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

Ye samaa phir kahaan aa bhi jaa

Posted on: April 6, 2015


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.

MISSING GEMS FROM THE GOLDEN 50s… Song No. 12
—————————————————-

Today’s song is from the 1957 film Ustad.

Ustad was one of those Detective movies that Ashok Kumar has become a specialist in. He was the undisputed choice of all film makers for this genre of films. He too did justice to such films. However, may be due to his age or looks, or due to the nature of this genre, his Heroines in these films were often from the second rung or or else his old companions like Nalini Jaywant, Kamini Kaushal etc. Kumkum, Geeta Gali, and some such actresses acted with him in such movies. Of course Madhubala and even Nutan acted with him in such films.

Although songs in these films were generally very good, Ashok Kumar was rarely seen singing any songs in these movies. After he stopped singing his own songs in films, he had always declined to sing on screen and so he was spared. All his Heroines would of course sing for him and he would only smile at them while smoking a cigarette.

The Music Director of the film Ustad was O P Nayyar. This film was released almost at the fag end of the year and his Top Hit film Naya Daur had released just a few months ago during the same year. Naya Daur had already created a sensation in the industry with its music.

More than his famous and popular songs, O P will be always remembered as the only successful composer who never used Lata Mangeshkar in his entire career. There are many stories circulated as to why he did not use Lata or why Lata did not sing for him. The most popular of such stories is that Lata refused to sing in Nayyar’s first film, and therefore he vowed never to use her. However, O P had a different story to tell about this. Famous journalist Shirish Kanekar had published his intervies in his book “Gaaya chal jaa” few years back. In this O P Nayyar said,” In 1945 I did the song “Preetam aan milo”. C H Atma must have earned more that a Lakh Rupees simply towards its Royalty, but do you know how much money I had got ? Just Rs 40. Rs 20 for each side of the record ! Initially even my name was also not on the record. It came only when the new edition was released.”

Producer Dalsukh Pancholi from Lahore had liked that song very much. When he came to India and started all over again here, he sought out C H Atma and gave him a break in his film Nagina-51. He was also searching for me. One day one of our common friends met him and he gave him my address. Next day,I got Pancholi’s telegram-“You are signed as a Music Director. Come immediately”. I came to Bombay after 4 years. Pancholi gave me “Aasmaan”. That time Pancholi asked me, “Do you want Lata or Geeta ? ” and I had replied,”whichever you give me.” He gave me Geeta and she sang for me. It was simply a matter of coincidence. Later on, however, I had thought everybody uses Lata. Why can’t I be successful without her ? I thought taking Lata would have made no difference between others and me. Of course Lata Mangeshkar is a Great singer. She is simply Great ! To deny her greatness is like spitting on the Sun !!”

When OP entered film industry,his first 3 films, Aasman-52, Chham Chhama Chham-52 and Baaz-53 were total flops. His financial condition was very bad. He lived in a hotel with his family. He was thrown out from there due to non payment of the hotel Bill. He went to K.K.Kapoor ,who was an influential distributor for Kardar those days. O P wept and told Kapoor “Guru Dutt owes me Rs. 3000/-. Please help me get that money, I will leave Bombay and go back to Punjab.

” Kapoor took me to Guru Dutt. He was not in a position to pay my dues, because of heavy losses to Baaz-53. He flatly refused to pay. Kapoor then did something,for which I shall always be indebted to him. Kapoor asked Guru Dutt, ‘As a composer,how is Nayyar ?’ Guru Dutt said,’Excellent’. Kapoor said,’OK. Then do one thing. You announce your next film, give Nayyar its music. For that you give him some advance now. I take full responsibility of your new film’s distribution. This is my word.’ Guru Dutt went inside and came back with Paper, Pen and Rs.3000/- as an advance. I signed his contract. When I came here,I did not have even Taxi fare. When going back I had money and a contract for a new film ! Aar paar-54 ! That is what I call Destiny !”. We all know what Aar paar -54 did to Nayyar and Guru Dutt !

Film Ustad-57 was a detective story. Ashok Kumar was playing the lead role of a Police Officer-cum lover of Anjali Devi, his Heroine for this film. Anjali Devi and Pandari bai, both from South were trying very hard to establish themselves in Hindi films. However their typical southern pronunciations and style of overacting prevented them from getting many lead roles. Pandari bai,of course continued to act in Hindi films for a longer time, doing only character roles.

The cast of the film was Ashok Kumar, Anjali devi, Anita Guha, Rehman, K N Singh, Bhagwan, Yashodhara, Rajan Kapoor etc etc. A striking feature of this cast was that there were too many club, cabaret dancers . Kumkum, Kammo, Cuckkoo and Sheila Vaz. The seniormost among them was of course Cuckkoo.

It was 1944. The talkies were already around for 15 years. Devika Rani and Shobana Samarth had already established their glowing presence but it was still a time when nice girls didn’t even become leading ladies, let alone do roles where they had to wriggle their hips — however tastefully — and bare flesh, which at the time meant shoulders and maybe a bit of leg. At such a time, a pretty, fresh-faced Anglo-Indian girl with eyes that danced as enchantingly as her feet appeared in two films — “Pehli Nazar”- 1945 (in which Mukesh made his debut with “Dil Jalta hai toh jalne de”) and “Mujrim -1944.” The girl’s name in the film’s credits was listed simply as “Cuckoo.” Cuckoo was perhaps the first of the most well known dancing queens of Indian Cinema. She was born on 4-2-1928. Her predecessors were many, including a dancer called Azurie, who it is said Cuckoo modeled herself on. But in terms of the sheer body of work and its impact, Cuckoo would have to be the first among Hindi cinema’s dancing queens. It was with her that “cabaret” became an almost indispensable part of films made between the 1950s and 1970s.

Her debut in 1944 was an instant hit and in the space of just the next five years, she had appeared in an incredible 49 films, including Mehboob Khan’s “Anokhi Ada” (1948), H. S. Rawail’s “Patanga” (1949) and Devendra Goel’s “Aankhen” (1950). The only major filmmaker of the time who did not feature Cuckoo in his films was V. Shantaram. In a lot of her films, her role was just a song but its impact was so electrifying that distributors considered it almost as indispensable as the heroine. Like the Helen-Asha combination later on, in many of these songs, Cuckoo’s screen `voice’ was Shamshad Begum. Together, they were responsible for some unforgettable hits.

Mehboob Khan’s films proved to be the turning points in Cuckoo’s career. Her dance numbers in his Anokhi Ada established her as the leading dancer of the time; and Andaz, a romantic melodrama featuring Raj Kapoor, Dilip Kumar, and Nargis, gave the dancer an opportunity to showcase her acting skills.During her peak period,she was getting Rs.6000/- per dance appearance.

Cuckoo remained the top dancer of Hindi films till she was displaced by Helen and such dancer-actresses as Vyjayanthimala. Cuckoo gave dances in about 76 films. Ironically, it was Cuckoo who had initiated a 13-year-old Helen into films as a chorus dancer. Cuckoo continued to dance until the beginning of the 1960s, the last few years as part of the chorus dancing.It has been recently confirmed that Cuckoo’s real name was Cuckoo Moray.Cuckoo died a slow lingering death, due to Cancer on 30-9-1981 penniless and unattended. No one from Film industry attended her cremation. (Thanks for some information from Cineplot and from the book “Tujhe mere geet bulate hain” by Sanjeev Tanwar).

The Music Director of Ustad was O P Nayyar with able assistants like G S Kohli and Sebastian. There were seven songs in the film. The lead singer was of course Asha Bhonsle, the others being Geeta, Sudha Malhotra and Rafi. Three songs from this movie are already posted here and this is the fourth one. This Asha song is a typical Nayyar style cabaret song. Enjoy Dil se…..

Audio

Song-Ye samaa phir kahaan aa bhi jaa (Ustaad)(1957) Singer-Asha Bhonsle, Lyrics-Jaan Nisaar Akhtar, MD-O P Nayyar

Lyrics

Yeh sama phir kahaan
aa bhi ja
Dekh ye zamaana
kitna suhaana
Kar na bahaana
aa bhi ja
Yeh sama phir kahaan
aa bhi ja

Chori chori aaja
kahe rut ye jawaan
Ghadi ghadi aati aisi raat kahaan
haan
Chori chori aaja
kahe rut ye jawaan
Ghadi ghadi aati aisi raat kahaan
Haaye na sata tujhe kya pata
Haaye na sata tujhe kya pata
Dil mein hai kya armaan
Yeh sama phir kahaan
aa bhi ja

Naya naya chhaaya mere dil pe nasha
Khadi khadi joomoon zara saamne to aa
haa aaa
Naya naya chhaaya mere dil pe nasha
Khadi khadi jhoomoon zara saamne to aa
mile na kahin
mujh sa haseen
mile na kahin
mujh sa haseen
sun le arre naadaan
Yeh samaa phir kahaan
aa bhi ja
Yeh samaa phir kahaan
aa bhi ja

7 Responses to "Ye samaa phir kahaan aa bhi jaa"

Somewhere I read the Lata’s voice was too thin for OP’s liking as his songs were based invariably on Punjabi folk and later cabere/club numbers, where he required earthy and folksy voices in Asha and Geeta Dutt.
Basant-1960 Asha created the record of sorts(largely unnoticed) by singing all the 14 songs with/without Rafi composed by OP

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An excellent article by Mr. Deshmukh as usual.

I do not understand the following paragraph from his article though.

“Although songs in these films were generally very good, Ashok Kumar was rarely seen singing any songs in these movies. After he stopped singing his own songs in films, he had always declined to sing on screen and so he was spared. All his Heroines would of course sing for him and he would only smile at them while smoking a cigarette.”

Is Mr. Deshmukh talking about Ashok Kumar not singing in “these” movies meaning the Detective movies? The second sentence appears to say that he declined to sing on screen in all movies.

If it is the “Detective movies”, then one can find him singing फूलोंके हार ले लो in the film Inspector. He also has a very nice humming song (duet) in the same film (he is in the car humming and Geeta Bali is singing मेरे अकेले जिया ). There was yet another song in Inspector (probably cut) दिल छेड कोई ऐसा नग्मा (Hemant Kumar version).

If he declined to sing in all movies as the second sentence implies, there are plenty of examples otherwise. Listen to two duets in Bedard Zamana Kya Jaane, a duet in दूर का राही, two songs in Meri Soorat Teri Aankhen, etc. Even in Baadbaan (1954), Ek Sal (1957) has solo songs picturised on Ashok Kumar. In Chalati Ka Naam Gadi he has a song with his brothers.

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Shyam ji,
Thanks for your comments.
It is not that there were no songs lipsynched by Ashok kumar at all,in Detective or other genre films. The point stressed by me was that personally,he never wanted to sing on screen. He always felt that the romantic songs did not suit him anymore.
However since he was only acting in a film,he had to give in sometimes to Producer’s wishes and do the singing part too.
Out of 312 films that Ashok kumar acted in his career(as per IDBM),,from 1950 to 1960 he worked in 60 films. Assuming that there were about 500+ songs in these films,how many must have been sung by him ? The percentage would be negligible,I am sure.
Usually an Indian Hero sings/features in atleast 60 to 70% songs of any film. Compared to this,Ashok kumar’s songs would be pittance,I am sure.
Further,Ashok kumar might decline,but if it is insisted,he would have sung,surely.
-AD

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Great article Arun ji. Can you please share some information about the book that you mentioned – Tujhe Mere Geet Bulate Hain by Sanjeev Tanwar. Is it about some individual or film music in general? Do you recommend it?

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Waiting for your response Arun ji.

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Dhruv ji,

I am sorry I missed your comment altogether.

The book “T.M.G.B.Hain” by shri Sanjeev Tanvar ji is on Lyricist,writer Pt. Bharat Vyas ji.

It gives his Filmography ( but not the Lyrics of any song), information about each film credits in details,few articles by others on Bharat Vyas ji and short Bios of 198 persons connected with these films in some way or the other.
I felt the Bio part is the most interesting in this book,as it includes many unknown people or people on whom info is not available easily elsewhere
The cost of the book was 700/- when it was published,but I believe now it is about 1000/- or so,with some more photographs etc.
If you are a fan of Bharat Vyas ji,you can buy it.

The book was available only with the publisher ( author’s wife).
Thanks.
-AD

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Dear Arun ji,

Thank you very much. Truly appreciate your detailed response.

Regards,
Dhruv

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