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

Ae dilbar dilwaale

Posted on: October 14, 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.

Though the decade of 1950s is the most well represented decade in the blog, still there are so many melodious songs of the 50s that are yet to be discussed on this Blog. Today’s song is also one such sweet Lata song which was quite popular during its time. It is a solo song Baghi Sipahi-1958, a costume film by V.P.Productions. It was produced by a person who had given us gems like Patanga-49, Sagai-51 and other such films as Aurat, Badal, Laadla, Parbat etc etc, which had become hits. His name is Bhagwandas Varma.

Though Varma was a producer of many films, as a Director his first film was Aurat-53. Then came Pooja-54 and his last directorial venture was Baghi Sipahi-58. Bhagwandas Varma had married actress Poornima in 1954. It was the second marriage for both of them. While Poornima’s first husband had migrated to Pakistan after giving her a son and a divorce, Bhagwandas had his first wife and family living in another house. He died in 1962, but his son from first wife-Arun Varma continued to produce films under the banner of Varma films.

Film Baghi Sipahi-5 was a Costume film having a king and Queen story, garnished with a wicked Vazir and an evil magician thrown in to add taste and flavour. It was believed that this film was based on the Hollywood biggie ‘Quo Vadis’- 1951. The cast, surprisingly, included the real beauty of filmdom-Madhubala as a lead actress, opposite the fencing expert Ranjan as a Hero. What a pain ! By any standards, Ranjan never looked like a filmi Hero ( even of a B or C Grade film ), despite his high educational credentials, degrees and editorial background ! He was so lucky in films that he had worked with many famous and not so faous actresses of his time. His acting too had nothing to write home about. Still, Ranjan had a dedicated section of film audience in almost every big and small town of India. This was due to his extraordinary skill of sword fighting i.e. fencing. At one time, even I was his great fan and never missed his movies.

The film had Lyrics by Shailendra and Hasrat Jaipuri, team members of Shankar-Jaikishen, who were undoubtedly the number One in the film industry. The film had 8 songs, sung by Lata, Asha and Manna Dey. All songs were good, especially, O Bereham, Maan bhi le aye dil, Samaa ye pyar ka and today’s song- Aye dilbar dilwale, had become quite popular in those days.

Being the wife of the producer, Poornima featured in most of his films. But she never was the Heroine in his films. Though she used to be second lead or had a side role, she used to get most songs of the films. Even in this film, the heroine Madhubala had just one song and the rest of the songs were filmed on Poornima.

Those were the days when Shankar Jaikishan almost had a Midas Touch. Every film of theirs gave hit songs and they were in great demand. As far as Lata Mangeshkar is concerned, she sang for them in 124 films, gave 453 songs having 313 solos in it. Compare this with Lata and C.Ramchandra. Lata sang for C Ramchandra in 63 films,singing 298 songs, out of which there were 196 solos. Of course the association of C Ramchandra and Lata was just for 9 years-1949 to 1958, whereas for Shankar Jaikishan, she sang for more years- from 1949 to 1971 ( till Jaikishen died) actively.

The Lata-C Ramchandra and Lata-Shankar Jaikishan story has two important points.

Firstly, Lata was a very astute person. She sang for C Ramchandra for the sake of fame and money, but for melody and everlasting songs she always looked up to Shyamsunder, Sajjad Hussain, Khemchand Prakash, Anil Biswas, Vinod etc. It was our bad luck that the rising period of Lata was the fading period of these music stalwarts. After them, for melody Lata looked up to Shankar Jaikishan, Naushad, Chitragupta, S D Burman etc. If you see the Lata songs in the period of 48 to 53, you will agree with me on this issue.

Secondly, there was a major difference in the approach to HFM by C Ramchandra and Shankar Jaikishan. C Ramchandra had double standards in composing music for A grade films of bigger banners and for B and C grade films- for which he took a pseuedonym or hid behind assistants’ name like P.Ramakant. During the period from 1946 to 1951, C Ramchandra gave music to a dozen B and C grade films like Bachhon ka khel, Dosti, Ahinsa, Bahadur Pratap, Madadgaar, Matwale, Mera Munna, Bhedi Bungla, Bhole bhale, Bakshish, Babuji and Saudagar. Has even a single song from any of these films been heard by anyone ?

In the same period, from 1946 to 1951, his A grade 10 films were Safar, Leela, Saajan, Shehnai, Khidki, Nadiya ke paar, Namoona, Patanga, Sargam and Albela. Each of these films gave hit songs. Proves my point.

On the contrary, Shankar Jaikishan treated all their films equal whether A, B or C grade, whether from big banner or small and irrespective of the cast of the film. Shankar Jaikishan gave equal weightage to melody and sweetness to every song they composed. Precisely for this reason they were in great demand-at their price ! Lata being a very shrewd person understood that the number of popular songs was tilting towards Shankar Jaikishan, rather than C Ramchnadra, and she left no chance to sing for them, even at times at the cost of recording a song for C Ramchandra.

If one compares the hit and popular songs of Lata during this period, you will find Gems in films like Barsat, Awara, Badal, Nageena, Poonam, Aurat, Mayur pankh, Patita, Shikast, Basant Bahar, New Delhi, Rajhath, Yahudi, Chhoti Behan, Ujaala etc etc. In fact in every film of Shankar Jaikishan she sang, there was at least 1 or 2 Hit and popular songs, for sure.

One conclusion can be drawn after comparing C Ramchandra and Shankar Jaikishan with Lata, and that is, C. Ramchandra benefited from Lata songs, but Lata benefitted from Shankar Jaikishan songs ! She reached the Top faster. This is proved undoubtedly if you notice that the career of C. Ramchandra ended after Lata left him in 1958. If he survived till 1971, but he was reduced to a pale shadow of himself by that time !

Let us now enjoy this melodious song from film Baghi Sipahi-58, sung by Lata, composed by Shankar Jaikishan.


Song-Ae dilbar dilwaale (Baaghi Sipaahi)(1958) Singer-Lata, Lyrics-Shailendra, MD-Shankar Jaikishan

Lyrics

ae dilbar dil waale
pyaar pe marne waale
ae dilbar dil waale
pyar pe marne waale
dil ki lagi yoon na bujhe
aag se aag bujhaa le
dil ki lagi yoon na bujhe
aag se aag bujhaa le
ae dilbar dil waale

door door door se ye khel kis kaam ke
door door door se ye khel kis kaam ke
dekh dekh dekh zara daaman ko thhaam ke ae ae
dekh dekh dekh zara daaman ko thhaam ke
daaman ko thhaam ke ae
daaman ko thhaam ke
chhed ke saaz e dil ko
phir wo taraana gaa le
chhed ke saaz e dil ko
phir wo taraana gaa le
dil ki lagi yoon na bujhe
aag se aag bujhaa le
dil ki lagi yoon na bujhe
aag se aag bujhaa le
ae dilbar dil waale

jhoom jhoom jhoom ke ye din bhi chale jaayenge
jhoom jhoom jhoom ke ye din bhi chale jaayenge
laakh laakh laakh chaaho
phir kabhi na aayegne ae ae
laakh laakh laakh chaaho
phir kabhi na aayegne
phir kabhi na aayegne
phir kabhi na aayegne
jaate mehmaanon ko
aaj to gale lagaa le
jaate mehmaanon ko
aaj to gale lagaa le
dil ki lagi yoon na bujhe
aag se aag bujha le
dil ki lagi yoon na bujhe
aag se aag bujha le
ae dilbar dil waale
pyar pe marne waale
pyaar pe marne waale
dil ki lagi yoon na bujhe
aag se aag bujhaa le
aye dilbar dil waale

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9 Responses to "Ae dilbar dilwaale"

Very few people know that Dattaram’s name was just a front for Jaikishen.
All films’ music of Dattaram were scored by Jaikishen. Dattaram was just a dholki player; he could not have managed a full blown movie. The logic behind this was SJ were scoring music for big banners only. Many a times they had to let go by B or C movies considering their stature.
All Dattaram movies had Jaikishen flavour

Nitin ji,

Your statement about Dattaram is very surprising.

1. Dattaram was not just a Dholki player, he was assistant and arranger for S-J for about 10-15 years.
2. He gave music to 21 films. Do you mean to say that anyone can give music under false name for 21 films ?
3.It is not at all true that S-J gave music only to A grade and big banner films. The above film was a B grade film. They gave music to atleast 15-20 B and C grade films.Another film was Badshah-54 for example.
4. His films had Jaikishen flavour due to their association for so many years.
5. Even after Jaikishen’s death, Dattaram gave music to 3 films How do you explain this, if Jaikishen was the real MD ?
6. Do you have any authentic proof like refernces, book quotes, interview comments, biography etc to support your statement ? If yes, we will be highly obliged to have them please.

-AD

This info was given to me by Nanduji Chawathe who was one of the violinist in SJ orchestra and knew Dattaram personally.
Films are delayed and released later
Ek Din Aadhi Raat-1971 was his last movie which coincided with J’s death

Arun Ji- Very nice post.I had not heard it in its time. I heard it only in Youtube days, thru my surfing.

Thanks for the post since SJ are my favorites .

You rightly said SJ treated all their films with equal dedication, irrespective of the banner, whether Raj Kapoor has produced it or acted in it or not. More of non Raj Kapoor films had excellent music.
True Lata benefited from SJ more than from any other MD

K S Shenoy ji,

Thanks for your comments. i am glad you agree with my views.

-AD

Very nice and informative write-up Arunji.
I too like Lata prefer SS, SH, KP, AB and VINOD as real tuneful and heart-touching melody makers.(She thinks like ME.)

If Dattaram has worked for SJ as muscian and arranger as long as about 15 years, things would been the other way round, that is, Dattaram composing the tune for a song or two for SJ. It has happened with Jaidev, Madan Mohan, G S Kohli, Ghulam Mohammed etc when they were assisting the then well known music directors.

I recall an interview in which Dattaram had said that when he was made the music director for ‘Ab Dilli Door Nahin’ (1957), one day, Raj Kapoor called him to to his residence to sing the tunes he had composed for a song of that film. After 6 tunes, he sang the 7th tune which was immediately accepted by Raj Kapoor by saying that this tune would be a hit. The song was ‘chun chhun karti aayi chidiya’. It is obvious that Jaikishan was not involved in making the tune.

If I remember correctly, a similar rigmarole was done for the songs of ‘Parvarish’ (1958) also when Raj Kapoor was directly involved with Dattaram in selecting the tunes.

Thanks Arunji for reviving memories of the beautiful Poornima (real name MEHER BANO ) who was the second daughter of a Tamil Iyenger father and a Muslim mother ( he converted to Islam ) . She is also the paternal grandmother of actor EMRAAN HASHMI . Her elder sister Shirin is the mother of MAHESH BHATT .

Warm regards

PARTHA CHANDA

Thanks for your comments and additional info for the readers.

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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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