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

Sapnon mein aane waala baalam

Posted on: August 14, 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.

This is a song from film Neelampari-1952. It is a duet of Asha Bhonsle and Geeta Roy, under the baton of composer Khwaja Khursheed Anwar.

Many readers may not be having much information about this Music Director, because he migrated to Pakistan in 1947. However he kept on visiting India on and off to compose music for a few films, till 1952. After this he never came for composing music in films.

Partition of India was a great jolt to the film industry. There had been 4 major centres of Film production-Calcutta, Bombay, Lahore and Madras. Bombay and Lahore made Hindi/Urdu films mainly, whereas Calcutta made Bilinguals in Hindi and Bangla. Madras made films only in southern languages till 1948. After Partition, many Directors, Actors and Composers migrated to Pakistan in search for greener pastures in a new country. For a truncated film industry of Pakistan, these experienced artistes were heaven sent. Most composers like Chisti, Nissar Bazmi, Rasheed Atre, Nashaad, Khursheed Anwar,Firoz Nizami,Inayat Hussain etc were not among the A class composers in India,but they not only prospered in Pakistan, but became very successful commercially as there was no competition for them there and the field was open for these talented composers.

Unfortunately, after these artistes-composers reached the stage of retirement in the 60s and 70s, there was no second rung of younger set of composers to take over from them. Consequently, the condition of Pakistan Film Industry became pitiable, after the ready made supply of talent during partition days got exhausted. Added to this, the political situation there and people’s continued craze for Indian films sounded the death knell of Pakistan Film Industry.

Khwaja Khurshid Anwar (21 March 1912 – 30 October 1984) was a filmmaker, writer, director and music composer who gained extreme popularity both in India and Pakistan. He is widely credited as being one of the most original and inventive music directors of his generation.

Khwaja Khurshid Anwar was born into a Kashmiri family on 21 March 1912 in Mianwali (now in Pakistan) where his maternal grandfather Khan Bahadur Dr.Sheikh Atta Mohammad (who’s daughter married philosopher-poet Muhammad Iqbal, to whom he was thus a nephew) held the post of civil surgeon. His father Khawaja Ferozuddin Ahmad was a well-known Barrister settled in Lahore. The ace jurist had a love for music so much so that he had a huge collection of gramophone records of Indian classical and neo-classical music and his precocious son had an unhindered access to them all. Moreover, in the weekly soirees of music which were held in the lawyer’s house, renowned masters used to perform, and it was here that the young Khurshid Anwar developed a taste for classical music. Viewing Khrshid Anwar’s keen interest Khansahib Tawakkal Hussain took him under his tutelage in 1934.

Khurshid Anwar was also a brilliant student at Government College, Lahore, the renowned seat of learning. Having topped in the Masters in Philosophy (1935), he appeared in the examination for Indian Civil Service (ICS) but due to his political and anti-Raj activities, the colonial masters would not let him share power. Interestingly, he had also absented himself from the prize-distribution ceremony of the Punjab University held to honour the students with distinctions. When his name was called to receive the Gold Medal in Philosophy, nobody turned up. The British Chancellor of the University who was awarding medals remarked that the student having forgotten to receive the medal is a true philosopher. Actually,he was busy listening to music in his home.

In 1939 Khurshid Anwar joined All-India Radio, Delhi as Programme Producer/Music. It was from here that he acceded to the requests of A.R. Kardar, the renowned film producer, to join Bombay filmdom as Music director. He made his debut as a music director in Kardar’s Punjabi venture “Kudmai” (1941]. His first Hindi film was “Ishara”(1943]. The film gained much popularity from its songs which included “Panghat pe muraliya baje” by Suraiya, “Shabnam kyon neer bahaye” by Gauhar Sultana, and “Dil deke dagha nahin dena” by Vatsala Kumathekar. Some of his other Hindi films were Parakh (1944, with Saraswati Devi), Yateem (1945, with K. Dutta), Aaj Aur Kal (1947), Pagdandi(1947), and Parwaana(1947) which was the last movie in which K. L. Saigal acted and sang. For “Singaar” (1949) he got the Clare Award for Best Music Director. His later films “Nishaana” (1950) and “Neelam Pari” (1952) added new feathers to his cap. He remained an inspiration to many later day music directors in both India and Pakistan. For many years, Roshan was a disciple of his, as was Shankar of Shankar Jaikishan. He was regularly praised by his contemporary Naushad Ali, who considered him to be one of the finest composers in the subcontinent.In one of the interviews,however,he said that Naushad’s knowledge of Classical music was not good,but he manged to churn out melodious songs.

Khurshid Anwar finally migrated to Pakistan in 1952, till then he was coming and going to India for his film works. It was in fact his arrival in a newly independent land where the nation was in search of its expressions in arts especially in music. And it was here in 1956 that Khurshid Anwar gave Pakistani film music its identity through his magnum opus “Intezar”. The film also gave a new lease of life to Noor Jehan, his lead singer for the years to come. After, “Intezar”, Khurshid Anwar continued with his stylistic creations in films such as, Mirza Sahiban (1956), Zehre Ishq (1958), Jhoomer (1959), Koel(1959), Ayyaz (1961), Ghunghat (1962), Haveli (1964) Chingari (1964), Sarhad (1966), Hamraz (1967), Guddo (1970),Heer Ranjha (1970), Salam E Mohabat (1971), Parai Aag(1971), Shireen Farhad (1975), Haider Ali (1979) and Mirza Jat (1982).

Khurshid Anwar died on 30 October 1984 in Lahore after protracted illness. In recognition of his contribution in enrichment film music, the Bombay film industry awarded him the coveted Mortal-Men-Immortal-melodies Award (1982). Great Urdu poet of 20th century, Faiz Ahmad Faiz was a lifelong friend of Khurshid Anwar. During an interview, in reply to a query of Anwar Maqsood, Faiz acknowledged that he was inspired by Khurshid Anwar.

He has also been praised for his efforts to keep alive Classical music not only through his compositions but also through his unique collection of classical Music performances recorded by EMI Pakistan, known as Aahang-e-Khusrav in two parts(1978). Raag Mala has ten volumes includes 90 Raags in ten Thaths. Each Raag has a short introduction in the voice of Khurshid Anwar explaining the characteristics of the Raag followed by its audio performance by renowned Classical singers of Pakistan. The second part of Aahang-e-Khusravi is Gharaon Ki Gaiyki in 20 volumes which consists of audio recording of representatives of the main Gharanas of Classical singers in Pakistan. In recognition of his services for the cause of music, he was awarded the coveted ‘Sitara-e-Imtiaz’ by the Government of Pakistan in 1980.

He got Nigar awards 3 times. He also got President’s award for Best Music and Best story for film Intezar-56. Film Intezaar-56 was released on 12-5-1956 at Lahore.It was produced by Sultan Jilani and directed by Masood Parvaiz.The cast consisted of Noorjehan,Santosh kumar ( real name Syed Moosa Raza ),Asha Posley and others. Film Intezar was so famous and a Hit film that in India,Dilip kumar,K.Asif and financer seth Palan ji wanted to release the film in India. The south Giant producer S S Wasan of Gemini studios contacted him and asked for the rights of the film and enquired how much will be his fees. Khursheed Anwar replied that his works are open for all those who will join him in the crusade against vulgar music. he said there will be no fees and the film was remade in Tamil subsequently.
He had great respect for S.D.Burman,followed by Salil Chaudhari for their musical genius in India.

He made one Punjabi and 9 Hindi films in India and 18 films in Pakistan. As a producer and also writer he made 6 films and directed 3 films in Pakistan.

In India, he has composed 72 songs,but not even one of these songs is there by Lata mangeshkar. he used Geeta, Asha etc, but not Lata. There was a story circulating that Lata was called for rehearsals for a song composed for film Neelampari-52. She came but did not wait for the composer to come, after hearing that the composer can neither sing nor play a single instrument ! In an interview, on asking about this, his brother Khawaja Sultan Ahmed ji said that it was not true. She was tied up with HMV consecutively for 5 days for recording and so could not come for rehearsals. He also said that Khurshid Anwar ji could sing well and played instruments too.(Thanks to Harish Raghuwanshi ji for information.)

Except for Parakh-44 and Parwana-47-out of his 9 films in India-Khursheed Anwar could not do much noteworthy here. Though his compositions were high on quality,they were low on audience popularity. Further the thing that did not help him much was that he got mainly B grade films only.

Film Neelampari-52 was a fantasy and costume film,which had a separate block of audience. The cast of the film was Geeta Bali,Sajjan,Sapru, kuldeep kaur,gope,Parshuram etc etc. There were 9 songs in the film. This will be the 6th son on this Blog. The story of Neelampari-52 was….

Neelampari, a tale of fairies or gins? A story of kings or beggars? A filmfare of mirth and miracles! . One morning when the world opened its eyes there were lightening, earth-tremor, eruption of volcanoes, shrieks and what not? Out of this fury came out a “ball of light” dazzling the eyes of the world. It was Neelam, a diamond which fulfills every desire. . Now there ensued a race of kings, queens, heroes, saints, magicians to get this Godsent gift. Challenging the might of mighty Toofan, the owner of Kal Qila, the Neelam came into the possession of Neelampari, a valiant amazon. But the villainous tricks of Toofan were enough to usurp the wanted diamond from the daredevil beauty.

Now Neelampari and her husband Parbat were in the custody of Toofan. Toofan’s vampire sister Bijli once loved this gentle soul Parbat. Bijli again wanted to victimize Parbat by the sexy snares of her charms, but got a blunt rufusal from him. It enraged Bijli and Toofan both. The sorcery of these wicked souls transformed Parbat into a wriggling dragon and and Neelampari into a `Maina. Now Bijli wore the lifeless physical mantle of charming Neelampari and kept playing with the lives of numerous youths to satisfy her lust. . Raja, a Robinhood of Shahbad won Seema, the princess in the match of archery. But due to his poverty his victory was refuted. Seema challenged the refutal.

Now Shamsher, the prime minister played another trick by asking Raja to bring Neelam, the diamond, as he wanted the throne of Shahbad for himself by getting Seema, (the only occupant of the throne) married to one of his useless sons Chunnoo and Munnoo. . Accidentally Chunnoo and Munnoo got the company of Raja who was leaving Shahbad in the pursuit of Neelam. . “Neelam, Neelam” was the cry of a wayward prince and it gave Raja a clue of his wanted diamond. He followed the lovelorn prince Silvan to the bedroom of fake Neelampari (Bijli) flew with the cot of Prince Silvan.

Raja followed, but was dropped into the deep waters full of deadly sea-monsters. Chunnoo Munnoo too were left in the lonely woods by a magic cock. Toofan’s brother Badal stole the precious Neelam from Kal Qila but the stone was swallowed by a seadragon and Badal lost his life in the melee with Toofan. This loss maddenned Toofan. Bijli managed to bring Seema near her maddened brother Toofan. But Seema was for Raja and Raja was for Seema. Raja with the help of Chunnoo and munnoo rescues Neelampari and her husband Parbat. With her magic,she regains the Neelam and also imprisons Bijli and Toofan. Thus finally Raja and Seema unite and Neelampari is thanked by all.

Here is this song from “Neelampari”(1952). It is sung by Asha Bhonsle, Geeta Roy (later Dutt) and chorus. Saraswati Kumar Deepak is the lyricist.

Audio

Video

Song-Sapnon mein aanewaala baalam (Neelampari)(1952) Singers- Asha Bhonsle, Geeta Dutt , Lyricist- Saraswati Kumar Deepak, MD- Khwaja Khursheed Anwar
Chorus

Lyrics

sapnon mein aane waala baalam
man mein samaane waala baalam
sakhi tera bhola balam aayega
aayega matwaala baalam
piya ghar aayenge
chhab dikhlaayenge
saanwre sajan ki kanwal dekh ke
naina muskaayenge

sapno mein aane waala baalam
man mein samaane waala baalam
sakhi mera bhola balam aayega
aayega matwaala baalam

aisi bhi kya hain wo baaten
haan dekho ji hamse chupaao nahin
ho o o o
jaao na chhedo saheli
haan hamse baaten banaao nahin

dekho dekho sharmeeli pariyaan raas rachaaye hain
tan lahraaye hai
jiya bal khaaye hai
piya ke milan ke sapne dekh ke
gori muskaaye hai
sapno mein aane waala baalam
man mein samaane waala baalam
sakhi mera bhola balam aayega
aayega matwaala baalam

preetam ke rang mahal mein
haan aan
apna rang jamaaungi main
haan aan
?? na batiyaan
haan wo ?? to rooth jaaungi main
sajan ke ghar jaake main phir nahin aaungi
main to naachoongi
main to gaaungi
apne sajan ki dulhan ban thhan ke
main to itraaungi

sapno mein aane waala baalam
man mein samaane waala baalam
sakhi tera bhola balam aayega
aayega matwaala baalam

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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.

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