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

Chalo jamuna ke paar

Posted on: May 16, 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.

VINTAGE SHAMSHAD BEGUM …..Song No. 7
——————————————-
Today’s song is sung by Shamshad Begum, Sulochana Kadaam and Mohd. Rafi for the film Lal Dupatta-48.

In our last episode, we briefly looked at the industry scene in 1948. This was the beginning of the peak of the “Golden Era” of HFM which for the next 10 to 15 years gave immense everlasting musical happiness to people in India. The music of this era was so enchanting that even today, music lovers all over the world demand old songs of this era in any Musical stage show conducted anywhere.

Cine Music was there at that time and it is here today also, then why is it that old songs are remembered by people even after 50-60 years while today’s songs have a life of about 3 to 6 months ? Actually new technology is available today and Music has become Universal but still why this preference for old Music ? It is not that people of my age only say so. The very fact that Millions of people from almost 200 countries around the world visit this Blog regularly clearly proves my point, because 95% of songs( E&OE) on this Blog are from the period of 40s to 70s.

Several theories by learned experts have been advanced to explain why old songs have a longer life. In my opinion (IMHO, in today’s Mobile language),there are three main reasons.

One-The quality of song Lyrics….In the 40 and 50s, the story writers and Lyricists were mainly from the Urdu/Hindi belt of North India/U.P. These people were all educated and well known scholars, poets and Literary figures, even before coming to film industry. Their Lyrics were meaningful and filled with emotions. Today even the most prosaic sentence like “aati kya Khandala” or “Mera naam Shabnam hai” are treated as Lyrics.

Two…the singers of that time were dedicated persons. Most had systematic training in classical music or under a Guruji. They were ready to do hard work and struggled to come up as singers. They did rehearsals unendingly till the composer was satisfied. They had humbleness, not Egos. Singers respected each other. Their songs came after hard work.

Three….The composers were essentially musical experts and those who did not have classical training had toiled under seniors for long periods. It was almost presumed that one has to do an apprenticeship under an established composer, before he became one himself. Rehearsals were an essential part and almost every composer knew playing various instruments himself.

Most important was there was a Bonhomie among artistes. Songs were made with joint and collective efforts. Naturally,the outcome was everlasting music.

Today, there is no time for rehearsals. Each singer records his own part in the song separately and then the mixing is done electronically. Today’s songs are the outcome of technologies and expertise in techniques. This is one debate which is unending. Different opinions are expressed on this issue. However,I maintain even today that “everything that was made before 1970 was not Good and everything that is made after 1970 is not Bad. “There are, even now, although rare, some good songs in our films.

Anyway, talking about 1948 scene in Hindi films, I had kept one film undiscussed in the last article. The film was from South- Chandralekha-48

The film CHANDRALEKHA was a wonder of Indian cinema.

Today’s generation may not know anything about it,therefore I will try,briefly,to give some information on it,so that they will know what it was like.
Chandralekha was a Gemini Production and was directed by Mr.S.S.Wasan,the founder of Gemini Studios. Wasan was a person who believed that Cinema IS a medium of full entertainment and hence he planned Chandralekha. It was in the making for 5 years and was simultaneously made in Tamil and Hindi. Its budget was unprecedented and no money was spared to make it the most famous film of Indian cinema.

This was the first Tamil movie released all India with 603 prints in those days,some of them with English subtitles.The film was made in massive scale in Cecil B.De mille style.

The story was of a good and a bad Prince, not only fighting for the Throne but also for the beautiful village girl,Chandralekha.She agrees to marry the bad Prince with a condition that she will do a Drum Dance.

For this most extravagant scene,500 gigantic Drums were made and the dance music was a combination of Indian,South Indian,South American and Viennese waltz music. 500 dancers danced on these drums and at the end,500 soldiers hidden in the drums come out and attack the bad Prince.
World’s longest sword fight ensues and all is well at the end when Good prevails over the bad.

Not only the Music Director was same but all the 9 songs had the same tune in Tamil and Hindi.

This film was appreciated in many International forums and won many awards too !

Today’s song from Lal Dupatta-48 is a combination of 3 ‘Damdaar’ voices. Shamshad Begum, Sulochana Kadam and Rafi. All known for their solid and flexible voices. Sulochana Kadam was just about 16 year old in 1948. Her solid voice made her “Laavani- Queen ” in Marathi films after 1958, when she stopped singing in Hindi films.

This was a social film featuring Madhubala, D K Sapru, Rajan Haksar, Kesari etc.( Two funny names Pundit Iqbal and Bhagobai also feature in this film). Here is some information about D.K.Sapru, based on an edited article from Chinar Shade, with thanks…

“ Where from have you come ? You look like an European . Please sit . I need to talk to you .”
This is what V Shantaram had told the young boy in 1944 who had come all the way from Jalandhar to Prabhat Studios Poona . Shantaram , Babu Rao Patel and Sheikh Fatehlal were the partners of Prabhat Studios at that point of time.

Looking at his face and after the usual introduction ,V Shantaram signed the blue eyed handsome Daya kishen Sapru for a role in his next movie RAM SHASTRI.. The character of a Peshwa played by him was well noticed and the movie turned out a big hit.. He was signed as lead hero by the Company on a monthly salary of Rs3000/= highest ever paid to any hero during those days . It was a hefty sum that enabled him to live a princely life during those days .It was somewhere around 1945-46.

Films started pouring in later .He acted in Romeo and Juliet ( opposite Nargis . Nargis’s Mother Jaddan Bai was all praise for Sapru. The film was produced by Nargis’s brother Akhtar Hussain . ) ,Jhansi Ki Rani ,Kalapaani , Hum Hindustaani , Sahib Bibi Aur Ghulam, Mujhe Jeene Do , Leader and Shaheed . Who does not remember his role as Majhale Sarkar ( Chaudhary ) in Sahib Bibi Aur Ghulam. Again as Zamindaar in Mujhe Jeene Do , he became quite popular. We saw him in some wonderful roles in Naya Daur , Prem Pujari ,Jewel Thief , Krodhi , Kudrat ,Dharm Veer, Dream Girl, Zanjeer , Pakeezah and many more such films .It was a period when story writers would create a character for him in the story or script. He was seen either as a Zamindaar or a Police commissioner or a Judge in most of his later films .

In Total ,he must have acted in more than 350 films and out of which he played lead role in more than 50 films. He also played lead roles in some Gujarati and Punjabi films.

Saprus are Sarswat Brahmins from Kashmir known as kashmiri Pandits who belong to DIPAT SAMAN AUPAMANYAVA Gotra or the lineage of an Aryan Rishi .This clan of kashmiri Pandits actually belong to village SAPREIN in present day Kulgam district of kashmir and could be safely called as aboriginal kashmiris. some other prominent Saprus are Sir Tej Bahadur Sapru , Jagdish Narayan Sapru ( Prominent Businessman of the country ) Sahaj Ram Sapru Revenue collector during the rule of Afghan Governor Azim Khan ( 1809-1819 ) and Dr Allama Iqbal Urdu poet and Islamic scholar ( He too belonged to a sapru family from kulgam that had converted to islam )

Daya kishen Sapru belonged to a well off family from Kashmir and his father was employed in Maharaja’s Treasury . That made the family to move to Jammu and Lahore during winters. Daya Krishen was born at Jammu and had his early education at Jammu and Lahore. Fluent in Punjabi , he was also proficient in Hindi, Urdu and English .From his childhood days , he would love music and singing. He could easily play on his Harmonium.

Before moving to PUNE , D K as he was known amongst his numerous friends lived at Jalandhar cantt for some time where he took up the job of a contractor .He had four brothers and two sisters and D K happened to be the fourth child in this joint family.

D K Sapru met Marathi actress and IPTA activist Hemvati and they fell in love. They married in 1948 .Hemvati was a noted Marathi actress who also worked at PRITHVI Theatres. She acted in SANGAM with Ashok Kumar and Nalini Jaywant in lead roles. She had also worked with Dev Anand in MOHAN ,Mubarak and Renuka in Ghar Ghar Ki Kahaani and Raj Kapoor in Jail Yatra . A play named Deewar had Hemvati and Raj kapoor in lead roles and the play became quite popular on stage during those days.

After marriage , Hemvati played the role of a caring wife and an affectionate mother in her family. After marriage,She possibly acted only in one movie PATITPAAVAN a home production of sapru family.

Sapru children are also in films . To quote their elder daughter REEMA is a well known script writer while second daughter PREETI is a successful Punjabi actress while their son Tej is a noted film and TV actor. The brother and sisters are closely attached to each other . They too live by the family values that they inherited from their father .

D K Sapru also acquired good and working knowledge of Homeopathy and was seen reading Homeopathic books quite often during his spare time. He then started practicing this school of medicine and would treat everybody without any charge often Buying medicines and distributing them free.
Sapru also committed a folly of producing films. One can say that he was misguided by some selfish friends. Though he had learnt some lessons from his first home production Patitpaavan , a movie that earned him a few thousands only yet he took up another production project “Bahadur Shah Zaffar” and brought in a large star cast that included Sudesh Kumar, Chand Usmani, Shyama, Rehman, Jeevan, Ulhaas ( M N Kaul ) and Nirupa Roy. He pooled in all his resources and raised loans for the project mortgaging his spacious new Bunglow. The movie did not sell on Box office . That landed the family in great trouble. The house had to be sold to repay debts.

Sapru turned diabetic during his later life. Inspite of is failing health he decided to make a last attempt to produce another film JEEVAN CHALNE KAA NAAM. By Now Reema was a trained screen play / script writer . She wrote the script and the family signed in Sanjeev Kumar, Rekha, Shashi Kapoor. DK fell ill suddenly and had to be hospitalized for about an year. The project was abandoned. D K was also operated upon for a malignant growth in his shoulder and finaly died of a heart attack at a young age of 63 years in 1979. His favourite child Reema was already married at that time. And by then he had also turned a grandfather .

So, let us now enjoy this Trioka of Shamshad begum, Sulochana Kadam and Mohd. Rafi from the film ‘Lal Dupatta’-1948. Lyricist of this song is not known. Music is composed by Gyan Dutt.


Song-Chalo jamuna ke paar (Laal Dupatta)(1948)Singers-Shamshad Begam, Rafi, Sulochana Kadam, MD-Gyan Dutt
Chorus

Lyrics

chalo jamuna ke paar
jamuna ke paar
hoy chalo jamuna ke paar
dil ki dukaanen lagin jahaan per
nainon ke baazaar
dil ki dukaanen lagin jahaan per
nainon ke baazaar
chalo jamuna ke paar
chalo jamuna ke paar
hoy chalo jamuna ke paar

aage aage toli hai
ik mast jawaani waalon ki
aage aage
hoy hoy
aage aage toli hai
ik mast jawaani waalon ki
peechhe peeche bheed chali hai
ulfat ke matwaalon ki
ulfat ke matwaalon ki
peechhe peechhe

hoy hoy
peechhe peechhe bheed chali hai
ulfat ke matwaalon ki

inhin ke andar dilwaale hain
inhin mein hain dildaar
inhin ke andar dilwaale hain
inhin mein hain dildaar
chalo jamuna ke paar
chalo jamuna ke paar
hoy chalo jamuna ke paar

ho o o o
laal gulaabi roop hai chhaaya
dekho har albeli par
dekho har albeli par
har banjaara nikla hai
dil leke aaj hatheli par

har banjaara nikla hai
dil leke aaj hatheli par
dil leke aaj hatheli par

koi qaidi in mein zulfon ka
koi nainon ka beemaar
koi qaidi in mein zulfon ka
koi nainon ka beemaar
chalo jamuna ke paar
chalo jamuna ke paar
hoy chalo jamuna ke paar

raani banke bhumiyaa ki chhori
jaaye jaise patang ki dori
raani banke bhumiyaa ki chhori
jaaye jaise patang ki dori

hoy bhumiyaa ki chhori
?? ke baraabar jaat ka chhora
kehta jaaye chori chori
?? ke baraabar jaat ka chhora
kehta jaaye chori chori
hoy ?? kori
naina tore
dodhaari talwaar

??? kori
naina tore
dodhaari talwaar
chalo jamuna ke paar
chalo jamuna ke paar
hore chalo jamuna ke paar

ghodiyaan pe baithhi jaaye ??
jaaki shokh najariya re
jaaki shokh najariya re

haath na jaaye bhari umariya
paidal daud sanwariya re
paidal daud sanwariya re

hoy hoy hoy hoy
dekho logon ise kahe hain
ooncha neecha pyaar
dekho logon ise kahe hain
ooncha neecha pyaar
chalo jamuna ke paar
chalo jamuna ke paar
hoy chalo jamuna ke paar

dil ki dukaanen lagin jahaan per
nainon ke baazaar
dil ki dukaanen lagin jahaan per
nainon ke baazaar
chalo jamuna ke paar
chalo jamuna ke paar
hoy chalo jamuna ke paar

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8 Responses to "Chalo jamuna ke paar"

I think Sapru was the first choice of K. Asif, as Salim, when he started ‘Mughle Azam in 1946.

My mother fell ill after seeing the Chandralekha. After coming from a village the scences were quite intimadating especially people coming out from the huge mouth.

Sulochana Kadam
She married S Chavan and became Sulochna Chavan. Her Marathi songs are more famous. And what a matured voice; juicy and sexy which was de ri·gueur for singing lavanis.

As Sulochana Kadam >>
Dholak (1951)
Mukhda (1951)
Malika Salomi (1953)
Lal Dupatta (1948)
Alakh Niranjan (1950)
Kismatwali (1947)
Bachke Rehna (1949)
Aazmayish (1952)
Daamad (1951)
Dashavtar (1951)
Kaale Baadal (1950)
Basera (1950)
Bhagyawan (1953)
Har Har Mahadev (1950)
Shri Ganesh Janma (1951)
Titli (1951)
Aag Ka Dariya (1953)
Jhansi Ki Rani (1953)
Bombay (1949)
Actor (1951)
Nao (1948)
Naqab Posh (1956)
Babooji (1950)
Raja Harishchandra (1952)
Rajrani Damyanti (1952)
Lakshmi Narayan (1951)
Hanste Rahena (1950)
Surang (1953)
Sunehre Din (1949)
Simba (1951)
Dushmani (1950)
Jungle Mein Mangal (1947)
Bhakt Puran (1952)
Raj Kumari (1955)
Jungle Ka Jawahar (1952)
Kyun Ji (1952)
Zamane Ki Hawa (1952)
Bhishma Pratigya (1950)
Dukhiyari (1948)
Krishna Sudama (1947)
Jeevan Taara (1951)
Jai Shankar (1951)
Jai Mahakali (1951)
Sagar (1951)
Refugee (1948)
Ishwar Bhakti (1951)
Roop Lekha (1949)
Devyani (1952)
Dharm Patni (1953)
Daku Aur Bhagwan (1975)
Farmaish (1953)
Chhoti Duniya (1953)
Basera (1950)
Sandesh (1952)
Mamta (1952)
Chanda Ki Chandni (1948)
Rajrani Damyanti (1952)
Khoj (1953)
Paaro (1947)

Earlier if you made mistake while playback singing you had to sing the whole song again. There are instances when the singer had to sing the song 28 times. Many times Mukesh had to undergo the ordeal. Consequently the final song became more durable.
Nowadays the MD comes to the studio with the laptop with background music already in the file. The singer comes and sings the song like a karaoke singer. If the M(A)D feels there are some changes like murki, the singer has to sing one line at the most. Later the offending part is cut and the right part is pasted. Voila. Over

The comments on the quality of old Hindi film music are educative. I have been listening to Hindi film songs for over 60 years, along with songs in Tamil, Telugu, Kannada and Malayalam. I can definitely say that while old music in all these languages was good, there was something extraordinary, almost mystical, about Hindi songs. Hindi not being my language, I was first attracted to Hindi songs solely by the tunes and the voices ( my earliest memories being of Ab tere siva kaun mera Kishna Kanhaiya, Bharat ki ek san nari ki hum katha sunaathe hain- which my mother used to sing when we were children) I had great difficulty in following the lyrics. Our Muslim tailor was the one who could explain the Urdu words, but many words were beyond his range. Later, when I went to North where I lived for 35 years, I got to appreciate the lyrics through friends who spoke the different dialects of Hindi and Urdu. It was then I was stunned by the unmatched quality of those lyrics, compared to the other languages.

This I can explain in another way. When a Tamil movie was later remade in Hindi, such as Missiamma as Miss Mary, the situation called for similar song. In this case, only one original tune was retained: Brindavan ka Krishan Kanhaiya. But the Hindi lyrics by Rajendra Krishan are a real poem, as also his other song: So gaya sara zamana. But when a Hindi movie was remade in Tamil later, such as Ustadon Ke Ustad, or Qaidi No.911, or Alibaba& 40 Thieves, though the original tunes were retained, the quality of lyrics could not be maintained or matched. No doubt the Tamil songs are good as film songs, but they are not poetry.(But in the films which were dubbed into Tamil such as Aan, Aah, Uran Khatola, the original songs were translated and adapted and hence retained their essential poetic quality.) The poetic quality of old Hindi songs is remarkable.

One feature was that those lyricists were basically poets and this tells in their lyrics.Rose will smell rose anywhere! Film songs are written to meet a story situation, but many of the old songs stand out as sheer poems by themselves, which can be appreciated quite out of the filmi context. Second, I was impressed by the fact that these poets put great philosophical truths in simple words and made millions of people learn them effortlessly. Thus we see: Mehnath mera kaam, dena uska kaam- in Chhalia mera naam actually expresses the truth of the Gita: karmanyevadikaraste; Ladakpan khel mein khoya in Sajanre jhoot mat bolo restates simply what Sankaracharya wrote in Bhajagovindam:Balastavat kreeda saktaha etc; Aasman pe hai khuda reminds us of wh

Nanjappaji,
Great stuff.
There were many greats in the South but unfortunately it seems they did not write much for the film industry.
Great of you to take pains to understand a totally different language like Hindustani which is as different as chalk and cheese from the South Indian languages.

Nanjappa ji,
Thanks for your detailed comments. Glad to note you too agree with me.
Thanks again.
-AD

Here is a working song of the song

Thanks,Anindya ji.

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This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14900 song posts by now.

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