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

Mera taamku kare ishaare

Posted on: August 23, 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.

Cinema is popular all over the world. It is popular in India and in every state of India. An average Indian is fond of and can talk endlessly on three common topics- Indian Politics, Cricket and Films. He has opinions on every happening in these matters. At least, this was the case till a few years back. The points of interests might have changed for the new generation and I am blissfully ignorant about the topics that interest the new generation.

However, there is a difference between the influence of Cinema in South India and the rest of the world. While cinema is a matter of entertainment in the rest of the world, In south India, cinema not only influences the social life, but also the politics in a major way. Popular Hero and Heroines in south are nothing less than Gods and Goddesses. The influence of cinema on politics in south can be proved by a simple fact that since last 50 years, the Chief Ministers of Madras/Tamilnadu have been from the film world. Even in Andhra Pradesh ( the erstwhile A.P.) the C M was a leading Film star for some years. The film personalities wield considerable influence in Politics even In Karnataka and Kerala.

In Madras state and later in Tamilnadu ( from 1969), right from Chief minister Anna Durai to today’s Jayalalitha ( except Kamraj, for a brief period), the state politics is controlled by film artists like MGR, Karunanidhi etc. All of them invariably used the medium of Cinema to further their ideals and party agendas-of DMK or AIADMK.

Of all the CMs, M G Ramchandran or just MGR, was the most ambitious person. He was keen that he should be well known all over India, especially North India. But his biggest problem was Hindi language. Modern technology solved this problem and he decided to make a Hindi film using the dubbing facility. Thus was made the Tamil film “MARMAYOGI” ( Ek Tha Raja-51 in Hindi). Newspaper “Hindu” briefly describes, how and why this film was made, in an article published in 2008. here is an edited extract from the article…

” Perhaps the most historically significant film of 1951 was K. Ramnoth’s Marmayogi, a Jupiter Pictures’ production made at Central Studios in Coimbatore. This film, a folkloric tale of kings, royal mistresses and rebellious princes was written by A. S. A. Sami who had planned it specially for M. G. Ramachandran.

MGR who made his debut as hero in Sami’s Rajakumari -47, was aware that the success of that film was due to reasons other than himself. It had action, trick scenes, entertainment, sexy dances and the hero was only an auxiliary cause and nothing more. So MGR persuaded Sami to write a script built around him to boost his image as a social rebel, do-gooder, and a fearless fighter for the underprivileged.

MGR was an ardent filmgoer and a fan of Hollywood action heroes such as Douglas Fairbanks and Errol Flynn. Fairbanks fascinated him more and he modelled himself after this famous American idol of the Silent Era. Sami worked on a script, a mix of literary and classical elements, for MGR. Inspiration was drawn from the novel “Vengeance” by Marie Correlli and the legend of Robin Hood! MGR was cast as the younger prince who rebels against a woman who usurps his father’s kingdom and lets loose a reign of terror. The king pushed off a boat by his mistress, and presumed to have drowned, escapes and lives in disguise as a mysterious saint (hence the title Marmayogi) and also parades as a ‘ghost’ at nights. The hero turns into a Robin Hood and leads the masses to victory. The name of the hero — Karikalan –— was deliberately chosen to impress and exploit the new feeling of ‘Tamilness’ among the people.

In films of this genre, names of heroes are mostly Sanskrit derivatives such as Veerasimhan and Pratapan. But Sami went for a typical Tamil name, after the name of the famous Tamil king, Karikala Chozhan.

Initially the title of this film was Karikalan. Later it was changed so that people don’t mistake it for a historical film. Ramnoth revealed his talents with his technically slick direction. Sama as the king, Anjali Devi as the power-crazy mistress and Sahasranamam as the elder prince performed their roles well. But the movie belonged to MGR. Every word of his dialogue was planned and written to build a special image for him and the lines had multi-layered meanings. One of the lines summed up MGR’s ambitions, personal, and political … “Naan kuri vaithaal thavara maatten! Thavarumey aanaal kuri vaikka maatten!”( It means- when I aim, I don’t miss. If it is to miss, I don’t aim !) This dialogue became popular and was greeted with gleeful screams in cinema houses. Strangely the Censors gave Marmayogi an ‘Adults Only’ certificate. Why? The film had a ‘ghost’ and hence the ‘A’ certificate!

Marmayogi’ received a warm welcome from the masses, especially the rapidly increasing rank and file of the MK party. With this film MGR’s image brightened and his career as a political figure was established. Soon he acquired a prefix to his name “Puratchi Nadigar”!( Revolutionary Actor ). “

The film was made in Hindi simultaneously, with dubbing of dialogues, but it did not evoke any enthusiastic response from the Hindi audience, perhaps due to the artistes being new and unfamiliar to them and the different style of acting of southern actors-dramatic- which was alien to Hindi viewers. MGR could not get what he wanted, but it was well compensated with extraordinary success of the Tamil film. The film was dubbed in Telugu, Kannada, Malayalam and Sinhalese languages and was successful everywhere-except the Hindi belt. But who cared ?

C.Subramanyam was the Music Director for the film- Ek tha Raja-51. Many south Indian composers had tried their hands at giving music to Hindi films in the decade of 1950s. Music Directors like, Ghantasala, B S Kalla, S D Parthasarathi, E.Shankar, B.Laxman,Vishwanathan,R.Sudarshanam, S V Venkataramana, T R Ramanathan and T G Lingappa are few of the less known names-for Hindi belt-from south who gave melodious music, but somehow they did not succeed here. One reason could be their use of southern singers,for whom acceptibility among Hindi audience was a problem. Names like Ramesh Naidu, Adi Narayana Rao and the pair of Vishwanathan- Ramamurthy were atleast known names here. Their films like Piya milan-55, Suvarna Sundaqri-58 and Naya Aadmi-56 had many popular songs.

Today’s song is a duet of Zohrabai Ambalawali, and Jikki ( P G Krishnaveni) with chorus. The lyrics are by Pt. Sudarshan. The words of its Mukhda sounds strange to me. What is the meaning of ‘Tamku” ? Since I have not seen this film, I can not imagine about the song’s situation. However the melody is quite attractive and the song is very good.

Audio

Song-Mera Taamku kare ishaare (Ek Thha Raaja)(1951) Singers-Zohrabai Ambalewaali, Jikki, Lyrics-Pt Sudarshan MD-C R Subbaraman
Chorus
Zohrabai Ambalewaali + Chorus

Lyrics

hoy hoy hoy hoy hoy hoy hoy
mera taamku
o mera taamku
taamku
o mera taamku

ho o o
ho o o
o o o
taamku
o mera taamku
taamku taamku
mera taamku

meru taamku kare ishaare
ae ae ae
ae ae ae
meru taamku kare ishaare ae
?? nadi kinaare
taamku
o mera taamku
taamki
o meri taamki
o o o
o o o
o o o
taamki
o meri taamki
taamki taamki meri taamki

ik nagri mein do behnen thhin
ik gori ik kaari
ik nagri mein do behnen thhin
ik gori ik kaari
gori ko koi poochhe naahin
kaari ki chhab nyaari
gori ko koi poochhe naahin
kaari ki chhab nyaari ee ee
mere man hook uthhe
jab chaal chale matwaaree ee ee
mere man hook uthhe
jab chaal chale matwaaree

hoy hoy hoy hoy hoy hoy hoy
mera taamku
o meri taamki
taamku taamku mera taamku
taamku taamku mera taamku

main jab hui jawaan
jagat mein
ek kahaani aayi
main jab hui jawaan
jagat mein
ek kahaani aayi
ban mein jaadoo jaag uthha aa
man ki bagiya lehraayi
ban mein jaadoo jaag uthha aa
man ki bagiya lehraayi

ho ho o o
jawaani jhoom uthhi
jab maine li angdaai
ho o o
jawaani jhoom uthhi
jab maine li angdaai
hoy hoy hoy hoy hoy hoy hoy
mera taamku
o meri taamki
taamku taamku mera taamku
taamku taamku mera taamku

jungle mein ik sapna dekha
sapna rang rangeela
jungle mein ik sapna dekha
sapna rang rangeela
dharti per ?? aaya ??
gabroo chhail chhabeela
dharti per ?? aaya ??
gabroo chhail chhabeela

zamaana mast hua
ye dekh dekh kar leela
zamaana mast hua
ye dekh dekh kar leela

hoy hoy hoy hoy
hoy hoy hoy hoy
taamku
o meri taamki
taamku
taamki
taamku taamku mera taamku

1 Response to "Mera taamku kare ishaare"

Adi Narayan Rao was the best of the lot. Suvarna Sundari and Phoolo Ki Sej were classic. He also gave music in some frivolous movie Gunfighter Johny-1972 and some Inquilab Zindabad-1971

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