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

Nindiya Mori Bairan Oye Hoye Re

Posted on: June 2, 2017


This article is written by Sudhir, 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.

A century post – and a discovery of monumental proportions. Things cannot get more rare, and better, than this.

We are at a century marker with this post – 13,300 – thirteen thousand three hundred to be exact. Atul ji and I exchanged some thoughts on whether to hold back this important discovery for a bigger, more major milestone up ahead. But then we decided that the wait of some more months will be too much. Let us introduce this discovery at 13,300 itself, and then we will have a few more opportunities to bring on other parts, other songs of this discovery.

Saigal – the divine, the inimitable, the ultimate zenith of the singing voices. He came on right in the beginning of the age of talking cinema in India, and departed all too soon. This year, it is seventy years that he left this mortal existence. And to wit – no other singer since then, has ever been able to match his singing abilities, nor has been able to achieve the quality and the depth / breadth of renditions. Saigal – is Saigal. He is a class unto himself, with none other besides him.

He appeared in 36 full length feature films (28 Hindi + 7 Bangla + 1 Tamil). The stature of his persona, and the standing of the production houses, has ensured that majority of the body of his work is available today in public domain. There are a few films in the period 1932 to 1935 – namely ‘Mohabbat Ke Aansoo’ (1932), ‘Subah Ka Sitaara’ (1932), ‘Zinda Laash’ (1932), ‘Daaku Mansoor’ (1934), ‘Rooplekha’ (1934), ‘Pooran Bhagat’ (1933), ‘Raajrani Meera’ (1933), ‘Yahudi Ki Ladki’ (1933), and ‘Kaarwaan e Hayaat’ (1935), which seem to have been lost forever. Of these nine films the first five have been erased, with even no music / songs / records traceable. A few songs of the remaining four films is the priceless legacy that has survived to attest a substantive existence of these films.

Part of that history changes today. One of the above listed films is getting introduced back into the public domain. ‘Kaarwaan e Hayaat’, so far thought to be lost forever, has been traced, and after a pursuit of more than two years, yours truly has been able to acquire a complete video copy of this film. The saga of these two years is nothing more remarkable than a persuasion, a waiting game, negotiations, and allowing time for a decision to precipitate.

Watching this clip, this film, seems like a journey through time, a journey to another dimension, another world – world that I had not seen ever before. The story of the film is about Parvez, a prince who has a lively and romantic outlook in life. The queen mother arranges for a betrothal for her son, and the prince, fearing the bonds of a matrimonial household and no romance, disappears from the palace and joins a band of gypsies, disguised as one himself, and changes the name to Naazu. This secret is known only to his very close friend and sidekick, Suhail (role played by Bikram Kapoor). There is another side of the story unfolding. The Emir of Tikkim, an adjoining kingdom (role played by Nawab) also fancies the same princess, with whom the queen mother has arranged the alliance for Parvez. He has the princess kidnapped, and as destiny would have it, hides her in the very same camp of gypsies. Parvez encounters the princess in the gypsy camp, and they fall in love. Parvez, who is prone to playful antics and pulling legs of others, does not disclose his true identity, and continues to romance the willing princess. Other complications intervene. The Wazir (prime minister) of the state, traces Parvez to the gypsy camp. The Emir of Tikkim comes to the camp with his soldiers to claim his kidnapped bounty. And Zarina, a beautiful gypsy girl at the camp (role played by Ratan Bai) falls in love with Parvez. All the circumstances rolled together, make for a real fun movie, which is a treat to watch. And the premium icing on the cake of course is KL Saigal, and the songs which were not released on gramophone records.

I introduce one such song from the film today. This is a gypsy revelry song that is being sung at the gypsy camp. The night is falling, and the singing and dancing members of the camp are saying that sleep is the furthest from the eyes – it is a time for joy, and singing, and dancing – Oye Hoye Re. We can see Parvez, dressed as a commoner, sitting with gypsies, and singing along with them. In between, as the dancing members increase, he will get up and join the dancers. Around the start of clip, we can see one male singer enter the frame from the right, walks across the frame, and when he passes by Parvez (or Naazu), he pinches his nose in a friendly gesture. This is Raahat, one of the lead gypsies in the camp (role played by Pahadi Sanyal). Along with him, we see a lady who joins the singing and dancing and accompanies Raahat in the dancing sequence, is Sonia (role played by Molina). In the beginning of this clip, and then once again later in the clip, we see a bored looking person, busy beating mosquitoes, as he waits, guarding the horses. This is Suhail, the sidekick friend of Parvez. Then, in the dancing sequence, we see a heavy set old lady enter the frame from the left. She has a bent back, and pock marked face. She is the old woman of the gypsy camp, who has a finger in everything that goes on in the camp. The surprising twist here is that the role is played by none other than Nemo, a male actor – folks will remember him as the rich Seth Sonachand Dharmanand in the film ‘Shri 420’ (1955). More of the story in some subsequent posts.

So flows the Pageant of Life (Kaarwaan e Hayaat), describing a small sequence of events in the lives of a few characters on the stage of this world. This film is great entertainment stuff.

Produced by New Theatres, the direction of the film is credited to Premankur Atorthy and another gentleman named Hem Chandra Chunder. As I searched for more information, I came across a very interesting item – that this film was produced at the Lahore centre of New Theatres. Now this is definitely news to me, that New Theatres produced films in Lahore. When I view the credits, I see a thank you note for the Nawab of Bahawalpur for using his armed forces for some of the scenes in the film. Now the erstwhile Bahawalpur state now forms a part of what currently is Pakistan. This lends credence to info that this film could have been produced at the Lahore center. Harmandir ji (of Geet Kosh) has confirmed that New Theatres did have a distribution office in Lahore, and it is possible that this film was shot in that location.

The music is credited to Mihir Bhattacharjee. There is some discussion around this credit, since surprisingly, the available gramophone records of this film carry the name Timir Baran as the music director. This shall need a separate discussion with inputs from some stalwart historians. The name of the song writer is not specifically mentioned, but other sources identify the name as Ahmad Shuja Pasha. This name appears in the credits of the film as the dialogue writer.

This is primarily a chorus song, within which we can surmise certain individual voices (of KL Saigal, Pahadi Sanyal and Molina) as they sing some individual lines, while the chorus of other singers continues.

A century marker that records a remarkable find. Welcome to the world of ‘Kaarwaan e Hayaat’.

Song – Nindiya Mori Bairan Oye Hoye Re (Karwaan e Hayaat) (1935) Singer – Molina, Pahadi Sanyal, KL Saigal,  Lyrics – Hakim Ahmed Shuja Pasha, MD – Mihir Kiran Bhattacharya
Chorus

Lyrics

oye hoye re
oye hoye re
oye hoye oye hoye oye hoye re
oye hoye oye hoye oye hoye re
oye hoye re
nindiya mori bairan
oye hoye re
nindiya mori bairan
oye hoye re
oye hoye re
oye hoye re
oye hoye oye hoye oye hoye re
oye hoye oye hoye oye hoye re
oye hoye re
oye hoye re
nindiya mori bairan
oye hoye re
nindiya mori bairan
oye hoye re

saanjh bhaye diya baati ki beriya
saanjh bhaye diya baati ki beriya
oye hoye re
oye hoye re
piya aawan ki beriya
oye hoye re
piya aawan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

aadhi raat papaihaa boley
aadhi raat papaihaa boley
oye hoye re
oye hoye re
galey laagan ki beriya
oye hoye re
galey laagan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

hovat bhor koyaliya boley
hovat bhor koyaliya boley
oye hoye re
oye hoye re
bichhuan ki hai beriya
oye hoye re
bichhuan ki hai beriya
oye hoye re
nindiya mori bairan
oye hoye re
oye hoye oye hoye oye hoye re
oye hoye re
oye hoye re
nindiya . . .

saanjh bhaye diya baati ki beriya
saanjh bhaye diya baati ki beriya
oye hoye re
oye hoye re
piya aawan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

aadhi raat papaihaa boley
aadhi raat papaihaa boley
oye hoye re
oye hoye re
galey laagan ki beriya
oye hoye re
nindiya mori bairan
oye hoye re

hovat bhor koyaliya boley
hovat bhor koyaliya boley
oye hoye re
oye hoye re
bichhuan ki hai beriya
oye hoye re
nindiya mori bairan
oye hoye re
nindiya mori bairan
oye hoye re

oye hoye oye hoye oye hoye re
oye hoye oye hoye oye hoye re

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ओए होए रे
ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
ओए होए रे
ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए रे
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

साँझ भए दिया बाती की बेरिया
साँझ भए दिया बाती की बेरिया
ओए होए रे
ओए होए रे
पिया आवन की बेरिया
ओए होए रे
पिया आवन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

आधी रात पपैयाह बोले
आधी रात पपैयाह बोले
ओए होए रे
ओए होए रे
गले लागन की बेरिया
ओए होए रे
गले लागन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

होवत भोर कोयलिया बोले
होवत भोर कोयलिया बोले
ओए होए रे
ओए होए रे
बिछुयन की है बेरिया
ओए होए रे
बिछुयन की है बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
ओए होए ओए होए ओए होए रे
ओए होए रे
ओए होए रे
नींदिया॰ ॰ ॰

साँझ भए दिया बाती की बेरिया
साँझ भए दिया बाती की बेरिया
ओए होए रे
ओए होए रे
पिया आवन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

आधी रात पपैयाह बोले
आधी रात पपैयाह बोले
ओए होए रे
ओए होए रे
गले लागन की बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

होवत भोर कोयलिया बोले
होवत भोर कोयलिया बोले
ओए होए रे
ओए होए रे
बिछुयन की है बेरिया
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे
नींदिया मोरी बैरन
ओए होए रे

ओए होए ओए होए ओए होए रे
ओए होए ओए होए ओए होए रे


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19 Responses to "Nindiya Mori Bairan Oye Hoye Re"

Congratulations Atul ji , Sudhir ji and all !!!
Thanks for the post Sudhir Kapur Sir !!
Congratulations !!!
Congratulations!!
Congratulations 😀

Thanks Avinash ji,
🙂

Rgds
Sudhir

Sudhir ji,

A monumental discovery indeed. And the video of the song is the icing on the cake.Thanks a lot for your perseverance.
I was surprised to note that there was no trace of Ratanbai in this chorus dance sequence as her role was that of a gypsy girl. Of course, towards the end, I find a gypsy girl sitting in the tent and another one sitting outside. One of them could be Ratanbai.

Congratulations for 13300.

Thanks Sadanand ji,

I believe Ratan Bai is part of this sequence also, maybe in some of the wider angle shots of the dancing group, where we can see two ladies almost similarly dressed. In the close up singing lines, the person we see is Molina.

Ratan Bai has performed a couple of other songs in the film. I will be posting them in due course.

Rgds
Sudhir

Sudhir ji,

There is some interesting trivia about the role of Ratanbai in the film. she was taken as the lead actress in the film. However, by the time the film shooting was finished, she was relegated to a side actress. She had taken up this issue with the management of NT without any success. Thus, this film turned out to be her last film with NT.

Now that you have the full film, you may like to verify whether Ratanbai’s scenes were edited out in favour of Molina Devi and Rajkumari.

And I believe Rattanbai made a lot of noise about it. Not only that, but as I recollect she dragged New Theatres to the court for breach of contractual obligations too.
After a compromise, the case was withdrawn, but she left NT and returned to Bombay.

Yes, that is correct. In my searches on the net for more information I have been able to locate the initial notice letter that Ratan Bai sent to New Theatres, alleging that her scenes have been cut from the final version of the film.

I shall share that separately in email.

Rgds
Sudhir

Congratulations for a Historical find.
Great work and the Blog is the First place to open this great discovery to HFM lovers of the world.
A perfectly suitable but too modest write up from Sudhir ji underplays the event.
In my opinion, this is equal to the 1931 song presented as the 10000th song. It needed a bigger bash.
Well done Sudhir ji and Atul ji for providing this feast.
Congratulations, once again.
-AD

Dear Arun ji,

Yes, now that I read your comment, I am starting to feel that this significant event should have been better presented. From the responses, it appears the most people are missing the import of this find.

Thanks for your comments and inputs. 🙂

Rgds
Sudhir

I forgot to mention that this is the first time I have watched K L Saigal dancing!

Yes, me too.

This films was likely shot in 1934, and KL Saigal would have been just about 30 years old then. He is taller than most of the other people in the scenes, and has to bend down to talk to them, especially Ratan Bai and the Princess, who both are short height ladies.

Fast forward to 1946, and the song “Kar Lijiye Chal Kar Meri Jannat Ke Najaare”. Just twelve years later; Saigal Sb is all of 42 years, but as per the descriptions, he could not walk more than a few steps at a time, when this song was being shot. The song entailed a long walking sequence.

And in this clip and in this entire film, he is prancing about as a teenager. 🙂

Rgds
Sudhir

Sudhirji,
This is a great discovery. And a great song indeed, because it is so in-KL Saigal like. Thanks and congrats.

Thanks for your comments, AK ji,

Really appreciate.

Rgds
Sudhir

What a historical finding for saigal lovers.sudhirji many many many thanks for this great treasure which you brought for all of his true lovers.please upload all his soundtrack version songs of this movie and if possible entire movie on YouTube.

Congrats !!!! Historic moment in nostalgia

Oye Hoye Re!
What a fabulous find this one is!!
This is one of the biggest discoveries to come up here for me after the De De Khuda Ke naam pe song from the later Alam Ara.
This is a great treat for which Thanks is a small word. Not only do you have to share other songs ASAP Sudhir ji, you must share the movie too.
Movie sellers have in the past talked of the existence of the print but never came up with it after quoting huge amounts for it.
I hope you will share about the search for the movie and how it reached your hands with the next songs.
Sudhir ji, you have our eternal gratitude for this. Applause to you and Atul ji. 13300 is a great milestone but getting this movie is bigger in my humble book!

What a fantastic share. We look forward to seeing the whole film and hearing all the songs from it, including the film versions of the available records.

Might I suggest reaching out to the YouTube user “tommydan55” and “tommydan333”? He has two channels, one for films and one for songs, and has restored and uploaded some high quality versions of VHS films. Check him out here: https://www.youtube.com/user/tommydan55.

Saigal has not uttered a single word in this song although he is present there.

Deepak ji,

That is a very correct observation. Whereas Pahadi Sanyal has lines sung by him, Saigal Sb does not have specific lines to sing in this song. He is shown as singing, some lines when the chorus is singing.

In the film, this song is immediately followed, without a pause, by another song – “Koi Preet Ki Reet Bata De Haman”. In this song, Saigal Sb is the lead singer, accompanied by Pahadi Sanyal, Molina Devi and chorus.

Rgds
Sudhir

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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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