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

Bata do Raam gaye kis oar

Posted on: September 7, 2014


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 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.

Mythological films have been an important part of Indian films since long and this was evident from the fact that there was hardly any production house that did not make a Mythological film. The period of 1940 to 1965 can be called an age of meaningful religious films. In this too, the 1950 to 1960 period was the peak period for this genre. Later on the production of such films dwindled and these days, of course, one has to make efforts to find such a film, with a large magnifying glass !

Why this change ? When one goes into the details of the kind of films that are made these days, one will surely find that today’s films centre around blatant crime, Love stories and Special effects. Unlike earlier times, there are practically no films that are made on Mythology, History, fantasy, Costume Classical novels or family issues. The change in the genres is very prominent. Surprisingly, the Southern Film Industry has not changed to this extent and one can still find-albeit in less numbers- films made on the topics deleted from the Hindi films.

Have people become un-religious ? Have people forgotten our culture/history ? Not really. But the need for such topics has vanished. During the 40s these topics were used to give hidden messages of patriotism. After Independence, films were used to build and strengthen the concepts of’ family values ” and joint families. There was a need to hold on to our culture and preserve it.

Over a period of last few years ,these needs are no longer relevant. In fact, Joint families are now found only in TV Serials, books and old films or in the fabulously rich families. In the age of Nuclear families, with just one or no child, religion and age old cultural values are now confined to the four walls of one’s own house. The cut throat competition to survive and prosper have made the films only a means of 2 hours’ entertainment. High cost of cinema tickets and limited time availability do not welcome time consuming family or religious dramas in films. These are now relegated to Television. Thus mythological serials and joint family stories have become the staple of television today.

However, in the 40s and 50s some of the best mythologicals were made. Actually, there used to be a set of Actors( Manhar Desai, Shahu Modak, Prem Adeeb, Shobhana Samarth, Durga Khote etc),Composers ( S N Tripathi, Shankar rao Vyas, Avinash Vyas, Vasant Desai etc),Lyricists ( Bharat Vyas, S K Deepak, Pt. Indra, Pt. Bhushan etc), Directors (Jayant Desai, Vijay Bhatt, Shankar Bhatt, Raja Nene, Damle, Chaturbhuj Doshi etc), Production houses (Prakash Pictures, Sagar, Ranjit, Rajkamal, Prabhat etc) specific to such Mythological films.

Amongst these, Prakash Pictures was the No. 1 . Though they did not make many such films-just 14 from 1940 to 1967-but the films which they made created History. Films like Bharat Milap and Ramrajya became legends and milestones and also made Prem Adeeb as Ram and Shobhana Samarth as Seeta, etched forever in people’s minds. The brains behind Prakash pictures were Vijay Bhatt and his brother Shankar Bhatt.

Vijay Bhatt, the founder of Prakash Pictures and the maker of such masterpieces like Ram Rajya and Baiju Bawra was born on May 12, 1907, in the small town of Palitana in Saurashtra, Gujarat.

The son of a railway guard, he along with his elder brother and his lifelong partner, Shri Shankarbhai Bhatt, shared a fascination for theatre and films.

The mid twenties brought them to the Bombay, where Vijay Bhatt enrolled in St. Xavier’s College and studied up to Intermediate Science. While Shankarbhai took up a job in a store selling readymade garments. In order to secure a steady, lucrative job, he obtained a diploma in Electrical Lighting and traction from the International Correspondence Schools, London. Quitting college, he joined the BEST and worked for 3 years rising to be an officer with the designation of Drawing Office Superintendent.

He quit his job after two months and both the brothers decided to take on the world of showbiz.

A flair for writing led him to get involved in a humble way as storywriter.

It was Ardeshir Irani, the ‘Father of the Indian Talkies’ and the maker of ‘Alam Ara’ who would show them the way. At that time, he was the managing director of The Royal Studios. He glanced through the stories, selected one of them and asked the brothers to meet the proprietor of the studio, Seth Aboo Hussein. ‘Show him the story and then come back to me. If it is all right for him, it is all right for me’ they were told.

The story was approved and Ardeshir Irani took it upon himself to teach Vijay Bhatt how to write a screenplay. Every evening after the day’s work and dinner, the Bhatt brothers would make their way to Majestic Cinema, built by Ardeshir Irani in 1918 in partnership with the exhibitor, Abdulaly Yusoofaly. Irani would be here every evening with his friends. And it was here that Vijay Bhatt scripted his very first screenplay, ‘Vidhika Vidhan’, which was made into a film by director K.P.Bhave.

Ardeshir Irani made two more films based on the stories by the Bhatt brothers. They were ‘Pani mey Aag’ and ‘Ghulam'(1929), both of which were directed by Nagendra Muzumdar. Their third film featured a newly recruited actor from Peshavar, Prithviraj Kapoor.

By now, Ardeshir Irani had founded his own Imperial Studios and drawn to it a host of artists and technicians. The Bhatt brothers too had gathered enough experience and ventured to make films on their own. They soon founded the Royal Film Co. in partnership with a cousin and the first film to be produced under this banner was ‘Black Ghost’. It starred Master Vithal and Madhuri and was photographed by V. M.Vyas. With Vijay Bhatt at the helm of the creative affairs and Shankarbhai in charge of the business aspect, they made seven silent films under the banner of The Royal Film Company in an open air studio in Juhu. Among them was ‘Heer Ranjha’, where Vijay Bhatt gave A.R. Kardar, a poster maker for foreign film distributors, his first acting assignment.

Then came the year of Talkies and the Bhatts too switched over to this new medium with ‘Alif Laila'(1933), which was based on an Arabian Nights story and made under the banner of Royal Cinetone. This was followed by 3 other talkies made under the banner of Kardar Studios. He then founded a film distribution concern, Royal Pictures Corporation, which acquired the distribution rights of ‘Sohni Mahiwal’ for North India for a Rs. 11,000 – a sensational amount at that time. For, as he often used to say, ‘In those days, it cost just about Rs. 8000 to make a film 8 -9 thousand feet in length!”

By now Vijay Bhatt had evolved into a director to be reckoned with. It was time to set up his own production company. AndPrakash Pictures was born. Prakash Studios was built in 1934 at Andheri. The first film to be made there was ‘Actress’ (Bambai ki Mohini), written and produced by Vijay Bhatt. The famed torch of Prakash Pictures continued to shine over decades and in all, 64 films were produced in various genres, in black and white as well as colour.
Vijay Bhatt died on 17-10-1993 at Bombay. (adapted from http://www.vijaybhatt.com,with thanks).

Vijay Bhatt played an important role in the careers of some major stars. He was the person who gave Mehzabeen (Meena Kumari),the name Baby Meena.
he also gave her the first major heroine’s role in Baiju Bawra-52.Till then she did roles in B and C grade films.
O K Dhar Kashmiri was given the name ” JEEWAN “,when he did Narad’s role in Bharat Milap. later he did Narad’s role in over 100 films.

Suraiyya got her big singing role in Station master-42.

Manoj Kumar was made hero in Himalaya ki God mein-65

Today’s song is from film Bharat Milap-42. This was a Bilingual film in Hindi and Marathi(as Bharat-Bhet). Main characters were Prem Adeeb as Ram,Shobhana Samarth as Seeta and Shahu Modak as Bharat. Durga khote was Kaikeyi and Vimla Vashishta was Manthara. The story of Bharat Milap is too well known and it is to the credit of Bhatt brothers that they kept the story line true to original,supported by several books and curators as well as scholars. this was the first major mythological film of Prakash and they did not spare efforts or money to raise spectacular sets,costumes and war scenes ( when Bharat is attacked by Nishad raja’s army).

it was a delight to see this film.There were no scenes of Miracles. I saw this film in its second run, sometime in the end of 40s, but the memories are still fresh. In fact this film became an yard stick for all subsequent mythological films,in my mind. Shahu Modak who was Bharat in this film was popular as Krishna in such films.

Shahu Modak was a regular actor in many Religious films.He did Krishna’s role in over 30 films. he was born in a Christian family of Ahmednagar(Maha.),on 25-4-1918. he was trained in music by his Uncle Nivritinath Modak . He also got trained by ustad Abdul kareem khan. There was a Gym in his house and he became an expert in wrestling too. He was discovered by Bhal ji pendharkar and producer Nanasaheb Sarpotdar gave him his first break in films. He made his debut with a bilingual film from Prabhat-‘Shyamsundar’-32,as a child artist. Shanta Apte also was a child artist debuting in this film.He also sang a song in this film.

In the next year itself he did a Hero’s role in another bilingual-“Awara shehzada”-33 ( out ghatkecha Raja in Marathi). With this film, he entered the Film History books for doing the First double role in a Talkie film ever. he was a Prince-Rajkumar and a Pauper-Bholaram in this film. The director of this film was Master Vithal,who himself was the First Hero to do a Double role in a silent film ‘ Prisoner of Love”,in 1927.

Shahu became famous when he did the Havaldar Ganapat’s role in the landmark movie of Prabhat-Aadmi-39 (Maanus in Marathi). From 1932 to 1986 he acted in about 110 films His last film too was a mythological-Krishnaleela-86,in which he did Krishna’s role last time at the age of 68 years.he featured in many films of Prakash films,which was a Mythological film specialist studio. Shahu Modak initially sang his own songs.he must have sung about 30 songs. from the film Bhakta Pooran-52,he started taking playback.But in 1971 he sang a song in film ‘ Main sunder hoon “.

Shahu Modak died on 11-5-1993. There are 2 interesting things about Shahu Modak. One,he was a very accurate Astrologer. He had ,it is said,predicted his own date of death. Secondly, like Manhar Desai (Malcolm Alfredo Desai), he too was a Christian and both did Hindu Gods’ roles in Mythological films.

Let us now enjoy this song in the voice of Shahu Modak,who makes a Debut on this blog, as a singer….

Video

Song-Bata do raam gaye kis oar (Bharat Milaap)(1942)Singer-Shahu Modak, Lyrics-Balam, MD-Shankar Rao Vyas
Chorus

Lyrics

bata do
raam gaye kis oar
bata do
raam gaye kis oar
bata do
raam gaye kis oar
bata do
raam gaye kis oar
bata do
raam gaye kis oar
bata do
raam gaye kis oar
hamaare
raam gaye kis oar
bata do
raam gaye kis oar

bata do
raam gaye kis oar
bata do
raam gaye kis oar
bata do
raam gaye kis oar
hamaare
raam gaye kis oar
bata do
raam gaye kis oar

raam bina chahun oar andhera
raam bina chahun oar andhera
raam bina soona jag mera
raam bina soona jag mera
hey raam siya kahaan rain basera aa aa
raam
raam
raam
raam siya kahaan rain basera
tod prem ki dor
tod prem ki dor
bataa do
raam gaye kis oar
bataa do
raam gaye kis oar

kaise kahoon main peer
prabhu ji ee ee
dukh ab saha na jaaye
bharat tihaaro
tum bin vyaakul
bharat tihaaro
tum bin vyaakul
ro ro praan ganwaaye
ro ro praan ganwaaye
darshan do pradhu
?? dheer main
darshan do pradhu
?? dheer main
vinti karoon kar jor
vinti karoon kar jor
bata do raam gaye kis oar
bata do raam gaye kis oar
bata do raam gaye kis oar
bata do raam gaye kis oar
hamaare raam gaye kis oar

bata do raam gaye kis oar

1 Response to "Bata do Raam gaye kis oar"

Shahu Modak sang in number of films:
Shoba-1942; Vasantsena-1942; Ladhai Ke Baad-1943; Geet-1944; Dasi Ya Ma-1946; Jai Mahakali-1951; Ramayan-1954 and Main Sundar Hoon-1971
Balam Pardesi offered lyrics in Darshan-1941; Mala-1941; Geet Govind-1947; Pehla Pyar-1947; Ramayan-1954; Bhedi Lutera-1955;
Shankar Rao Vyas offered music in : Narsi Bhagat-1940; Ram Rajya-1943; Ghunghat-1946; Valmiki-1946; Bhakta Dhruv-1947; Bhakta Gopal Bhaiya-1948; Ram Vivah-1949; Bhagwan Shri Krishna-1950; Jeewan Nauka-1952 and Mahapooja-1954;

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