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

Ganga kinaare mohe bagiyaa lagaa do sainyya

Posted on: March 26, 2016


This article is written by Sadanand Kamath, 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.

Forgotten Melodies of the 1940s – 23
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SHANKAR PARVATI (1943) was a dance-based mythological film produced under the banner of Ranjit Movietone and was directed by Chaturbhuj Doshi. The star cast included Aroon Kumar Ahuja and Sadhana Bose in the roles of Shankar and Parvati, respectively. Kamala Chatterjee, Mahipal, Bhagwandas, Brijmala, Reva Shankar, Narbada Shankar etc were the other actors. The film is not available in VCD/DVD.

Based on a few episodes of a mythological TV serial ‘Devon Ke Dev Mahadev’ which I had watched during 2014, I can visualise as to how the story would have unfolded in the film. One thing is apparent that any film on Shankar-Parvati has to cover the events during Daksha Yagna where Sati, the wife of Lord Shiva and the daughter of Daksha immolated herself in the sacrificial fire after she was insulted by her father Daksha. It was only after this event, many stories and side stories relating to Lord Shiva have emerged in the mythology. The stories would revolve around Parvati’s attempts to entice Lord Shiva, who had become a wanderer in the Himalaya following the death of Sati, to get married to Parvati. But Lord Shiva has to get convinced that Parvati is the incarnation of Sati. There is also an urgency for this marriage as only a son of Lord Shiva can kill demon Tarakasura who has created havoc for gods.

Since Sadhana Bose, a talented danseuse of the 30s and 40s is in the cast donning the role of Parvati, one can expect a good number of her dances in the film. I guess, I may not be wrong in saying that Sadhana Bose was the first heroine of Hindi films who was a trained classical dancer and fitted in the lead role of actor-dancer. The dance and filmy career of Sadhana Bose which I read in a Ph.D dissertation ‘Film Dance, Female Stardom And The Production Of Gender In Popular Hindi Cinema’ (2014) by Usha Iyer, gives me a feeling that her life could be an interesting subject for a biopic. Following is a profile of Sadhana Bose based on the source quoted above and also from an article by Dr Jyotiprakash Guha:

Sadhana Bose (20/04/1914 – 03/10/1973) belonged to an illustrious family. Her grandfather, Keshub Chandra Sen was associated with Brahmo Samaj who was instrumental in spreading the message of Brahmo Samaj outside Bengal. Her father, Saral Chandra Sen was a barrister. Her younger sister, Naina Devi (Nilina Sen), married in the Kapurthala royal family was an eminent vocalist in Hindustani classical music and was a contemporary of Begum Akhtar and Siddheshwari Devi.

Sadhana Bose learnt kathak from Tarakanath Bagchi and Manipuri dance from Guru Rajkumar. She also learnt the improvised oriental dances of her own after watching the dances choreographed by Uday Shankar. In 1927, she joined Calcutta Amateur Play, a theatre group floated by Madhu Bose. She performed for the first time in public, Madhu Bose’s Bengali play ‘Daliya’ (1930). In the same year, she got married to Madhu Bose. Thereafter, they worked as a team producing plays, films and dance ballets.

Sadhana Bose made her film debut with the Bengali film ‘Alibaba’ (1937) directed by her husband Madhu Bose. She had performed the same role of Marjina in the stage version in 1934. She specifically played the role of a dancer-actress in three films – ‘Abhinaya’ (Expression, 1938), ‘Kumkum the Dancer’ (1940) and ‘Raj Nartaki’ (Court Dancer, 1941), all directed by her husband, Madhu Bose. The last named film made in Hindi, Bengali and English was a runaway success.

Realising her star power following the box office success of ‘Raj Nartaki’ (1941), during the finalisation of contract for the film ‘Meenakshi’ (1942) Sadhana Bose included a clause that in the title credit, her name should appear on a different title card. The film was produced by New Theatre and was directed by Madhu Bose. K L Saigal was originally supposed to feature as a lead actor in Hindi version. K.L. Saigal requested that his name be added on Sadhana Bose’s title card, even if it is in a smaller font size. But Sadhana Bose refused. B.N. Sircar of New Theatres heard everything and said if K L Saigal doesn’t agree, he has to be replaced. The role went to Najmul Hussain. This shows the extent of Sadhana’s Bose’s status in the film industry at that time.

‘Shankar Parvati’ (1943) was her first film in which her husband Madhu Bose was not the director. It is stated that this caused a temporary separation between her and Madhu Bose. Soon after the release of the film, Sadhana Bose left her husband’s house and shifted to her own house. According to Madhu Bose, the main reason for the problem was late night parties and loud music she used to indulge in following the success of ‘Raj Nartaki’ (1941). During this period, she also took to heavy drinking and lived a promiscuous life.

Post separation from her husband, Sadhana Bose worked as a lead actor in films like ‘Vishkanya’ (1943) and ‘Paighaam’ (1943). However, due to her indulgence in parties and drinking, she lost her carefully nurtured career and by mid-40s, she had lost her position in the film industry. In this way, her well earned money was swindle away. After reconciliation with her husband, she returned to Calcutta in early 50s and acted in a couple of Bengali films directed by Madhu Bose. But by that time, she had lost her fans and her films were not successful. She made her dance troupe and toured all over India to stage dance ballets. However, she could not give up her alcoholic habit even after her retirement from the dance activities. This put a lot of pressure on their financial condition. Her husband got ill and he died in 25th September 1969, probably due to their inability to meet the medical expenses.

After the death of her husband, Sadhana Bose faced the worst time of her life. With no income whatsoever, she was seen begging in the streets of Calcutta (Kolkata). Just a few months before her death, she got appointed as a dance teacher in Star Theater to train junior artists with the help of Timir Baran, her associate in the Calcutta Amateur Play theatre group and in her dance ballets as a musician. However, she could not continue for long as she passed away on 3rd October 1973.

‘Shankar Parvati’ (1943) had 13 songs of which one song has been covered in the Blog. I am presenting the second song ‘Ganga kinaare mohe bagiya laga do sainya’ sung by Ameerbai Karnataki. The song is penned by Pandit Indra and is set to music by Gyan Dutt.


Song-Ganga kinaare mohe bagiya laga do sainyya (Shankar Parvati)(1943) Singer-Amirbai Karnataki, Lyrics-Pt Indra Chandra, MD-Gyan Dutt

Lyrics

ganga kinaare mohe bagiya laga do sainya
ganga kinaare mohe bagiya laga do sainya
parvat ke chhaiyaan bithha do rasiya
aan aan
parvat ke chhaiyaan bithha do rasiya
ganga kinaare mohe bagiya laga do sainya
ganga kinaare mohe bagiya laga do sainya
parvat ke chhaiyaan bithha do rasiya

malan banoongi tori iss phulwaari
malan banoongi tori iss phulwaari
chandan ki daar chhupa de rasiya aa aa
chandan ki daar chhupa de rasiya aa
parvat ke chhaiyaan bithha de rasiya
aa aa
parvat ke chhaiyaan bithha de rasiya

tore baagon mein sainyaa kaanten bahut hain
kaanten bahut hain
tore baagon mein sainyaa kaanten bahut h..ain
kaanten bahut hain
man ki kaliyaan khila de rasiya aa aa
man ki kaliyaan khila de rasiya aa
parvat ke chhaiyaan bithha de rasiya
aa aa
parvat ke chhaiyaan bithha de rasiya

baagon mein morey naahin papeeha
baagon mein morey naahin papeeha
tu hi papeeha bula de rasiya aa aa
tu hi papeeha bula de rasiya aa
parvat ke chhaiyaan bithha de rasiya
aa aa
parvat ke chhaiyaan bithha de rasiya
ganga kinaare mohe bagiya laga do sainya
ganga kinaare mohe bagiya laga do sainya
parvat ke chhaiyaan bithha do rasiya
aan aan
parvat ke chhaiyaan bithha do rasiya

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4 Responses to "Ganga kinaare mohe bagiyaa lagaa do sainyya"

Sadanand ji,

Thanks for a very nice post on Sadhana Bose.
Sadhana Bose was responsible for the names of at least 2 actresses in Bombay.
Actress Sadhana Shivdasani’s mother was very much impressed with the dancing skills of Sadhana Bose. She was her fan and saw her films repeatedly. When she was carrying for Sadhana, she had decided that if she gets a girl, her name would be Sadhana only. Thus Bombay Sadhana got the Calcutta Sadhana’s name.
Secondly, actress/Dancer Kumkum’s real name was Zebunnisa. When she was selected by Director Shahid Lateef, for his film Sheesha-1952, first time for Debut, there was already an actress Zebunnisa existing. What’s more, this Zebunnisa was also in film Sheesha-52, so Shaheed was thinking for a new name for the newcomer. He remembered that his favourite Sadhana Bose had acted in a film by the name ‘Kumkum-the Dancer”-1940, so he selected the name Kumkum for this new Dancer and Kumkum got her name.
After she stopped her dance films as a Heroine, she did work as a Choreographer. in the early 50s, she choreographed in films like Bhola shankar-51, nandkishore-51, Shinshinaki Boobla Boo-52. She used to do bit roles too in these films to earn money.
It is very sad that she died in penury and neglect, but artistes in the 40s and 50s-many of them- had similar stories.

-AD

Arun ji,

Thanks for the additional information on Sadhana Bose.

The source quoted in the article says that choreography and costume designs were all done by Sadhana Bose in ‘Expressioin’ (1938), ‘Kumkum The Dancer’ (1940) and ‘Raj Nartaki’ (1941).

Probably, she may have also done choreography in ‘Shankar-Parvati’ (1943).

Sadanandbhai,
Every time I read your article, I wish I could write like you. By the way, do you give tuitions?

Sadanath Saab,
Awesome blog , enjoyed this so much to learn about Past cine stars , Do
keep it up .

Shekhar Vaishnav

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