopa rushes to the meeting site. She reaches just a bit too late. Anup is assaulted. He is lying on the ground bleeding profusely. Gopa with tears in her eyes kneels down and tries to get back Anup to consciousness. While she is busy rendering first aid to Anup, Rajen appears on the scene and takes Gopa back home by force.
Next morning News papers flash the news about the dispersed labour meeting. Gopa gets headliness as the millionaires daughter siding with the workers cause. The drama in the life of Gopa takes quick and peculiar turns. she forsakes her pride of birth and wealth and goes with Anup to fight for the down-trodden millions.
Let un now enjoy this song by Rekha Mullick. She appeared in the movie as well, which means that the song was picturised on herself.
Song-Gaaye ja tu apna geet (Hamraahi)(1945) Singer-Rekha Mullick, Lyrics-Zakir Hussain, MD-R C Boral
Lyrics
Gaaye ja tu apna geet
gaaye ja
chhod de auron ke sangeet
gaaye ja
chhod de auron ke sangeet
gaaye ja
?? ye mohan maale
geeton ki ye daali
?? uphaar mere
badlenge jag ki reet
ek din ye uphaar mere
badlenge jag ki reet
?? jeewan naiyya hai bharpoor
??
aakhir inko maaya ki ye preet
phirte hain chankaate
sone chaandi ki zanzeeren
aen aen
phirte hain chankaate
sone chaandi ki zanzeeren
aen aen
apne aap baney hai qaidi
dhan daulat ke meet
Apne aap baney hain qaidi
dhan daulat ke meet
gaaye ja tu apna geet
gaaye ja
chhod de auron ke sangeet
gaaye ja
gaaye ja tu apna geet
gaaye ja
3 Responses to "Gaaye jaa tu apna geet"
May 10, 2014 at 6:00 pm
venkataraman ji,
Thanks for your comments and additional information.
My problem is that I have too much information with me to give out at a time,but I have to control it in order to make the articles to a interesting length. Thus I have to decide what to exclude,rather than what to include. As such I feel the articles should not be too lengthy,for the reader to lose interest seeing its length.
So what is done is, info is divided into similar posts.
I know you have special interest in Bangla contribution to our film industry and your knowledge is also wide and manifolds.So thanks you for this additional list.
The fire which destroyed several films,was suspected to be an act of vengence-though not proved till end.
-AD
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May 10, 2014 at 6:15 pm
Arunji,
That is the problem with me. My articles are always lengthy, In spite of that people like you take the pain to read it at length and comment. I am privileged. Mine is an more an act of provocation done out of greed, in the guise of providing addition information so that I can get something more.How can I show a lamp to the sun. In fact I got a lot information on Rafiq Ghaznavi from you from one such act.
Thank you and looking forward to your next episode.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
May 10, 2014 at 3:56 pm
Arunji,
Congratulations for yet another wonderful article.
Savoured the package of information on NT, Bimal Roy Udayer Pathe/Humraahi and Rekha Mitra. Your analysis on the rise and fall of New Theatres was excellent. Enjoyed the vintage song too.
Please permit me to add some more information on NT during the 40s.
On 9th August 1940 New Theatres suffered great loss due to a devastating fire and copies of several films were totally reduced to ashes. But the indomitable spirit of B N Sircar did not die. Many more good films came out of the stable of NT. The following is the list of films released in 1940s under New Theatre banner.
Released before the fire
1940-Bengali:-Parajay,Aalochhaya, Hindi :-Zindagi, Aandhi, Nartaki, Haarjeet
Released after the fire
1940- Bengali:-Doctor (Double version 1), Abhinetri
1941 – Bengali:-Parichay, Pratishruti(DV2), Hindi:-Lagan, Doctor(DV1),Saugandh(DV2)
1942- Bengali:-Shodhbodh, Meenakshi(DV3), Hindi:- Meenakshi (DV3)
1943- Bengali:-Kashinath (DV4), Priya Bandhabi, Dhikshool, Hindi: – Kashinath (DV4), Waapas
1944- Bengali:-Udayer Pathe (DV5), Hindi: – My Sister (Last film of K l Saigal under New Theatres Banner)
1945- Bengali:-Dui Purush , Hindi:- Humrahi (DV5), Wasiyatnama
1946- Bengali:-Biraj Bou
1947- Bengali:-Nurse Didi, Ramer Sumati
1948- Bengali:-Anjanghar(DV6), Pratibad, Hindi:- Anjangarh(DV6), Ooch Neech,
Short Film/Documentary –Hamaara Kartavya (Hindi)
1949- Bengali:-Mantramugdha, Bishnupriya, Hindi:- Chhota Bhai, Manzoor
Thank you
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