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

Chaar Dinon Ki Jawaani Deewaane Pee Le Pee Le

Posted on: October 7, 2015


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular 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.

Forgotten Melodies of the 1940s – 1
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Today, October 7th is the 101st birth anniversary of Mallika-e-Ghazal Begum Akhtar. With this, the year-long birth centenary celebrations which started on October 6th last year come to an end. Those who have kept the track of the events may recall that Government of India, Ministry of Culture had announced a year-long birth centenary celebrations of Begum Akhtar sometime last year.

As part of the centenary programme, the first musical festival was held on October 6th last year at India Habitat Centre, New Delhi in which some of the popular ghazal singers such as Pankaj Udhas, Anoop Jalota, Chandan Das, Talat Aziz, Peenaz Masani participated and rendered the famous ghazals and dadras of Begum Akhtar. On the next day, i.e., October 7th, commemorative coins in the denomination of Rs.100/- and Rs.5/- were issued. Urdu channel of Doordarshan commissioned ‘Jashn-e-Begum Akhtar’ – a TV serial reality shows for the young ghazal singers during October 2014 – March 2015.

The musical festivals and seminars were also held in other cities like Mumbai, Kolkata, Lucknow, Goa, Hyderabad, Chennai, Bangalore, Jammu etc. during 2014 and 2015. Some academies such as Sangeet Natak Akademy, Begum Akhtar Academy of Ghazals (BAAG), National Centre for Performing Arts, Sadbhavana Trust, Jammu & Kashmir Academy of Arts & Culture, Goa Kala Akademy also participated in the centenary celebrations. It was reported that during such musical festivals, video footages of some of the rare ghazals and other songs of Begum Akhtar which she rendered in private concerts were screened and played.

In the past, I have written three articles on Begum Akhtar for the Blog. So I would not repeat here what has already been said in those articles. Instead, let me give a gist of what some of her eminent contemporaries connected with music have to say about Begum Akhtar’s sonorous voice and mesmerising singing style:

Ustad Bismillah Khan (In a TV interview)

I was asleep and it must have been past midnight. Somewhere, someone was playing Begum Akhtar’s record of a ghazal ‘deewaana banaana hai to deewaana bana de’. I woke up and sat listening to the ghazal. I was enjoying myself so much that I woke up my wife. She was annoyed and said what was all this in the middle of the night. I said to her that she would not understand it and asked her to go back to sleep. The next day, I got to know that what I heard at around 2.00 a.m. in the morning was not a record but Begum Akhtar herself. She was in Lucknow and I was also in the same city. I visited her and told her that I have come to her not for listening the ghazals but to hear the split-second crack in her voice in the middle of her singing (he called this as ‘cheez) which appealed to him the most.

Pandit Jasraj (In a TV interview)

Begum Akhtar’s singing and personality have been one of my inspirations to switch over from musician to vocalist. I have been listening to her ghazal since my childhood but one ghazal ‘deewaana banaana hai to deewaana bana de’ made me her ‘deewana’ for life.

Kaifi Azmi (In a Doordarshan programme in 1974 and elsewhere)

In Begum Akhtar we not only hear ghazals but we actually see them. When I wrote the ghazal ‘suna karo meri jaan inse unse afsaane’, I did not feel great about it. But the ghazal became very popular only because Begum Akhtar had sung it in her inimitable style in concerts.

Naushad (Source : ‘Ae Mohabbat….’ by Rita Ganguly)

Begum Akhtar was ‘’Rooh-e-Ghazal’ (Soul of Ghazal). She made ghazal the life of ‘husn’ (beauty) and ‘mohabbat’ (love). She introduced some of wonderful Urdu poets to the present generation; else they would not have been remembered…… Begum could deeply decipher and understand the poets’ thoughts behind their ghazals through her singing.

Before Begum Akhtar became a cult like personality in semi-classical singing, she had a stint as an actress in Urdu/Hindi theatres with a logical continuation in Urdu/Hindi films as talkies came into being. Her association with theatres and films was as sudden as her first public performance as a vocalist sometime in 1925 for Bihar Flood Relief Fund concert at Calcuttta (Kolkata). It came as a last minute decision because all well known vocalists who had agreed to give vocal performances, dropped out at the last moment. At this stage, the organisers called Akhtaribai Faizabadi, introduced as such, to sing and pacify the audience. She started with a ghazal ‘tune but-e-harjaai kuchh aisi ada paayi’ and the audience went euphoric and demanded more ghazals, dadras and thumris. Her singing went on for more than two hours. A new singing star was on the horizon.

In the audience were the Chief Executive of Megaphone Recording Company and the owner of Corinthian Theatre. Those days, having a good voice, a good look and the graceful presentation were regarded as important attributes for an actor in theatres. So Akhtaribai was offered roles in Corinthian Theatre as a singing star. She worked in a dozen plays. It is interesting to learn that in the play ‘Laila-Majnu’, she played the role of ‘Majnu’ since his role had 16 songs!

With the advent of talkies, Akhtaribai shifted to films. She was signed by East India Film Company as a singing actor. Her first film was East India Film Company’s ‘Ek Din Ka Baadshah’ (1933). This was followed by ‘Nal Damyanti’ (1933), ‘Mumtaz Begum’ (1934), ‘Roop Kumari’ (1934), ‘Ameena’ (1934), ‘Jawani Ka Nasha’ (1935), ‘Naseeb Ka Chakkar’ (1936) etc. The film schedules left her with little time to devote for singing which was her first love. Sometime in 1937-38, she resigned from the film companies and returned to Lucknow to pursue her singing carrier. Later, for a short period, she became the court singer of Nawab of Rampur.

But this was not the end of her filmy career. Sometime in 1941, Akhtaribai had gone to Poona (Pune) for a public performance. Producer-Director Mehboob with music director Anil Biswas attended the programme as Mehbbob had the intention of approaching her for his film ‘Roti’ (1942). It was a tall order for Mehboob to rope in Akhtaribai for a role as she had stopped acting in the films. But the luck was in his favour. When Akhtaribai received the offer to act in the film’ Roti’ (1942), she took as a god send opportunity. The Nawab of Rampur wanted to marry Akhtaribai and make her the Begum of Rampur. And she was not interested in marrying already married Nawab. So she shifted to Bombay (Mumbai) to wriggle out of Nawab’s marriage proposal. ‘Roti’ (1942) was her last Hindi film as an actor. (With inputs from ‘Ae Mohabbat…..Remembering Begum Akhtar’- 2008.)

On the conclusion of birth centenary of Begum Akhtar and her 101st birth anniversary, I have selected one of her six songs from the film ‘Roti’ (1942), ‘Chaar Dinon Ki Jawaani’ . The song is written by Dr. Safdar ‘Aah’ Sitapuri and set to music by Anil Biswas. The film was produced under the banner of National Studios and was directed by Mehboob. I have watched this movie but could not pin point as to who could be regarded as the hero and heroine of the film. All the four main characters – Chandra Mohan, Akhtaribai Faizabadi, Shaikh Muktaar and Sitara Devi have almost equal footage in the film with Ashraf Khan playing role of a philosophical preacher.

Contrary of my expectation, Akhtaribai had the role of a flamboyant daughter (screen name was Darling) of a businessman who was murdered by his own business partner Laxmidas (Chandramohan) for grabbing the entire business. Chandramohan plays the role of a ruthless businessman with insatiable greed for money. At the same time, he finds his heart attached to Darling. Unfortunately, when the film was about to be released, Megaphone Recording Company brought a stay order as Akhtaribai had an exclusive singing contract with the Company. Finally, the stay order was withdrawn and the film was released only after all her six songs were deleted from the film. Later, Megaphone released 78 RPM records of these six songs.

Regarding the song under discussion, I am certain that this is a party song. And the indication of my certainty is that guests of Seth Laxmidas are dancing on the prelude music of this song as Darling (Akhtaribai) is seen arriving for the party. Probably, she would have been requested by Chandramohan to sing a song for the party.

Of the six songs Akhtaribai sang in the film ‘Roti’ (1942), four were ghazals which have more of Begum Akhtar’s imprint than of Anil Biswas. However, in respect of remaining two songs, including the one under discussion, they are out and out filmy songs and have more of Anil Biswas imprint than Begum Akhtar.

Enjoy the song in Begum Akhtar’s voice in filmy style.


Song – Chaar Dinon Ki Jawaani Deewaane Pee Le Pee Le (Roti) (1942) Singer – Akhtari Bai उर्फ Begum Akhtar, Lyrics – Dr Safdar ‘Aah’ Sitapuri, MD – Anil Biswas

Lyrics

chaar dinon ki jawaani
matwaale pee le pee le ae ae
chaar dino ki jawaani
matwaale pee le pee le ae ae
chaar dino ki jawaani
chhalke jaayen aankh ke pyaale
re pyaale
chhalke jaayen aankh ke pyaale
re pyaale
matwaale pee le pee le ae ae
chaar dinon ki jawaani
matwaale pee le pee le ae ae
chaar dinon ki jawaani

ye duniya hai ek maikhaana
aa  aa aa aaa
ye duniya hai ek maikhaana
khaali kar bhar bhar paimaana
aa aa
ye duniya hai ek maikhaana
khaali kar bhar bhar paimaana
dam bhar mauj udaa le
udaa le
haan haan
dam bhar mauj udaa le
udaa le
matwaale pee le pee le ae ae
chaar dinon ki jawaani
matawaale pee le pee le ae ae
chaar dinon ki jawaani
chhalke jaayen aankh ke pyaale
re pyaale
chhalke jaayen aankh ke pyaale
re pyaale
matwaale pee le pee le ae ae
chaar dinon ki jawaani
matwaale pee le pee le ae ae
chaar dinon ki jawaani

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-

चार दिनों की जवानी
मतवाले पी ले पी ले ए ए
चार दिनों की जवानी
मतवाले पी ले पी ले ए ए
चार दिनों की जवानी
छलके जाएँ आँख के प्याले
रे प्याले
छलके जाएँ आँख के प्याले
रे प्याले
मतवाले पी ले पी ले ए ए
चार दिनों की जवानी
मतवाले पी ले पी ले ए ए
चार दिनों की जवानी

ये दुनिया है एक मयखाना
आ आ आ आss
ये दुनिया है एक मयखाना
खाली कर भर भर पैमाना
आ आ
ये दुनिया है एक मयखाना
खाली कर भर भर पैमाना
दम भर मौज उड़ा ले
उड़ा ले
हाँ हाँ
दम भर मौज उड़ा ले
उड़ा ले
मतवाले पी ले पी ले ए ए
चार दिनों की जवानी
मतवाले पी ले पी ले ए ए
चार दिनों की जवानी
छलके जाएँ आँख के प्याले
रे प्याले
छलके जाएँ आँख के प्याले
रे प्याले
मतवाले पी ले पी ले ए ए
चार दिनों की जवानी
मतवाले पी ले पी ले ए ए
चार दिनों की जवानी

2 Responses to "Chaar Dinon Ki Jawaani Deewaane Pee Le Pee Le"

WOW 😲! Excellent sir

Like

Sadanandji,
Aapne Begum Sahiba ki 101 birthday ke din pe ‘anand’, jo aap sada bantate ho, sab ko pahuncha hi diya.
I had told you that being a dye-hard AC (much higher than just a ‘fan’) of Begum Sahiba, I have collected almost entire collection of her songs.
Thanks for the treat, as well as a very good write-up.

Like

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