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

Chale re chale Raam vanwaas

Posted on: January 28, 2018


This article is written by Arunkumar Deshmukh, 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.

Blog Day : 3481 Post No. : 13982

Today’s song is from film Maa-52. It is sung by Manna Dey, under the baton of composer S.K.Pal.

The film was produced by Ashok Kumar and Sawak Vachha for Bombay Talkies. The director was Bimal Roy. The screen play was also by Bimal Roy on the story of Swaraj Banerjee.Dialogues were by Nabendu Ghosh and the translations were done by Nazir Hussain and Asit Sen (roly poly actor and Director). The cast was Leela Chitnis, Bharat Bhushan,Shyama, Nazir Hussain,Asit Sen, Manju, B.M.Vyas, Achla Sachdev, Bikram Kapoor, Krishnakant, Samar Chatterjee, Bharata Vyas(uncredited) etc etc.

Nabendu Ghosh (27.3.1917 to 15.12.2007) was born in Dhaka. He was a famous Bangla writer, who joined New Theatres. In 1951 he left New Theatres and joined Bimal Roy in Bombay. He wrote Screen plays/dialogues for most of Bimal Roy’s films. After Roy’s death, he worked with Hrishikesh Mukherjee for a long time. In 1988, he directed his only film “Trishagni’. After his death, his autobiography,”Eka Nauker jatri” was published.

Maa-52 was Bimal Roy’s first film in Bombay. He was born on 12-7-1909, in Suvapur village in East Bengal. His father Hemchandra Roy was a very rich landlord. He was a simple and kind person. After he died, it was known that his servants had misappropriated all his money and land and the family came on the road. The big family shifted to Calcutta in 1930-31.

Bimal Roy joined New Theatres as an assistant to Nitin Bose. He soon became an expert Cameraman and shot films like Chandidas, Devdas, manzil, Grihdaah, Maya, Mukti etc. In 1937, he was married to Manobina Sen. He continued as a Cameraman till 1942 doing more films like Abhagin,Badi Didi, Abhinetri, Haar jeet and Meenakshi.

By 1942, due to restrictions on supply of raw film and financial crisis, added to Ego problems of Big artistes and the management, New Theatres came into problems. One after another most artistes like Barua, Debki Bose, Nitin Bose, Saigal, Prithwiraj kapoor, Kumar, Kidar Sharma etc left Calcutta and reached Bombay. Bimal Roy did a documentary on the Bengal Famine in 1943 and then directed his first Bangla/Hindi bilingual film Udayer Pathe/Hamraahi in 1944. The successful film ran for an year in Calcutta and established him. Then came Anjangadh,Mantramugdha and Pehla Admi.

Bimal Roy came to Bombay for the premiere of film Pehla Admi-50. Here he met his old collegue Hiten Chaudhari,who was working in Bombay Talkies-supposed to be a hub for all artistes coming from Bengal. He took Bimal Roy to Bombay Talkies and he got his first film in Bombay- Maa-52, for direction. Then came Parineeta-53. Bimal Roy then established his own Bimal Roy Productions and made many films. He directed films like Do Bigha Zamin, Naukari, Devdas, Madhumati, Sujata, Parakh, Prempatra and Bandini for his own productions. For others too he directed films like Biraj Bahu, Baap Beti and Yahudi. Bimal Roy Productions mad films like Amanat, Parivaar, Apradhi Kaun,Usne kaha tha,Kabuliwala and Benazir where other directors did the films.

Bimal Roy got 11 Film Fare Awards for Best films and Best Direction in all. He got several National and International awards too. He was a heavy smoker. In 1965, Lungs Cancer was detected and he died on 8-1-1966

Bimal Roy was not only a very sensitive person, but he was like an Institution for subordinates, who learnt a lot from him. He was like a complete school of film making and gave the film industry great film makers and writers like Hrishikesh Mukherjee, Gulzar, Nabendu Ghosh, Salil Chaudhari ( Do Bigha Zamin-53 was based on his story Rikshawala, written in the 40s. Parakh was also his story and he wrote screen play for Prempatra) and Basu Bhattacharya. After Bimal Roy’s death, Hrishikesh Mukherjee dedicated film Anupama to his memories.

One special characteristic of Bimal Roy was song picturisation on character and unknown artistes ( like Guru Dutt). Sachin Shankar sang Parakh song-kya hawa chali. His production manager’s wife Dolly kapoor sang 2 songs in Bandini. Rajdeep, a character artiste sang”mat ro mata laal tere bahutere”in film. W.M.Khan sang in Kabuliwala. In same film a small time actor M.V.Rajan also sang a song.

Bimal Roy shot a major part of film Madhumati in Nainitaal. When he came back to Bombay, to his dismay, he found that 60% shots were spoiled. Without losing head, he shot all those scenes in Bhandardara-near Bombay and the film was edited so well, that nobody felt any difference !

Film Maa-52 was a solid tear jerker competing with any Madras film from AVM or Gemini. The story of the film was…

Chander Babu (Nazir Hussain) is a retired Post office employee, now working with the local Zamindar, on a very low salary. He and his wife (Leela Chitnis) live in Chandanpur. They have two sons. Elder son Rajan (Paul Mahendra) is married to a wealthy family girl (Achla Sachdev), who is very arrogant. He is studying final Law course. The younger son Bhanu( Bharat Bhushan ) is good natured and helpful. He studies in college. he is in love with a girl Meena (Shyama) and her father approves their marriage.

Rajan needs Rs. 300 for his exams, but his father can not get this much money. His own wife has the money but refuses to give. One day Bhanu is returning to his house in the night when he hears “Thief, Thief ” He finds that the Thief is no one else, but his own father who tries theft for Rs 300 to give the fees. Bhanu takes the blame on himself, is caught and jailed.

When Bhanu is released and comes to meet his parents, he is told by Rajan that they don’t want to see even his face. Bhanu goes away, is helped by an advocate and gets a Bank job. His father confesses everything to his wife, gets a shock and dies. The mother goes in search of Bhanu. She is treated like a maid in Rajan’s house. Bhanu works hard and becomes a manager. He sends Rs100 money order every month to his mother, but Rajan and his wife take that Money order, without mother’s knowledge. Bhanu meets Meena and their love kindles again. She tells him about his mother.

Bhanu comes back and meets the mother. He realises that she is treated lie a maid by Rajan and wife. He goes to Rajan, fights with him, drags him to his mother. Rajan and his wife repent and ask for a pardon. The Maa pardons them. Bhanu and Meena’s marriage is announced.

Film Maa-52 had only 6 song. Today’s song is the fourth song to be posted here. It is sung by Manna Dey. The Music Director S.K.Pal- Surya Kumar Pal, was the nephew of composer Ramchandra Pal. He first joined Shalimar pictures of Poona and in the end did few films for Bombay Talkies. In all he did 19 films. His last film was Dhola Maaru-56, in which, for the first and last time, he used Lata Mangeshkar for his songs. The song is picturised on Leela Chitnis….


Song-Chale re chale Raam vanwaas (Maa)(1952) Singer-Manna Dey, Lyrics-Bharat Vyas, MD-S K Pal

Lyrics

aakaash bhai bhaanu ??
aaya andhiyaara
maa ke nainon se chhupaa
nainon ka saara

chale re
chale Raam vanwaas
chale re
chale Raam vanwaas
chhal chhal neer bahaaye maata
chhal chhal neer bahaaye maata
naina bhaye udaas
pita ke man mein peer uthhhi hai
pita ke man mein peer uthhhi hai
aas bhai hai niraas
chale re
chale Raam vanwaas
chale re
chale Raam vanwaas

aaj achaanak aandhi aayi
aandhi aayi ee ee ee
aaj achaanak aandhi aayi
van ki kali kali murjhaayi
sneh bhare ae ae ae ae
sneh bhare maa ke madhuvan se
sneh bhare maa ke madhuvan se
roothh gaya madhumaas
chale re
chale Raam vanwaas
chale re
chale Raam vanwaas

apne jeewan ka dhan kho kar
laut rahi hai maa ro ro kar
laut rahi hai maa ro ro kar
haay lagi kismat ki thhokar
tooti man ki aas
Raam gaye vanwaas
haaaaye
gaye Raam vanwaas

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3 Responses to "Chale re chale Raam vanwaas"

Opening lines sound like:-
?? – ‘Saanjh bhayee, bhanu chupe, chhaya andhiyara
Maa ke nainon se chupa naino ka taara’.

Dear Arunji ,

Wow ! When it rains , it pours . Two Posts in a matter of a few days . Thank you again .

No one can match your wealth of knowledge re: Indian Movies and one is sure that only space restricts you from informing us more about the little details.

It is with great trepidation , therefore , that I venture to add some trivia about the legendary Bimal Roy , which some of your readers might find interesting :

His first film as an independent Cameraman was for a Tamil Film made in Calcutta – “Nalla Thangal” in 1934 . Gradually, his work began to be noticed and even reached the ears of BN Sircar , the Supremo of New Theatres , and so it was that in 1943 , when Sircar was requested by the then Govt. to produce a 1000 feet Documentary on the Bengal Famine , he entrusted the job to this young man of a few words named BIMAL ROY , the successful Cameraman he had been so impressed by . Roy and his Crew initially faced stiff resistance from the masses during the shootings , but he managed to gain their confidence and the resulting Documentary was hailed as a landmark. ( Its main purpose was to attract attention both at home and abroad to the crisis at hand and to bring in aid , in cash and kind , to overcome the terrible tragedy ). By December of 1943 , the Famine had begun to be checked , but not before a few million had perished and many more later who suffered from the after effects of severe malnutrition . There is no trace of the Documentary in the Public Domain , except for this extract below , used in a British Documentary , with Credits to New Theatres – the language appears to be Punjabi , perhaps to generate aid from North India or the expatriate Punjabis in England and elsewhere :


( Bengal Famine – 1943 )
[ since the credit line mentions New Theatres , it would be reasonable to assume that the extracts are from the Documentary made by Bimal Roy – it is also logical to assume that since it was a Govt . funded Project , the Original Prints of the Documentary would be lying somewhere in the British Archives , now located in a distant suburb of London ].

Impressed by Roy’s capabilities as a Cinematographer , Editor and Director , all rolled in one , Sircar wished to reward the young man with an independent venture and then he recalled the story given to him by Jyotirmoy Roy , his in-house left leaning screenplay writer . In any case Sircar himself was tied up with a mammoth Production which had just gone on the floors of his sprawling Studio . The War was still on and Raw Stock was controlled by the Govt. and available at a Premium . He assigned “Udayer Pathe” on a shoestring budget to Bimal Roy , with the proviso that he could not touch the raw stock of the Production House (which , in any case, had been earmarked for the Big Projects) – he had to make do with the “cut-pieces” left over from previous Projects and lying unused in some corner of the Stores . The debutante Director took up the challenge and it was nothing short of a miracle how he pulled off a feat – with all his Artistes absolutely fresh faces (except his personal friend , Tulsi Chakraborty) .

“Udayer Pathe” turned out to be a landmark film , and in spite of the technical hurdles prevalent at that time , it showed film makers how films could be made .

Sircar could not believe that it was made out of cut-pieces , so deft was the editing , and it is said that he personally re-checked the Inventory of Raw Stock in the Studio, to re-confirm that nothing was missing !
“Udayer Pathe” turned out to be the biggest money spinner for New Theatres for all times ( and for good measure , that Mega Project that Sircar was betting all his efforts on , turned out to be a damp squib and a flop ).

In the Editing Department , Roy was ably assisted by one SUBODH MITTER ( affectionately known to all in the Studio as “kanchi-da ” – in those days , Editing was doubly more complicated , as it had to be done directly on the negative and required greater skill ). And “kanchi -da ” had a young Chemistry Graduate as his apprentice – his name , HRISHIKESH MUKHERJEE !

[ When Bimal Roy later left New Theatres and migrated to Bombay , one of the first persons he approached was Hrishikesh , who jumped at the offer – he travelled with Roy and his family (wife Manobina and two young daughters) in the same First Class Compartment ].

And in the context of the previous Post by dear Arunji , apropos Anthems, it would not be out of place to mention that “Udayer Pathe” was the first film to use “Jana Gana Mana” as a song . It was used as a background song for a Public Meeting in the Film , and it was the complete song , or almost , being 4 of the 5 stanzas as originally composed by Kabiguru . But somewhere down the line , the song was removed from the Film , although old timers who had seen the film swear that it was part of the Film . The mystery remains – if the British Censors did not find it objectionable (back then in 1944 , “Vande Mataram” was destined to be the eventual National Anthem of Free India) , who could have had the song removed after Independence ? To this day , it remains as much of a Mystery as Netaji’s disappearance !

The mystery deepens with the clue in the short video clip below :

[ The reference to “Humrahi” in the clip is the Hindi version of the Film made in 1945 , with more or less the same cast , but with Hindi dialogues written by one Mohanlal Bajpai ]

If we have to judge a Film Maker by only one of his works , then surely it is “Udayer Pathe” for Bimal Roy . Luckily , the Film is available in Parts on YouTube , and language should not be a barrier for a great work of Art .

With warm regards and looking forward to your next Post

PARTHA CHANDA

PARTHA CHANDA ji,

Thanks for your detailed additions.
You have rightly said that space restricts the length of the article.
Though there is no restriction on the length of articles from Atul ji any time, I strongly feel myself that too much details or too many things narrated makes the focus on the music and the song weak.
Therefore I try to make my write ups compact-not too short and hopefully not too long, so that they serve the purpose of information distribution and yet do not diminish the importance of the song too.
It is like a photograph of newly wed couple. A crowd in the photo minimises the focus on the couple.
There are many interesting anecdotes of Bimal Roy still not covered here. May be I will write about them sometime again.
Meanwhile thanks for your appreciation.
-AD

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