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

Ho itne bade bhagwaan dilaa de makaan

Posted on: September 9, 2016


This article is written by Arunkumar Deshmukh, 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.

Today’s song is from the film Hamara Hindustan-50, made and directed by a German-Paul Zils. The film is making its debut, so not much will be known about this German- Paul Zils.

Germany had a very good name in India during the olden days i.e. during the early part of the last century. I remember my Grandfather ( who expired in 1975 at the age of 91 years) always praising Germany for so many things. In India, all things German were considered the Best- even better than the Vilayati or the British things !

Very few people know that Indian Cinema had a little known connection with the rise of Hitler in Germany in 1932-33. A group of men , engaged in Cinema in Germany, flocked to India in the 30’s and played a vital role in Indian Cinema and the arts of that times. After Hitler took over Germany in 1933, the German Cine Studio’s glory days were over and they were turned into Nazi Propaganda Machines !

It was at this time that several of its men left the studio and arrived in India, and contributed to Indian cinema’s formative years.

The foremost among them is Frantz Osten, a German whom Himanshu Rai and Devika Rani met at the UFA when they went to train there (they worked with Lang and Marlene Dietrich). Osten had already been directing films for the couple since 1925, when he made Light of Asia for them from Germany.

In 1934, he came to India and the next year, after Rai founded Bombay Talkies ‘the legendary film studio in Malad that now lies in ruins ‘ Osten directed its first film.

He went on to direct the famous Devika Rani-Ashok Kumar starrer, Achhyut Kanya, without much knowledge of Hindi. The film, which featured the song “Main ban ke chiriya”, was shot by Joseph Wirsching; the sets were designed by Karl von Spreti and the laboratory was headed by Zolle, Osten’s team of UFA ex-members who worked for Rai’s state-of-the-art studio.

Osten and his fellow Germans directed 16 films for Rai. It was a remarkable feat for people who knew little Hindi ‘mistaking the word “bulbul” once for a pair of bulls.

“It’s not clear if they had anything to do with the Nazi ideology, either way,” said film historian Amrit Gangar.

“If they did, it did not show in their films. But there were two other people who almost certainly migrated to India because of the persecution of Jews.”

They were Walter Kauffman, a scholar and composer interested in Oriental music, and Wilhelm Haas, a writer and a friend of Franz Kafka.

“Both were Jews, and Haas came to India because of Kauffman, who went on to found the Bombay Chamber Music Society,” Gangar added.

Kauffman arrived in 1934 after meeting director-producer Mohan Bhavnani at the UFA (where V. Shantaram also did a stint).

“Haas was in Czechoslovakia, but left the country for India just after Hitler’s invasion,” Gangar said.

Kauffman, Haas and Bhavnani worked together in Premnagar (1940), Naushad’s first film as music director. Kauffman composed the background score; Haas wrote the screenplay.

“It is debatable, but Kauffman is probably also the person behind the All India Radio signature tune. Haas was a member of the Indian chapter of PEN,” Gangar said. Haas also wrote the script for Bhavnani’s Jhooti Sharam (1939).

The story of Paul Zils ( 1-6-1915 to 30-3-1979 ) stands out, though. Zils, believed to be a Nazi sympathizer, turned up in India under strange circumstances: he was bound for Indonesia in a steamer that got torpedoed by an Indian naval ship during World War II and he was taken prisoner.

After his release, because of his film experiences, the leadership of the sales department in Ezra Mir led government documentary production company called him to join Information films of India. End of October 1945, he came to Bombay and started his work. Following the closure of the Information Films of India Zils was freelancing and in 1948 founded his own company Documentary Films of India; in 1949 India created new state production company Films Division. To popularize the documentary he was supported in1949 among others by Mulk Raj Anand , B.K.Karanjia , Vikram Sarabhai , Frene Talyarkhan and Jagmohan.

From the late 1940s Zils worked closely with the documentary maker Fali Billimoria together who assisted him in both camera as director, and the same proportion had it. Some films of the 1940s Zils were also of the experienced Indian documentary P V Pathy supported. 1950-1952 is Zils tried as a feature film director, turning three films with Dev Anand . He turned then however again the documentary to. Mid-1950s, the Group invested Burmah Shell in the production of documentaries and established a film department (Shell Film Unit) modeled on the British GPO film unit of the 30s. It came loose series of films about the major industries, crafts and the lives of the indigenous population of India, the Zils together with Bilimoria produced and turned. From 1955 worked with them also the leading in the 1960s and 70s Indian documentary Sukhdev as an assistant, who described Zils later better than his master.

For the film series Major Industries in India , they created a 40-minute documentary on the life and work in the steelmaker city Jamshedpur and films about the textile industry and agriculture. Among the productions of the series Life in India were A Village in Travancore (1956), The Martial Dances of Malabar (1958), Oraons of Bihar (1958) and The Vanishing Tribe (1958). A Village in Travancore showed the life of a family in South India. The film won in 1957 at the Cork Film Festival Award for Best Documentary. The jury chairman of the festival praised him in particular for its aesthetic quality, which was a result of the given at Shell artistic freedom according Zils. The Vanishing Tribe portrays in the Nilgiris living people of Toda . Zils showed the rituals and the daily life of this tribe also the example of a family. They are the indigenous inhabitants of the Nilgiris, but their origin can not clarify these ethnological study.

Paul Zils was also active in organizations of filmmakers. From 1957 to 1959 he was president of the Indian Documentary Producers Association (IDPA). In March 1959 he returned to Germany.

As the studio system came to an end and individual producers took over, the days of the Germans in Indian cinema were over. Many, including Osten, went back to Germany. Set designer Spreti was appointed German ambassador to Guatemala and was later shot dead by terrorists.

Most of the others remained associated with the film world abroad.

Paul Zils directed 3 Dev Anand films, according to documents. Hindustan Hamara-50 and Zalzala-52 are found in HFGK, but the third film called “Shabash”, though listed in 1949, gives no details, except the film name.

Film Hindustan Hamara-50 was produced by Paul Zils’ productions, directed by Paul Zils himself and had music by Vasant Desai. The film had an impressive star cast of Prithwiraj Kapoor, Dev Anand,Jairaj, Premnath, Durga Khote, Nalini Jaywant, David, Shambhu Mitra, Tripti Mitra, K N Singh, Surendra, Wasti,Yashodhara katju, Prem Dhawan and others. 7 singers sang 6 songs written by 3 lyricists.

I have not seen the film and whatever little information about the film is available indicates that the film focuses on the social ills India faced after the Independence, with a message that the future of India will be bright, only if Indian people themselves control and remove these social ills.

Today’s song is sung by Rafi, Surendra, Premnath and chorus- highlighting scarcity of housing on reasonable rates. Composer Vasant Desai has composed this lengthy song in two parts.

Vasant Desai ( 9-6-1912 to 22-12-1975 ) was an incredibly talented man who never got his due.

That greatness has no correlation with commercial success is best personified in the life and works of Hindi film music director Vasant Desai. Well versed in every department of film making, Desai’s talent was a blessing to the music world. Though critics may credit Naushad as a composer steeped in classical traditions, Vasant Desai was equally, if not more, proficient in making tunes based on complex ragas. Sadly, despite his prowess, this simple man whose birth centenary was in 2012, has not been given his due by the film industry befitting his stature and contribution to its music.

Veteran Marathi film music director and Desai’s creative mentor Keshavrao Bhosle in his memoirs “Maazzhe Sangeet” applauds Desai for many such firsts as well as introduction of echo in sound recording in India with Zohra Bai’s song “Jo Dard Ban Ke” from “Parbat Pe Apne Dera”. Hear Rafi’s immortal “Kahdo Koi Na Kare Yahan Pyaar” and you realise how echo was not a tool for experimentation for Desai but a magnificent instrument of creative ability.

Though Lata Mangeshkar doesn’t acknowledge any of Desai’s creations in her top 20 personal favourites nor praises his vast repertoire, it is a fact that some of her finest renditions were under Desai. Allegedly, Lata had a grouse against him for promoting other singers, especially Vani Jairam, and hence ignores his contribution in her career even when most of her songs under Desai’s baton have been unsurpassed till this day. Go down the memory lane and you can’t ignore sublime creations like “Jo Tum Todo Piya” (“Jhanak Jhanak Payal Baaje”), “Tere Sur aur Mere Geet” (“Goonj Uthi Shehnai”), “Main Gaon Tu Chup Hoja” (“Do Aankhen Barah Haath”), “Piya Te Kahan” (“Toofan aur Diya”) or “Ik Tha Bachpan” (“Aashirwad”). Even though Desai made her “Ae Malik Tere Bande Hum” (“Do Aankhen Barah Haath”) into a memorable secular prayer, Lata hardly ever commends the composition. May be she is unhappy that Desai created an equally powerful bhajan “Humko Man Ki Shakti Dena” into a nationwide school prayer through Vani’s vocals.

His proficiency was the reason why he was greatly admired by maestros like Bismillah Khan (who made the shehnai famous with his recitals in “Goonj Uthi Shehnai”, Amir Khan, Bhimsen Joshi, and M. S. Subbulakshmi even got a song composed from Desai for her recital at the UNO headquarters. It was Desai’s virtuosity that made Dada Muni (Ashok Kumar) render an all-time favourite children’s song “Rail Gadi” (“Aashirwad”) with minimum instrumentals. Nowadays when Cannes Film Festival is a place of photo opportunity rather than exploration of artistry, it is overwhelming to know that decades ago Desai’s versatility made “Amar Bhoopali” the only Indian film to win a Grand Prix award for original musical score at Cannes! Obviously, lyricist Gulzar isn’t wrong to hail Desai as a “music composer extraordinaire” especially when he catapulted his “Bole Re Papiha” to Himalyan heights of popularity.

Born in a wealthy family in Sonwad village in Maharashtra, Desai joined the famous Prabhat Film Company at Kolhapur at its inception. Apart from performing several minor chores, he also acted, sang and sometimes composed songs in Prabhat’s films like “Dharmatma” and “Sant Dnyaneshwar” but once he had mastered the craft of music composition, he stuck to it. Devoted to V. Shantaram from his Prabhat days, Desai went along with the maestro when he broke away from Prabhat to form his own Rajkamal Studios. Scoring music for a majority of Shantaram’s films, Vasant’s career suffered a major blow when their relations soured in the late 1950s. Yet it is to his credit that even though they split after recording of “Aadha Hai Chandrama” (later re-done by C. Ramchandra), he never ever spoke ill about “Anna” till his dying day.

Film director Vikas Desai says, “even family members never came to know the reasons for leaving Shantaram though he went back to score the background music of ‘Geet Gaya Patharon Ne’ on Anna’s request”.

Going through his long and enviable list of songs would be difficult but suffice to say that his memorable songs are valuable gems of musical heritage. And though the patriotic Vasant Desai may have remained unsung for his cinematic as well as academic contribution to school music curriculum, his songs regale listeners with their inherent melodic fragrance.

In his initial stage of career, he had acted in films like, Dharmatma-35, Amar Jyoti-36, Wahan-37 and Sant Dnyaneshwar-40. He even sang songs in films like Amrit Manthan-34, Dharmatma-35, Amar Jyoti-36, Wahan-37, Sant Dnyaneshwar-40, Sant Sakhu-41, Shakuntala-43 and Parbat pe apna dera-44. In all, Vasant Desai gave music to 50 films. His first film was Shobha-42 and Last released film was Shaque-76.
(some information in the article adapted from Wiki and The Hindu).


Song- Ho itne bade Bhagwan dila de Makaan (Hindustan Hamaara)(1950) Singers- Surendra, Rafi,Premnath, Lyrics-Dewan Sharar, MD-Vasant Desai
chorus

Lyrics

ho itne bade bhagwaan
dila de makaan
tere gun gaaun
tere gun gaaun
main charanan sheesh nawaaun
ho itne bade bhagwaan
dila de makaan
tere gun gaaun
tere gun gaaun
main charanan sheesh nawaaun

saanjh sakaare
lekar lota
nal par queue lagaaun
aap nahaaun ya na nahaaun
par tujhko nahlaaun
khud khaaun ya na khaaun
par tujhko bhog lagaaun

main charanan sheesh nawaaun
ho itne bade bhagwaan
dila de makaan
tere gun gaaun
tere gun gaaun
main charanan sheesh nawaaun

churchgate se borivali tak
VT se kalyaan
VT se kalyaan

ho o o
o o o
o o
bhatak chuke ham
par bin pagdi
milta nahin makaan

milta nahin makaan
aji sar dhakne ko topi nahin
main pagdi kahaan se laaun

main charanan sheesh nawaaun
ho itne bade bhagwaan
dila de makaan
tere gun gaaun
tere gun gaaun
main charanan sheesh nawaaun

tere insaanon ki basti mein
aa gaye ae haiwaan
o o o o
o o o o
o o o o

tere insaanon ki basti mein
aa gaye haiwaan
aur pagdi lene dene waale
donon beimaan
tu shakti mujhko de
ae ae ae ae
haan
tu shakti mujhko de
inhen main kachhaa hi khaa jaaun

main charanan sheesh nawaaun
ho itne bade bhagwaan
dila de makaan
tere gun gaaun
tere gun gaaun
main charanan sheesh nawaaun

ho itne bade bhagwaan
dila de makaan
tere gun gaaun
tere gun gaaun
main charanan sheesh nawaaun

beete ro ro
o o o
o o o
o o o
o o o
o o o
beete ro ro
saawan bhaadon
biwi bulaane(?) aaye
ae ae ae
ae ae ae ae
sach poochho
??
ham to shaadi kar pachhtaaye
ae ae
shaadi kar pachhtaaye
naarayan naarayan

maine bhi ik chhoti si bulbul se nain ladaaye
o o o
o o o

main bhi ik chhoti si bulbul se nain ladaaye
roz karoon shaadi ke waade
poore kar nahin paaun
poore kar nahin paaun
main charanan sheesh nawaaun
ho itne bade bhagwaan
dila de makaan
tere gun gaaun
tere gun gaaun
main charanan sheesh nawaaun

aji ek ke paas hain
chhe chhe kamre
ae ae ae
ae ae ae
aur yahaan ek mein chhe chhe
aur bhi jo chaahe
aa jaaye
ae ae ae ae
aji naa nahin hogi hamse
ae
naa nahin hogi hamse

o o o o
o o o o
ho o o
o o o
beghar ka dukh dekh sakoon na
ro ro main mar jaaun
ro ro main mar jaaun
main charanan sheesh nawaaun
ho itne bade bhagwaan
dila de makaan
tere gun gaaun
tere gun gaaun
main charanan sheesh nawaaun

7 Responses to "Ho itne bade bhagwaan dilaa de makaan"

Prem Nath the actor sang
Dagar Chalat Dekho Kalyanji Anandji Anjaan Raja Kaka (1974)
Khushiya Manaao Khushiya Manaao
with Mohammed Rafi Datta Davjekar, Jagannath Prakash Saathi Golconda Ka Qaidi (1954)

To confirm; singer could be the MD Premnath himself though Actor Premnath acted in the film Gyaniji (1977)>>
Aai Rut Ab Pyar Ki
with Mohammed Rafi, Asha Bhosle, Jaspal Singh, Jagat Singh Jagga, Sudarshan Pandit, Pascal Paul, Kamini Kaushal, Sardar Malik, Prem Nath Qamar Jalalabadi Gyaniji (1977)
Aao Sunayo Dus Guruyo Ki
with Mohammed Rafi, Asha Bhosle, Jaspal Singh, Jagat Singh Jagga, Sudarshan Pandit, Pascal Paul, Kamini Kaushal, Sardar Malik, Prem Nath Qamar Jalalabadi Gyaniji (1977)
Mai Hu Ashiq Tere Geet Ka
with Mohammed Rafi, Asha Bhosle, Jaspal Singh, Jagat Singh Jagga, Sudarshan Pandit, Pascal Paul, Kamini Kaushal, Prem Nath Sardar Malik, Prem Nath Qamar Jalalabadi Gyaniji (1977)

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Arunkumarji,

You collect information from so many sources and present it in a very decent manner . That is why even a negligible typo I do not feel negligible. 2012 is the year of Vasant Desai’s birth centenary and not just anniversary. Pl correct it if possible.

D Samant

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D Samant ji,

You are right.
It is a Typo. In my handwritten copy the word is Centenary, but while typing it became Anniversary. I must be thinking something that time. However, a mistake is a mistake.
Thanks for pointing it out. I regret the error.
I will request Atul ji to make appropriate correction.
Thanks again.

-AD

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Congrats on a great article! Brought back memories. In our Mohamedali Road “flat” in then Bombay, I remember my father bringing a publicity booklet of HINDUSTAN HAMARA.

Didn’t the great Vasant Desai have a fatal elevator accident in then Bombay?

Like

Arif Kadwani ji,

Thanks for your good words.
How I feel now that I should have seen this movie when it was possible !
Yes Vasant Desai had an unfortunate death in the Elevator of his society building.

-AD

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Great information shared on Paul Zils and Music Mastero Vasant Desai.

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audio

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