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

Archive for July 2018


This article is written by Peevesie’s mom, 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 : 3665 Post No. : 14537

“Yaarana” was a movie that was released in 1981. It was produced by H A Nadiadwala and directed by Rakesh Kumar. It had Amitabh Bachchan and Amjad Khan playing friends whose friendship was rooted in childhood. The story showed the love and affection between the two who were from different financial backgrounds. They would go to any extent to make each other’s lives comfortable.

Todays’ song comes at a point where the rich friend Bishan (Amjad) has just discovered that he has been swindled by his uncle (mama) Jeevan and he has had to mortgage his favourite cruise liner “Kishan” so that he can put up his friend’s debut stage show. And further to make ends-meet he has begun working on the liner as a captain.

The song is when a group of school kids under the guidance of Farida Jalal request him for a song. As the song progresses the mama and his son (Jeevan and Ranjeet) slowly take over the running of the liner and at the end of the song take the children as hostage too and demand a ransom from the parents of the kids. This and other tortures that Jeevan and Ranjeet subject him to causes Bishan to lose his mental balance. Then the movie proceeds towards the climax where Kishan (Amitabh Bachchan) comes to rescue Bishan and all the kids.

The movie released was about a year or so after Mohd. Rafi’s death in 1980 (release date October 23rd. 1981). It had music by Rajesh Roshan and lyrics by Anjaan. Amidst all the popular songs that were sung by Kishore Kumar for Amitabh was this song which was Rafi for Amjad Khan. Isn’t that a rarity?

It is not a coincidence that I chose a song featuring Amjad Khan- it was his 26th death anniversary three days back. An actor who sent shivers down our spine as Gabbar Singh but also did a lot of positive characters. He was an all-rounder- in a career spanning 19 years he made us experience the full range of emotions. He went very early.

Thinking of the smooth voiced singer Mohd. Rafi on his 38th death anniversary. Thinking of all the gems he has left behind for us, gems that we are still discovering.

dil ka soona saaz taraana dhoondega
Teer-e-nigaah-e-naaz nishaana dhoondega
Mujhko mere baad zamaana dhoondega”

This song was posted by Atulji on this date exactly 10 years ago. It is true about both Rafisaab and Amjad Khan. We are still missing them and will always remember them fondly.


Song-Bishan chaacha kuchh gaao (Yaaraana)(1981) Singer-Rafi, Lyrics-Anjaan, MD-Rajesh Roshan
Chorus

Lyrics

Bishan chacha kuchh gaao
are re re
aisa taraana jhoom ke gaoon
sang sang duniya jhoome
Bishan chacha

yeh umar nayi
dagar naya
safar hai pyaare
door
abhi hai door
kahin jaane kahaan kinaare
ye umar nayi
dagar naya
safar hai pyaare
door
abhi hai door
kahin jaane kahaan kinaare

tu ruk nahin jaana
tu dar nahin jaana
tu thak nahin jaana mere pyaare
Bishan chaacha
kuchh gaao

are re re aisa taraana jhoom ke gaoon
sang sang duniya jhoome
Bishan chaacha

zindagi jo hai mili hansi khushi guzaaro
tum jiyo to yoon
jiyo ke saara jahaan sanwaaro
zindagi jo hai mili hansi khushi guzaaro
tum jiyo to yoon
jiyo ke saara jahaan sanwaaro

pyaar lutaayen
auron ke kaam aayen
yahi to zindagi hai mere pyaare
Bishan chaacha
kuchh gaao

are re re aisa taraana jhoom ke gaoon
sang sang duniya jhoome
Bishan chaacha

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This article is written by nahm, 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 : 3665 Post No. : 14536

do hi lafzon ka thha ye afsaana
jo sunaa kar khaamosh ho baitthaa aa

And thus he sang in 1949, with no conception that his voice and words are going to resonate around the globe into the 21st century or the next millennia. If he had known how famous and well known one day he was destined to be, I wonder how much more conscious and eager to reach the heights a performer of his class would have been. Or if he could have excelled himself in what way. As it is, he was in a class of his own. The thing about this whole saga called Mohammed Rafi ‘s songs, is that there is/was simply no competition.

Here was me, literally stumbling in front of the street where he lived the last part of his life. It happened this saturday, I was visiting a fashion house on Turner Road, Bandra(W), and right there on the intersection there was this blue coloured sign board indicating the direction of Mohammed Rafi Marg.

Normally western suburbs are not my choice of places to visit. Having lived all my life in Mumbai, I have also had my fair share of queries like ” Have you seen Shah Rukh Khan’s house ?” or some such things mainly from those who have never visited Mumbai. Long ago some Bollywood savvy driver had driven us around the Bandra area showing us the Bunglows and houses of Dilip Kumar, Meena Kumari etc. with some visiting relatives while we all were on a sight seeing trip.

This time I was with my sister, mother and cousins doing some sort of research in current trends and fashions. Others call this same activity as window shopping 🙂 . I was gobsmacked to unexpectedly find that I can see Rafi Mansion. I told the elderly chacha from who driving the car, who is actually a Kishore and Rajesh Khanna fan, to just go and see if he can find Rafi Sahab’s home in the street, by the time we could finish the job in hand. Afterwards I asked chacha if he found the house. He replied that he couldnt find it. Having seen the road sign I was not about to give up. I said “Chalo dekhte hain kasie nahin milta” .

I knew this has to be a small street and Rafi Mansion shouldnt be so difficult to find. And Lo and Behold, there it was the gate marked “Rafi Mansion” on one side and “Bait-ur-Rafi” on the other side. The whole area, I realised must have changed over the decades. Of course the house that Rafi Sahab lived is no longer there and in its place is a building containing flats. A passerby told us, that Rafi Sahab’s daughter stays in the building but currently she is abroad.

Fortunately, I wasnt too overwhelmed and remembered that I can take photos of the place as a memory of the moment. I did take the photos of the gate and the Memorial Plaque marking the street “Padmashree Mohammed Rafi Marg”.

I have photographs to prove it, that I did visit the place and not making this story up just to write something in this post 🙂 🙂 . Photos are attached to accompany the post. Someone sure is taking care of both the plaque’s (On both corners of the road) and the gate with its silver paint and glaze.


As we came away from there, we all were discussing inane things. I could’nt even ponder over what all info I have imbibed in all these years about Rafi Sahab’s house. I only realised today that, this was a momentous occassion and could be recorded here on this blog honouring the great nourishing and enriching value addition i.e. Rafi Sahab’s legacy, is to Hindi film music.

The moment here is the 38th death anniversary, to be commemorated. A beautiful solo song that I found on youtube some months ago, with two versions, is worthy of the event. Its so touchingly rendered in the typical Rafi tones of the 40’s, that I longed to do this post. When I saw a post of a song from Shohrat (1949) a while back, I thought this song also will be posted soon. But than luckily it has been left alone, may be due to the fact that it deos not appear in the Geet Kosh.

Whether this song was recorded for the film “Shohrat”(1949) or otherwise, the fact remains that this is a authentic Rafi rendition. Both the versions have the word”Tanvir” featuring in a sher, as a poets takhallus maybe. As per the information given with the link on youtube, it is from Shohrat(1949) composed by Aziz Hindi. The poet, as per the uploader is Tanvir Naqvi.

Part-1

Part II

Song-Ye sitaare hain motiye ke phool (Shohrat)(1949) Singer-Rafi, Lyrics-Tanveer Naqvi, MD-Aziz Hindi

Lyrics

————————————–
PART – I
———————————–
ye sitaare hain
motiye ke phoo ool
kis ki maala toot gayi ee ee ee
chaand teeka hai
kis ke maathhe ka
raat kis ka suhaag loot gayee

shaamil-e-bazm hain kayee ehbaab
ye na samjho koyi akelaa hai ae ae
lab pe naatik hai muskuraahat kaa
aankh mein aansuon ka melaa hai

wo jo bikhri hai
tere honthon par rr rr rr
surkhiyaan hain mere
fasaane ki ee
teri aankhen haseen raaten hain
mere guzre huye zamaane ki ee

jis ko tum hi salaab(?) kehte ho
ik warq hai mere fasaane kaa aa aa
main to khud hi badal gayaa tanveer
rang badla nahin zamaane ka

—————————————
PART – II
—————————————-
tera paighaam le ke seene mein ae ae ae
koyi ruswaa huaa sar-e-bazaar
koi vastu mein ban gayaa gautam
koi gukul mein saanwala avtaar

aag mein ? ? nahi hote ae
sholay utthhte nahin hain paani se ae
raakh mein phool khil nahin sakte
kuchh na paaoge iss jawaani se

kis ne bargad ki chhaaon mein tanveer eer
door se bansuri bajaayi hai ea
aag si lag rahi hai seene mein
saanwle krishn ki duhaayi hai

do hi lafzon ka thha ye afsaana aa
jo sunaa kar khaamosh ho baitthaa aa aa
ibtedaa ye ke tum ko paayaa thha
intehaa ye ke khud ko kho baitthaa


This article is written by Raja, 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 : 3665 Post No. : 14535

Here is that day again.

Yes, it is the 31st of July (2018) today – which for HFM lovers, wherever they are in the world, signifies just one thing.

The death anniversary of Mohammad Rafi – respectfully referred to as Rafisaab, by one and all.

I am sure there will be events around the country to solemnly mark the occasion. Why just in the country, probably even across the world, considering how distributed India’s diaspora around the world is.

Millions of people will be remembering today as Rafisaab’s Remembrance Day – a term we also often use on this blog.

Truth is, at least for me (and I’m sure it’s true for many), every single day of the year is Rafisaab’s Remembrance Day. For there isn’t a single day in the year that I do not remember Rafisaab in some way or the other. It is usually in the form of a song I’m listening to – or sometimes singing (thankfully only to myself). 🙂

Of course, the 31st of July adds a huge extra layer of remembrance because it brings with it a sense of loss. Although it is 38 years now, this sense of loss remains. And for me, it will remain all my life.

As I sit to write this post, I’m not sure what I should write about Rafisaab that I haven’t already written here.

The thing is, I’ve written a lot about Rafisaab here. My posts here might be relatively infrequent now but I make it a point to always write a post on Rafisaab’s birth and death anniversaries. These are two dates I never miss. It is just my very small way of paying tribute to Rafisaab, and thanking him for enriching my life in a way, and to an extent, that I just cannot describe.

And I’d like to think, he is up there, smiling as always, reading these tributes.

There isn’t much I can think of writing now that I haven’t already written before. And although I don’t mind repeating myself, I don’t want to bore the readers. Having said that, I never tire of repeatedly watching the same tributes to Rafisaab on youtube. I’ve listened to Jeetendra’s story of Deedaar-e-Yaar multiple times, SP Balasubramaniam’s story about “deewaana hua baadal” multiple times. 🙂 And each time, it feels good to listen to it.

But that’s different from my repeating stories, that too in text, not video. Besides, they speak about their personal experiences involving interaction with Rafisaab – mine are just my personal thoughts.

So I will refrain from repeating myself.

One thing I will say – I’ve often felt lucky that Rafisaab’s era was before mine. Imagine somebody living in the 1920s/30s and passing away before 1947. He or she would never have had the opportunity of listening to Rafisaab. Of course there were greats even then – like Saigal saab and Pankaj Mallick, but we now have the good fortune of being able to listen to them AND to Rafisaab, Talat Mahmood, Lataji and others.

Future generations will have even more music available to them, in addition to what is available today.

That’s the greatness of a legacy. Every individual has to die sometime – nobody can do anything about that. Yes, one can delay the inevitable – but it is still inevitable. No one has yet invented the elixir of immortality – and that might not be such a bad thing.

Coming to Rafisaab, I’ve spent hours and hours listening to him. I’ve spent all night listening to his songs. It starts with one song, then I think “ok, one more”, then “one more” and so it goes on. On youtube, you keep getting prompted anyway – so it’s just one click after another. You start with “chaudvin ka chand ho”, then, as if on cue, you’re prompted “abhi na jao chhod kar”, which then takes you to “deewana hua baadal”, which takes you to “pukaarta chala hoon main” and so on. You know the drill – you’re hooked. This has happened to me many times.

Not that I’m complaining. It has always been a thoroughly enjoyable experience. I often don’t even watch the video – I just close my eyes and let Rafisaab’s voice take over. And suddenly everything seems to either fall in place, or become inconsequential. For that period at least. When SPB says that at the end of a long day in the recording studios he would come home and listen to Rafisaab to relax, I think I can understand where he’s coming from. Rafisaab’s voice can be extremely relaxing, if you listen to the right songs. I don’t know how often I’ve listened to “ab kya misaal doon” (Aarti-1962) or “maine shaayad tumhe pehle bhi kahin dekha hai” (Barsaat Ki Raat – 1960). And think of songs like “husnwaale tera jawaab nahin” (Gharana–1961) or “ek haseen shaam ko” (Dulhan Ek Raat Ki – 1967) or “mujhe dekh kar aapka muskuraana” (Ek Musafir Ek Haseena – 1962). And if you’re looking for duets, how about “theheriye hosh mein aa loon” with Suman Kalyanpur (Mohabbat Isko Kehte Hain – 1965) or “dil pukaare” with Lata (Jewel Thief – 1967) or “phir miloge kabhi is baat ka vaada kar lo” with Asha (Ye Raat Phir Na Aayegi – 1966). And of course, one of my all-time favourites – which is why I keep coming back to it – “abhi na jao chhod kar” with Asha (Hum Dono – 1961). 🙂

And so many more. I just realized that all the songs I’ve mentioned above, which came randomly to my mind, are all 1960s songs – but this is purely a coincidence. One can find a treasure of songs from the 1950s or even 1970s. Yes, even the 1970s, when Rafisaab was supposed to be going through a lean patch for the first half of the decade. The half in which he still gave us songs like “tum jo mil gaye ho” (Hanste Zakhm – 1973) and “aaj mausam bada beimaan hai” (Loafer – 1973). And my favourite Rafisaab duet song of the 1970s – “teri bindiya re” (Abhimaan – 1973) with Lata, which I have listened to a zillion times, and can never have enough of.

Rafisaab sang practically every genre, from qawwali and devotional songs to rock-n-roll and romantic songs, adjusting his singing style and voice for every actor, depending on the needs of the situation. He was always conscious that he was the playback voice – and that the actor on screen was bringing that song to the audience in “his” (the actor’s) voice. This elevated not just the song, but often even the film, for the viewers, because very often the songs of the film carried the film. 🙂

And, to add to all this, as if his divine voice wasn’t enough, he was also one of the most gentle souls the industry has ever seen. In an industry where ego clashes and tempers were not uncommon, he was ever-smiling, ever accommodating of others, never throwing his weight around – which he could very easily have done. He had a very big heart, ever generous and helpful to those in need. And he did a lot of it without publicity. It was only after he died, that a number of his charitable actions came to light.

So SUCH is the person Rafisaab was. Will we ever see another like him in the industry? Hard enough to imagine another singer like him – add to that his nature, and I think it’s safe to rule out the chance of another Rafisaab. No, Rafisaab was one of a very special kind – like SPB says, we were just very lucky he came in our midst before he was called back.

Indeed, he was 100% right when he sang “mujh ko mere baad zamaana dhoondhega”.

I will now move on to today’s song.

As it is the 31st of July, I have selected a song, sung by Rafisaab of course, about the inevitability of passing away. It is a very short song from the film Amardeep (1979) – but it suits the occasion perfectly. Lyrics have been provided to me, as usual, by Avinashji.

The song’s lyrics, written by Anand Bakshi, talk about how death is inevitable. And yet how sudden and shocking an unexpected death can be. “Tum aise gaye, aise bhi jaata nahin koi”. Everyone knows how sudden Rafisaab’s death was. That was just no way to go. Everyone was in shock – and he was just 55.

The song also refers to having a smile on one’s face even while dead. “Kyon mar ke bhi honthon pe hansi khel rahi hai”- this could also be said of Rafisaab. He was ever-smiling, reportedly even in death.

This song brought a lump to my throat.

Also, listening to his voice only further made me realize how wonderful his voice was even just a year before he passed away. It left me with a loss of what might have been. I felt he had so much more singing in him.

Anyway, one cannot control these things. One can only be thankful for what one has got. And we have got a LOT from Rafisaab. A price can never be put on his legacy – it is just priceless. He will be in our hearts for ever, and remembered for ever.

Rafisaab is truly “amar” in this sense – and lighting amardeep in all our hearts.

Thank you, Rafisaab.

Thank you for everything.

bahut shukriya, badi meherbaani,
hum sab ki zindagi mein huzoor aap aaye

Audio

Video


Song-Duniya mein sada rehne ko aata nahin koi (Amardeep)(1979) Singer-Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

Duniya mein sadaa rehne ko
Aata nahin koyi
Tum jaise gaye aise bhi
Jaata nahin koyi

Kyun mar ke bhi honthhon pe hansi
Khel rahi hai ae
Sab jaante hain aur
Bataata nahin koyi ee

Dil pehle hi dartaa thaa
Ke jal jaayega daaman
Daaman se amardeep
Bujhaataa nahin koyi
Bujhaataa nahin koyi ee
Bujhaataa nahin koyi

—————————————–
(Devnagri Script lyrics) Provided by Avinash Scrapwala)
—————————————–
दुनिया में सदा रहने को
आता नहीं कोई
तुम जैसे गए ऐसे भी
जाता आ नहीं कोई

क्यूँ मर के भी होंठों पे हंसी
खेल रही है ए
सब जानते हैं और
बताता नहीं कोई ई

दिल पहले ही डरता था
के जल जाएगा दामन
दामन से अमरदीप
बुझाता नहीं कोई
बुझाता नहीं कोई ई
बुझाता नहीं कोई


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 : 3664 Post No. : 14534

“Police” (1944) was directed by Shanti Kumar for Prakash Pictures, Bombay. The movie had Prem Adib, Ratnamala, Jeewan, Ranjana, Shahnawaz, Amirbai Karnataki, Badri Prasad, Baby Tara, Shakir, Athavale, Laxman, Alaknanda, Kesri etc in it.

The movie had thirteen songs in it. One song has been covered in the past.

Here is the second song from “Police”(1944) to appear in the blog. The song is sung by Amirbai Karnataki. Ramesh Gupta is the lyricist. Music is composed by Pannalal Ghosh.

Amirbai Karnataki acted in the movie, so under normal circumstances, one can conclude that the song was picturised on herself. I notice that Amirbai Karnataki and Parul Ghosh sang lots of songs in the movie, so Amirbai Karnataki may or may not have sung all her songs for herself, unless she played a lead role in the movie. I request our knowldgeable readers ro throw light on the matter. I have assumed that the song was picturised on herself.

I have not been able to get a few words right in the lyrics. i request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-Baaj rahi kis oar muraliya (Police)(1944) Singer-Amirbai Karnataki, Lyrics-Ramesh Gupta, MD-Pannalal Ghosh

Lyrics

Baaj rahi kis oar muraliya
baaj rahi kis oar
baaj rahi kis oar muraliya
baaj rahi kis oar
jeewan naiyya dagmag doli
jeewan naiyya dagmag doli
uthhi ghata ghangho or or
jeewan naiyya dagmag doli
uthhi ghata ghanghor
chali pawan lahraati gaati
chali pawan lahraati gaati
naach uthha man mor
muraliya baaj rahi kis oar
baaj rahi kis oar muraliya
baaj rahi kis oar

sun murli singhaasan dola
sun murli singhaasan dola
goonj uthhi chahun oar
sun murli singhaasan dola
goonj uthhi chahun oar
sansaari ka jeewan dola
sansaari ka jeewan dola
bhai suhaani bhor
muraliya baaj rahi kis oar
baaj rahi kis oar muraliya
baaj rahi kis oar

dharti(?) naacho
meera naache
suni ghani chitchor
dharti(?) naacho
meera naachi
suni ghani chitchor
surdas kshe ?? naache
surdas ?kahe ? naache
lagi prem ki dor
lagi prem ki dor
muraliya baaj rahi kis oar
baaj rahi kis oar muraliya
baaj rahi kis oar


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 : 3664 Post No. : 14533

“Saalgirah”(1946) was directed by K S Daryani for Krishin Movietone, Bombay. This “social” movie had Snehprabha Pradhan, Jairaj < Bibbo, Gope, Majid, Tarabai, Chandrkala, Kumar, Pramila etc in it.

The movie had eleven rare songs in it. One song has been covered in the past.

Here is the second song from "Saalgirah"(1946) to appear in the blog. The song is sung by Snehprabha Pradhan. Wali Sahab is the lyricist. Music is composed by Bulo C Rani.

Only the audio of the song is available. It is clear that the song was picturised on Snehprabha Pradhan herself who was the leading lady in the movie.


Song-Saawan ki badariya roti hai badariya (Saalgirah)(1946) Singer-Snehprabha Pradhan, Lyrics-Wali Sahab, MD-Bulo C Rani

Lyrics

Saawan ki badariya
roti hai badariya
Saawan ki badariya
roti hai badariya
aur poochh rahi hai
mere saajan ki khabariya
aur poochh rahi hai
mere saajan ki khabariya
Saawan ki badariya
roti hai badariya

ashqon ki kahaani
unhen main kaise sunaaun
ashqon ki kahaani
unhen main kaise sunaaun
wo door hain majboor hain
kya unko bataaun
wo door hain majboor hain
kya unko bataaun
rone se bhi darti hoon
ke kah degi najariya
rone se bhi darti hoon
ke kah degi najariya
saawan ki badariya
roti hai badariya

likkha hai mere bhaag mein
din raat tarasna
likkha hai mere bhaag mein
din raat tarasna
o kaali ghata
ab tu kahin aur barasna
o kaali ghata
ab tu kahin aur barasna
kis munh se kahoon
haaye ke sooni hai sajariya
kis munh se kahoon
haaye ke sooni hai sajariya
saawan ki badariya
roti hai badariya


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 : 3663 Post No. : 14532

“Naghma e Sahra”(1945) aka Song of desert was directed by Bhagwan for Jagriti Pictures, Bombay. This Constume drama movie had Master Vitthal, Khursheed Junior, Bhagwan, amarnath, Bhagwandas, Kavita devi, Shanta Patel, Vasant, Nawaz etc in it.

The movie had seven songs in it. One song has been covered in the past.

Here is the second song from “Naghma e Sahra”(1945) to appear in the blog. HFGK is silent about the lyricist. The uploader (our own Mr Sadanand Kamath) identifies the singers as Hamida Bano and C Ramchandra, and I agree with this identification.

Ehsan Rizvi is the lyricist. Music is composed by C Ramchandra.

Only the audio of the song is available. assuming that Bhhagwan and Shanta Patel were the lead pair in the movie, it would appear that the song was picturised on them. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.


Song-Kisi ki yaad kisi ko aayi (Naghma e Sahra)(1945) Singers-Hamida Bano, C Ramchandra, Lyrics-Ehsan Rizvi, MD-C Ramchandra
Both

Lyrics

kisi ki yaad kisi ko aayi
kisi ki yaad kisi ko aayi

mujhko to maaloom nahin
ye ulfat ke afsaane
yaad kisi ki chhalkaaye kyun
aankhon ke paimaane
ye kaisi baat sunaayi ee ee
ye kaisi baat sunaayi ee ee
kisi ki yaad kisi ko aayi
kisi ki yaad kisi ko aayi

kyun dil ka raaj chhupati ho
hmm hmm hmm
jab dil ka chor pakadta hai
duniya to ab jaan gayi
jo do dil ka afsaana hai
teri yaad yahaan tak laayi ee ee
teri yaad yahaan tak laayi ee ee
kisi ki yaad kisi ko aayi
kisi ki yaad kisi ko aayi

jo munh se baat nikalti hai ae ae
wo afsaana ban jaati hai ae
mast nazar chup rah kar bhi ee
apna bhed bataati hai

hai ulfat mein ruswaayi ee ee
hmm hmm
hai ulfat mein ruswaayi ee ee
kisi ki yaad kisi ko aayi
kisi ki yaad kisi ko aayi


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.

Blog Day : 3663 Post No. : 14531

The poem, kaarwaan guzar gaya gubaar dekhte rahe and the poet Neeraj are inseparable. The poem was later adapted as a song in the film ‘Nai Umar Ki Nai Fasal’ (1965). But if I mention a verse from a ghazal, ‘kaarwaan guzra kiya raahguzar dekha kiya’ with more or less similar import, most of the readers of the Blog (barring those who have interest in the Urdu poetry) may not be aware as to who wrote this ghazal. The poet of this ghazal was Faani Badayuni. This name may not ring bell but the name will surely bring into the minds of most of us, another poet-lyricist from Badayun, Shakeel Badayuni.

I was not aware of Faani Badayuni until about 4 years back when I had started writing articles on some famous classical and modern Urdu poets for the Blog. In that, I had covered poets like Daagh Dehlvi, Firaq Gorakhpuri, Majaaz Lucknowi, Hasrat Mohoni, Sudarshan Faakir, Nida Fazli etc. I had also come across the name of Faani Badayuni in the context of Sahir Ludhinavi and Majaaz Lucknowi who were said to have been influenced by his poetry in their early writings. However, at that time, I did not make a serious attempt to know more about Faani Badayuni.

Recently, I heard the ghazal ‘misl-e-khayaal aaye thhe aakar chale gaye’ from the film ‘Aaina’ (1944). It is a tandem solo song sung by Kalyani Bai and Shama separately in the film. Pandit Phaani has been accredited as a song writer for this song in all the film songs websites. However, Kamalakar Pasupuleti’s book ‘Music and Arts in Hyderabad’ has mentioned that this ghazal was written by Faani Badayuni. I still have some doubt as to the authorship of this song. In my view, except for first she’r, the remaining 3 she’rs in the song appear more as filmy lyrics than the poetry. This issue created interest in me to know more about Faani Badayuni and his genre of poetry.

Shaukat Ali Khan ‘Faani’ Badayuni (13/09/1879 – 26/08/1941) was born in Islampur in Badayun district of the United Province (now Uttar Pradesh). Faani Badayuni’s great grandfather had come from Kabul during the reign of Mughal King, Shah Alam and had joined his darbaar. Later, he was made the Governor of Badayun and became the landlord in 144 villages. In the aftermath of the 1857 mutiny, the British confiscated most of his grandfather’s land as a punishment for supporting the 1857 rebellion. Faani’s father had to work as a sub-inspector in the Badayun police.

Faani Badayuni completed his high school in Badayun and did B.A. from Bareilly College in Bareilly. Faani was to get a job in the police but Faani’s father was keen that his son should enlist for LLB to become a lawyer to have an independent source of income. However, the young Faani was more interested in writing Urdu ghazals and attend mushairas than pursuing the vocation of a lawyer. It was the insistence from his father that forced him to take admission in a college in Allahabad for LLB and thereafter in Aligarh. After spending 6 years in these two colleges, Faani completed LLB in 1908.

Faani started law practices in Badayun, Bareilly, Agra and Lucknow but could not become a successful lawyer. With a poet in his heart, he had no interest in law practice. He had started writing ghazals from the age of 11. He used to spend much of his time in mushiaras. As a result, he did not devote sufficient time to study the court papers. His law practice failed and his father came to know that his son was devoting more time in writing Urdu poems than attending court. After his father’s reprimand, Faani stopped writing ghazals and participating in the mushiaras for few years.

In 1923, Faani came to Agra and started the law practice once again. But his practice did not flourish. During this time, he started an Urdu magazine ‘Tasneem’. But this venture also went into losses and had to be closed down in 1932. During these troubling times, Faani faced financial problems. It was during this period he had to sell his land at a pittance as a settlement of some land disputes.

Fortunately for Faani, in 1932, he got an invitation from Krishan Prasad ‘Shad’, the Diwan (Prime Minister) for the Nizam of Hyderabad to visit Hyderabad. Krishan Prasad was a poet himself beside a fan of Faani. He was provided with a furnished house in Hyderabad with free conveyance. He also got the monthly honorarium of Rs.350/- from Nizam.

In view of Faani’s educational qualification, the Diwan of Hyderabad was keen to make him a Magistrate in one of the courts of Hyderabad. However, due to some clever mechanisation of his competitors, Faani could not get any post worthy of his status. At last, he was appointed as a School Headmaster. After the death of Diwan Krishan Prasad in 1937, even his monthly honorarium was considerably reduced. During this period, Faani lost his young daughter and the wife within a span of one year. These incidences emotionally affected him.

Apart from attending to his job as a Headmaster, Faani was also required to attend the court of Nizam’s son. The music and poetry recitation sessions used to continue until the wee hours of the morning. As a result, Faani sometime could not attend to his school work or he would reach the school very late. As a punishment, Faani was transferred to a school in Nanded and later in Warangal. However, his heart was in Hyderabad for which he would often remain absent from the school. Due to this, Faani lost his job as Headmaster just few days before his death on August 26, 1941.

Faani had summed up his life as under. My guess is that he wrote this at the fag end of his life:

‘Faani’ ham to jeete ji wo maiyyat hai be-gor kafan
gurbat jisko raas na aayi aur watan bhi chooth gaya

[I am a living corpse without a tomb and the shroud (cloth on a dead body). Not wanted in a foreign (Hyderabad) land, I missed the home (Badayun)]

Faani published his poetry collections in two books – ‘Baqiyat-e-Faani’ and ‘Irfaniyat-e-Faani’. There is also a publication ‘Kuliyaat-e-Faani’ brought out after his death. In addition, there are some half a dozen published works done by some authors and editors on his poetry. All these publications are available on line in Urdu scripts only. Luckily , I could get a Hindi publication of Faani’s select poems (120 ghazals) in ‘Faani Badayuni Aur Unki Shaayari (1959) edited by Saraswati Saran ‘Kaif’ as e-book on rekhta.org.

Generally, traditional ghazals are written with a romantic theme of the poet’s unrequited love for his imagery beloved. The sequence of unrequited love poems starts with describing the husn (beauty) of the beloved. At this stae, everything looks good. Thereafter the poet feels that he has not been successful in wooing his beloved. Now his ghazals are full of pathos and melancholy. Lastly, the poet feels the pain of separation as the beloved is unresponsive.

However, almost all of Faani’s ghazals which I have read in the said publication, depict gloom, sorrow, despair, bitterness and pessimism. In his view, life is full of sorrow (gham) and only the death (maut) can relieve him from sorrow. In his ghazals, quite often words like ‘gham’, ‘maut’, ‘maiyyat’, ‘mataam’ will be found. Why Faani Badayuni’s ghazals are so gloomy?

The answer lies in the circumstances in which he had spent his life and the personal tragedies he faced. His father forced him to become a lawyer against his wishes. Even Faani’s small land holding was subject to dispute which he had to sell at a pittance. His friends left him when they were most needed at the times of his distress. In Hyderabad, his friends worked against him from getting a good job which he would have got it due to his educational qualification. After the death of his benefactor, Diwan Krishan Prasad in 1937, even his honorarium was considerably reduced. Within one year, he lost his young daughter and wife due to ill health as he had no money to spend on their medical expenses. All these events may have made him bitter about the life.

Some experts in the sphere of Urdu poetry say that Faani (means mortal, perishable) was influenced by the gloomy ghazals of Mir Taqi Mir and Mirza Ghalib. While this may be true, we have no way to know as to at what stage Faani started writing gloomy ghazals as his early works have said to be lost.

From a sample of the following she’rs of Faani, one can notice depressed he was from his day to day life. Words like ‘maut’, ‘maiyyat’, ‘maatam’ seems to be his favourite vocabulary:

ehsaas-e-mohabbat hi meri maut hai ‘Faani’
iss zindagi-e-dil ne mujhe jaan se maara

har nafs umr-e-guzashta ki hai maiyyat ‘Faani’
zindagi naam hai mar mar jiye jaane kaa

nafs=soul, spirit
umr-e-guzashta= previous age (life)

maut jis kaa hayaat ho ‘Faani’
iss shaheed-e-sitam kaa maatam kyaa

hayaat=life, existence
shaheed-e-sitam=martyr of tyranny

kisi ki gham ki kahaani hai zindagi ‘Faani’
zamaana ek fasaana hai marne waalon kaa

duniya meri balaa jaane, mehengi hai yaa sasti hai
muft miley to maut na loon, hasti ki kyaa hasti hai

It appears that over a period of time, Faani got so much used to face sorrows and pains that they had become a part of his life. In fact, he thinks that he gets relief by facing them:

‘Faani’ wo balaa-kash hoon gham bhi mujhe raahat hai
maine gham-e-hasti ki soorat bhi na pehchaani

balaa-kash= afflicted, distressed.
gham-e-hasti= life of sorrow

For me, reading Faani’s ghazals was like watching the film ‘Kaagaz Ke Phool’ (1959). Both are gloomy and depressing to my mind. But these are the classic works which no one with interests in classical Urdu poetry and films can ignore.

Unfortunately, Faani Badayuni’s ghazals have rarely been used in Hindi films. One of his famous ghazals ‘ ek muamma hai samjhne kaa na samjhaane kaa’ has been partly used in ‘Prem Nagar’ (1974). The song has already been covered in the Blog. So, I have selected one of Faani’s famous non-filmy ghazals, ‘kaarwaan guzra kiya hum rahguzar dekha kiye’ (1970). I have attempted English translation (rather transliteration) below. I will not be surprised if some different interpretations of this ghazal emerge as I feel that the ghazal has some shade of Sufiana poetry.

kaarawaan guzra kiya hum rahguzar dekha kiye
har kadam par naqsh-e-paa-e-raahbar dekha kiye

Travellers have left me and now I can only see the pathway.
At every step, I looked at the foot prints of my guide.

[The poet wished to reach his destination which is his beloved (God/Saint) but the travellers (pilgrims) have already left with the guide. Now he lacks guidance. it is said that to reach the God, one needs an intermediary in form of a saint and I think here the guide is the saint]

kaarwaan= A large group of travellers,
rahguzar= Pathway
naqsh-e-paa-e-Raahbar= Foot prints of the guide.

yaas jab chhaayi ummeeden haath mal kar rah gayin
dil ke nabzen chhut gayin aur chaaraagar dekha kiye

When the despair set in, all hopes got dashed.
My heart beats stopped and I looked for a healer to cure me.

[Again, the use of the word ‘chaaraagar’ (healer) is the typical of Sufiana poetry.
The poet is in pain and in despair as his all hopes of meeting his beloved dashed. Now he needs a healer to cure him from the pains and despair.]

yaas=despair, frustration
nabzen= pulses, beats
chaaraagar=one who cures, healer, doctor

rukh meri jaanib nigaah-e-lutf dushman ke taraf
youn udhar dekha kiye goyaa idhar dekha kiye

The beloved face is towards me but her love of glance is meant for my rival.
She is looking elsewhere but pretends as if she is glancing at me.

rukh= face
jaanib=direction, towards
nigaah-e-lutf=glance of love
goyaa= as if

dard mandaan-e-wafa ke haay re majbooriyan
dard-e-dil dekha na jaata thha magar dekha kiye

Oh! How many difficulties I have to face for the separation from my beloved. I cannot withstand the pain in my heart but I will have to bear it.

tu kahan thhi ae azal ae naa-muraadon ke muraad
marne waale raah teri umr bhar dekha kiye

O death, where were you. You were the wish of unfortunates.
Those who were desirous of death were waiting for you life long.

[It is interesting to note that Sahir Ludhianvi, in his famous qawwali in ‘Barsaat Ki Raat’ (1960), expressed somewhat similar thoughts but in a lighter vein:

‘mere naa-muraad ki junoon kaa hai ilaaj koi to maut hai’ ]

azal= death
naa-muraad=unfortunate, unlucky.

The last she’r of the ghazal not covered in the record

zeest thhi ‘Faani’ be-kadr-e-fursat-e-tamheed-e-shauq
umr bhar hum partav-e-noor-e-bashar dekha kiye

The life of Faani was limited to the extent of playing the role of the love.
Throughout the life, I remained in the shadow of the beauty of the human being.

zeest=Life
ba-kadr-e-fursat = to the extent-
tamheed-e-shauq= Role of love
partav-e-noor-e-bashar= In the shadow of the beauty of the human being.

The ghazal has been rendered by Asha Bhonsle under the music direction of Jaidev. The LP containing this ghazal was first released sometime in 1970.
—————————————————————————————————————————–

Notes:(1) For Faani Badayuni’s life profile, I have relied mostly on the Hindi book, ‘Faani Aur Unki Shaayari’ (1959): Editor, Saraswati Saran Kaif, which I gratefully acknowledge. Some additional inforamtion was drawn from interviews on Faani Badayuni in the video clips available on YT.

(2) I have selected the she’rs from the ghazals listed in the book referred to above as I felt that this was more autheticated source than those available on line.

Audio Clip:

Song-Caravan guzra kiya ham rahguzar dekha kiye(Asha Bhonsle NFS)(1971) Asha Bhonsle, Lyrics-Faani Badayuni, MD-Jaidev

Lyrics

aaa aaa aa aa aaa
aa aa aaa
aa aa aaa
kaarwaan guzra kiya
hum rahguzar dekha kiye
kaarwaan guzra kiya
hum rahguzar dekha kiye
har kadam par naqsh-e-paa-e-raahbar dekha kiye
kaarwaan guzra kiya

yaas jab chhaayi ee eee
yass jab chhaayi
ummeeden haath mal kar rah gayin
dil ke nabzen chhut gayin
aur chaaraagar dekha kiye
dil ke nabzen chhut gayin
aur chaaraagar dekha kiye
kaarwaan

rukh meri jaanib nigaah-e-lutf dushman ki taraf
rukh meri jaanib nigaah-e-lutf dushman ki taraf
youn udhar dekha kiye
goyaa idhar dekha kiye
youn udhar dekha kiye
goyaa idhar dekha kiye
kaarwaan guzra kiya

dard mandaan-e-wafa ki
dard mandaan-e-wafa ki
haay re majbooriyan
dard-e-dil dekha na jaata
thha magar dekha kiye
dard-e-dil dekha na jaata
thha magar dekha kiye
kaarwaan

tu kahaan thhi ae azal
tu kahaan thhi
tu kahaan thhi ae azal
ae naa-muraadon ki muraad
marne waale raah teri
umr bhar dekha kiye
marne waale raah teri
umr bhar dekha kiye
kaarwaan guzra kiya
hum rahguzar dekha kiye
hum rahguzar dekha kiye
hum rahguzar dekha kiye
hum rah…


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.

“Aaina”(1944) was directed by S M Yusuf for D R D Productions. This movie had Trilok Kapoor, Husn Bano, Kaushlya, Yakub, Gope, Yashodhara Katju, Rajkumari Shukla, Sulochana Chatterji, Mirza Musharraf, Leela Mishra, Sayyad Ahmad, Bibi, Sultan Bawa etc in it.

The movie had eight songs in it that were composed by two music directors. HFGK mentions three songs as composed by Fareh Ali Khan and two songs as composed by Gulshan Soofi. Music directors for three remaining songs are not known.

Two songs (both composed by Fateh Ali Khan) have been covered in the past.

Here is another song from “Aaina”(1944). This song has two versions. One version is sung by Kalyani and other by Shama. sung by Zohrabai Ambalewaali and Gope. Pt Phani is the lyricist. This song was composed by Gulshan Soofi.

Only one version of the song (sung by Kalyani) appears to be available though one can find youtube links passing on the same voice as that of Kalyani as well as Shama in different links. 🙂

I request our knowledgeable readers to throw light on the picturisation of this song.

PS-Now, Mr Sadanand Kamath, our own inhouse old song expert, has made available the Shama version of this song. One can notice that her voice is clearly distinct from that of Kalyani Bai. Moreover, her version of the song has one stanza less than in the Kalyani Bai version.

With this song, Shama makes her debut as a playback singer in the blog.

Kalyani Bai version

Shama version


Song-Misl e khayaal aaye thhe aa kar chale gaye(Aaina)(1944) Singer-Kalyani bai/Shama, Lyrics-Pt Phani, MD-Gulshan Soofi

Lyrics

——————————–
Kalyani Bai version
——————————–
misl-e-khayal aaye the
aa kar chale gaye ae ae
duniya humaare gham ki basa kar chale gaye

phoolon ki aas jin se lagaaye huye thhe hum
phoolon ki aas jin se lagaaye huye thhe hum
kaante wo raaste mein
bichha kar chale gaye ae ae
misl-e-khayaal aaye thhe
aa kar chale gaye

aayi na thhi humaare chaman mein bahaar abhi
aayi na thhi humaare chaman mein bahaar abhi
wo aag aashiyaan mein laga kar chale gaye ae
misl-e-khayaal aaye thhe aa kar chale gaye

bhoole se bhi kabhi na jinhen hum bhula sake
bhoole se bhi kabhi na jinhen hum bhula sake
dil se humen wo apne bhula kar chale gaye ae
misl-e-khayaal aaye thhe aa kar chale gaye ae
duniya humaare gham ki basa kar chale gaye

————————————————————-
Shama version
————————————————————-
misl-e-khayaal aaye thhe
aa kar chale gaye ae
duniya humaare gham ki basa kar chale gaye ae
misl-e-khayaal aaye thhe
aa kar chale gaye

phoolon ki aas jin se lagaaye huye thhe hum
phoolon ki aas jin se lagaaye huye thhe hum
kaante wo raaste mein
bichha kar chale gaye ae ae
misl-e-khayaal aaye thhe
aa kar chale gaye

bhoole se bhi kabhi na jinhen hum bhula sake
bhoole se bhi kabhi na jinhen hum bhula sake
dil se humen wo apne bhula kar chale gaye ae ae
misl-e-khayaal aaye thhe aa kar chale gaye ae
duniya humaare gham ki basa kar chale gaye ae
misl-e-khayaal aaye thhe aa kar chale gaye ae


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 : 3662 Post No. : 14530
Blog Day : 3661 Post No. : 14529

From the title of the film, it looks like a Historical film. However, genuine Historical films are rare in our country. Historical titles are used to actually showcase a Love story. It is generally a song, dance, love, sacrifice film, culminating into a Tragic or a happy ending. Films which are true to its historical content have hardly been made here. Of course, we can not blame the producers or the film makers. They make what sells !

We come to the old question, whether the reel life depicts the real life or real life copies the reel life ? This is a question similar to another age old question, What came first-the egg or the Hen ? Looking around today at the younger generation, I feel that nowadays the real life is following-nay, copying the reel life very much. Earlier, it was only following the fashion shown in the films-like dress or ornaments etc- by the audience, but now the lingo,dress,morals,methods and philosophy of the films are being followed blatantly. Some may feel that being an old person, I may be feeling that way, but what I read in papers, see on TV, and experience on the social media, it is exactly what I have said and felt. Today’s generation is frighteningly influenced by films and TV. So be it. The main point of contention was that real or realistic historical films are very rare.

Many film makers ( like Shantaram or Mehboob) took the risk of making films on social evils, but no one dared to make a historical film with pure historical content. The reason may be that the public emotions about history are stronger than social reforms and ithere is a great risk of inviting violent troubles from those who think otherwise !

I have not seen the film, Shahenshah Akbar-43, but obviously, it was a ” run of the mill” film, since there are no reports of it being a ‘different’ film. 1943 was an year in which Milestone films like Kismat and Ram Rajya were released. The Indian audience was savouring its music and contents. Shantaram’s Rajkamal Chitramandir released its First film ” Shakuntala “. K L Saigal’s film ” Tansen ” had mesmerised Indians. Nargis appeared first time as a Heroine in ” Taqdeer “, opposite Motilal. The Calcutta giant New Theatres released 3 Hindi films, Jawab, Kashinath and Hospital in 1943. Other big studios like Bombay Talkies, Prabhat, Ranjit, Prakash, Circo, Kardar productions, Mehboob studios, Sunrise, basant Pictures, Navyug, Mohan Pictures, Minerva, Amar pictures and many others with B and C grade films were active in 1943. Naushad with 3 films and C Ramchandra with 5 films were competing with each others in 1943.In all this competition, Shahenshah Akbar was lost, inspite of having an impressive star cast of Kumar, Vanmala.Rampyari, Husn Bano, K N Singh, Prakash, Azuri, Bikram Kapoor, Leela mishra etc etc.

Vanmala was one of those actresses, who not only came from a very respectable Royal family, but was also a highly educated person. In those days, these two things were valued highly. Veteran Marathi and Hindi actress Vanamala will always be associated with her roles in the landmark films, Sikandar (1941) opposite Prithviraj Kapoor and in particular the title role in Shyamchi Aai (1953), the first film ever to win the Best Film Award when the National Awards were instituted for Indian Cinema in 1954.

Vanamala was born Susheela Devi Pawar on 23-5- 1915. Her father Lt.Col. Rao Bahadur Bapu Rao Pawar was a Minister in Gwalior state. Vanmala grew up in the Royal palace with Princess Kamla Devi. Vanmala graduated from Agra University in 1935 and did her B.T. from Bombay University in 1937.

She began her career in the late 1930s following her graduation and having become a teacher in Pune’s Camp Education Society. Vanamala entered films at a time when it was considered taboo for women from respectable families to work in films though women like Devika Rani and Durga Khote had started working in films by then. It was V.Shantaram who encouraged her to come into the film industry as an actress. Her first film was a Marathi film ” Lapandav”. Pricipal Acharya Atre became very friendly with her and brought her to Hindi films. Vanmala had unusual Brown eyes. Hindi film industry had only two actresses with Brown eyes. One was Vanmala and the other was Ragini, who migrated to Pakistan, after partition.

Vanamala acted in both Hindi and Marathi Cinema. Among her Hindi films, Vanamala will always be best remembered for Sohrab Modi’s historical Sikandar and Sharbati Ankhen (1945), directed by Ramchandra Thakur for Wadia Movietone. In the former she played Alexander the Great’s love interest, a Persian woman, Rukhsana, who fearing for Alexander’s life extracts a promise from Porus that he will not harm Sikandar. Vanamala made a major impact in her role, her beauty coupled with her light-coloured lively eyes taking the audiences breath away. The film itself was a spectacle – its lavish mounting, huge sets and production values equalling the best of Hollywood then particularly its rousing and spectacular battle scenes. It was rated by a British writer as, “…well up to the standard of that old masterpiece The Birth of a Nation.”

In Sharbati Ankhen, her Brown eyes were again used to mesmerising effect, the film so aptly titled one feels, after her! The film has some of the earliest songs sung by Mohammed Rafi in his career includingPyaar Karna hi Padega and Bahut Mukhtasar Hai Humari Kahani. The music for the film was done by Feroz Nizami who went on to compose unforgettable music in a hat-trick of films with the great Noor Jehan (Jugnu (1947) in India and Chan Wey (Punjabi) (1951) and Dopatta (1952) in Pakistan).

However, the one role that undoubtedly immortalized Vanamala forever was the title role in the National Award winning Marathi film, Shyam chi Aai-1953, directed by PK Atre. The film, regarded as a cult classic today, is based on one of the most influential Marathi novels of the 20th century (1935), a fictionalised account of the childhood years of Sane Guruji (1899 – 1950). A nationalist influenced by Vinoba Bhave and especially Gandhiji, he was imprisoned repeatedly for his work among the peasantry and participation in the Quit India agitations. His book Shyamchi Aai, written in jail, has 45 episodes in which Shyam, a youth living in poverty in Konkan, recalls the teachings of his mother, a devoutly religious person with an earthy and practical philosophy. The hit film has remained a generic landmark in Marathi Cinema and especially so for Vanamala’s maternal prototype. Actor Madhav Vaze, who played the role of her son Shyam in Shyamchi Aai, recalls Vanamala as a woman of few words. “Her actions spoke for her. She was well-educated and a cultured woman who belonged to a noble family from Gwalior,” he said.

Some other films that Vanamala acted in include Payachi Dasi (Marathi)/ Charnon ki Dasi (Hindi) (1941), Vasantasena (1942), Dil ki Baat (1944), Hatim Tai (1947), Beete Din (1947) and Shree Ram Bharat Milap (1965). In all, she did 25 Hindi films. She sang 24 songs in 5 films in her career. For some time she was a partner in Atre pictures also. She produced film Bramhan Kanya aka Khandani-1947.

The supposedly demure Vanamala was a staunch nationalist and was deeply involved in the freedom movement along with stalwarts like Aruna Asaf Ali and Achyut Patwardhan. She was deeply involved in several social causes and was a member of the Chhatrapati Shivaji National Memorial Committee. She also ran a school to train children in traditional Indian arts and culture, The Haridas Kala Sansthan.

Vanamala who had been suffering from cancer, passed away in Gwalior on May 29, 2007.

Her Hero in this film was actor Kumar. KUMAR was born in the prestigious family of Syed s of Lucknow-UP in India,in 1912. His real name was SYED HASSAN ALI ZAIDI. His family used to call him MIJJAN Miyan.

He was a handsome and tall person. He was keen on joining cinema,so he came to Calcutta and joined New Theatres. After doing side roles in Subah ka Tara and Zinda lash,he was hero in PURAN BHAGAT in 1933.Even Saigal was also in the film.The film was about to be released and suddenly communal riots broke out in Calcutta.The new Theatre management found it difficult to announce a muslim name of the hero of PURAN BHAGAT,in the tense atmosphere of Calcutta.The director of the film was kumar Debaki Bose,a person from a Royal family.He took a dicision and told Mijjan,” from today,I am giving you a part of my name. You will become KUMAR now.”This solved the film release problem and thus his name became KUMAR, from then onwards. Truly enough,Debki Bose, thereafter never used his name Kumar again in his life !

After doing Yahudi ki Larki, Watan, Suhag, Shehar ka Jaadu and Maa ka Pyar, Kumar came to Bombay and joined Ranjit Studios. In 1939, he married another actress PRAMILA (who was actually a Jew, Esther Williams. Pramila was later India’s FIRST Miss India in 1947).They got a daughter Naqi Jehan(who too became a Miss India in 1967, exactly 20 years after her mother. Naqi acted opposite Rajesh Khanna in Akhari Khat – 66,as a Heroine. Later she married into the business family of Kamdar of Bombay and became Mrs.Nandini Kamdar, by converting to Hinduism.)

Kumar did many films in Ranjit,but in 1942,he was removed from Ranjit.At the same time,his friend,CHANDRAMOHAN also left Minerva Movietone( reason-despite PUKAR-39 being a blockbuster,his salary was not increased inspite of a promise by Sohrab modi).They both decided to lauch own company and on 16-3-1942,SILVER FILM CO. was launched.Its first film was Jhankaar.They produced Bhalai,Bade Nawab Saab,Devar,Naseeb,Dhun and Bahana.Kumar acted in these films.he also directed Dhun and Bahana.

He produced and directed Aap-Beeti-1948 under his company,Kumar Studios.Then under Shama prodn. he made Nahle pe dehla,Dhoom Dham and Dilbar.
later in life he made badal aur bijlee and jungle king under Artists United films.

From Najma in 1943,Kumar did only character roles in films like Bhishm Pratigya, Dayara, Mahal, Shri 420, khiladi, Maalik, Baiju Bawra, Yahudi ki Ladki. His memorable role was in Mughal e Azam, that of the sculptor and the famous song-‘Aye mohabbat zindabad’ was shot on him.

His last film was Raat aur Din – 67.

Then he decided to migrate to Pakistan. In Pak also he worked in few films and died in 1982.His sons are active in Pak film industry.

Rampyari was from Low cast and profession, but was a highly polished and sophisticated actress in those days. Rampyari hailed from a Telugu family of highly skilled professional dancers and singers. She lived in Nagulchinta area of old Hyderabad city.

She was born in 1908 December. That year Hyderabad witnessed devastating floods.She was taught Urdu and English. Apart from her mother tongue Telugu she was also proficient in Marathi and Kannada. She was trained in Dancing and singing. In 1918, at the age of 10 years, she was taken to Madras by her aunt, who trained her in Bharat Natyam. After 4 years of rigorous training, she became the best dancer of Madras.

In 1926, a film producer from Kohinoor Film company, Bombay ,visiting Madras, saw her dancing and invited her to Bombay.It was the era of Silent movies. Her first film was Gunsundari, with Miss Gauhar and Raja Sandow. It was directed by Chandulal Shah and was released in 1927. Her supporting role as a dancer in the film was lauded by the audience. Next film Vile woman was also successful. She acted in more than 20 films as a Heroine and dancer and established her name as a seasoned actress of the 30s.

With advent of Talkies, she easily switched over. She had no difficulty in delivering Urdu dialogues. In 1931, she acted in Paak Daman, Laila Majnu and Ghar ki laxmi, Gunsundari in 1934 and Azad Abla,Meethi Nazar and Hamlet in 1935.

Famous director Debki Bose from New Theatres, Calcutta invited her and signed up for ” Sunehra Sansaar”-36 and Vidyapati-37, which was a mega hit. After this, she did few films in Calcutta with other companies. Her film Milap-37 was famous for being the first to show the prototype of a “vamp” in Indian Cinema. Rampyari was shown wearing “an off-shoulder dress” and using a cigarette-holder, with the intent of seducing the hero Prithwiraj Kapoor, the scene was later used by Raj Kapoor on Nadira in his film Shree 420 (1955) for the song “Mud Mud Ke Na Dekh”.

She toured the entire south India and gave dance performances in major cities. She became so famous that the Ceylon Labour Union invited her to Ceylon and presented her with Gold Mementos. She was greatly inspired by the acting of Sulochana aka Ruby Meyers and Miss Gauhar of ranjit, with whom she acted in many films.

She shifted to Bombay permanently in the 30s. Her family also moved out of Hyderabad and came to Bombay. She had a large fan following in Hyderabad. She had a great fan mail too, which she replied in fluent Urdu and English. later she got married and retired from films.

She acted in 30 films. Her last film was Dak bungla-47. She sang 14 songs in 8 films.

The music of this film was by Ustad Jhande khan. The film had 14 songs and there were 4 Lyricists. Today’s song is written by Dewan Sharar, who also wrote the story, screenplay and dialogues of this film. This song is by a chorus, though individual voices can be heard, but not identified. HFGK is also silent about singers of all songs. The film makes a Debut in the blog with this song.

( Credits- The music and arts of Hyderabad Deccan, Upperstall, beetehuedin.com and my notes)


Song-Akbar mahabali ki jai ho (Shahanshah Akbar)(1943) Singer-Unknown female voice, unknown male voice, Lyrics-Dewan Sharar, MD-Jhande Khan
Chorus

Lyrics

Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Bharat chhatrapati ki jai ho
Bharat chhatrapati ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki

karm hamaare nek
karm hamaare nek
mile hain
karm hamaare nek
karm hamaare nek
huye hain Hindu Muslim ek
Hindu Muslim ek
huye hain Hindu Muslim ek
Hindu Muslim ek
huye hain

Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki

Hindu dharam ka sooraj ??
Muslim ka hai chaand sitaara
Hindu dharam ka sooraj ??
Muslim ka hai chaand sitaara
apne
apni pasand ke donon nishaan hai
?? hai
apni pasand ke donon nishaan hai
?? hai

Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki

Akbar mahabali ki jai ho
Akbar mahabali ki

Hindu dharam ka sooraj ??
Muslim ka hai chaand sitaara
Hindu dharam ka sooraj ??
Muslim ka hai chaand sitaara
apne
apni pasand ke donon nishaan hai
?? hai
apni pasand ke donon nishaan
?? hai

Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki jai ho
Akbar mahabali ki jai


This article is written by Peevesie’s mom, 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 : 3660 Post No. : 14528

Hullo Atulites

The dust is yet to settle on the excitement of the 10th year celebration of the blog, a few more posts are awaited. Meantime something more awe-inspiring has occurred.

Our dear Shri. Arunkumar Deshmukh (also known as in-house encyclopaedia) in collaboration with Prof. Surjit Singh has come out with a book titled “Forgotten Artists of Early cinema and The Same Name Confusion”. The book has a foreword by Shri. Sanjit Narwekar. The book (in guruji’s words) is “the result of my work over the last so many years and is based primarily on my articles posted on our blog and elsewhere-duly abridged and edited to suit a book.” (I have copied this quote from the mail he has sent to all of us viz: his fellow-atulites) Hats-off to you Sirji, guruji. And to think that this is his passion from the late 40s – seeing movies. His habit of making notes about every film he saw in notebooks (I have seen a few notebooks). Post 2011 he made baby-steps into Cyber world, discovered this amazing blog, made his first comments and on encouragement from our ring-leader Atulji posted articles on films ranging from the 30s to 2018 using the notes he has made over the years. Era-no-bar as far as Guruji is concerned, the only qualification needed he should fall in love with the song. (Most of what I have written are quotes and utterances by guruji in many of his posts and the occasional conversation I have had with him over the years. I am sorry for any misquotes.)

Today is Kargil-Divas when the nation thanks and pays homage to the men-in-uniform who fought the enemy in in-hospitable conditions of the Siachen Glacier in 1999 and regained control of territory that was intruded.

In the month of May I had a holiday in the North-east region of the Himalayas. We visited Nathu-La Pass and a temple dedicated to Baba Harbhajan Singh. It is a known fact that Nathu-La Pass is a strategically important location for the Indian army on the Indo- China border and only a few visitors per day are given permission to visit the place. But the little known mandir is what fascinated me. It is not a mandir to a religious head but a Samadhi to a Captain of 18 Rajput Regiment who is revered as the “Hero of Nathu-La”. He joined the Indian Army as a soldier at 19 and was posted in various regiments before being posted to the 18 Rajput in Nathu-La, East Sikkim at the time of his untimely death.

We heard and read different versions of his heroism. One story said that he fell into a gorge or nullah as he was escorting a Mule- column from Tuku-La to Dongchi-La, his body was swept away and recovered about 2-miles away. He is said to have appeared in the dreams of his fellow-soldiers and asked them to build the samadhi. Another story says that the soldiers posted in and around Nathu-La and its inhospitable environment are protected by the spirit of Baba (captain) Harbhajan Singh. Whatever be the story/ legend one thing is for sure- the Indian Armed forces should be saluted for the kind of service that they do selflessly, day-in and day-out year after year. And without an iota of complaint about the working conditions – be it the deserts of Rajasthan or the glaciers of the Himalayas. I have visited both the terrains and my respect for the Forces has only increased.

On the occasion of Kargil Divas we should have a song dedicated to the forces and the hard training that they undergo so that they can protect us. For this I am revisiting the 2004 Farhan Akhtar directed Lakshya which starred Hrithik Roshan and Preity Zinta with Amitabh Bachchan and a host of other actors. This is a song sung by Shankar Mahadevan written by Javed Akhtar and Shankar- Ehsaan-Loy are the music directors. The song is shot mostly on location at the Indian Military Academy in Dehradun. The song closes with the gentlemen cadets finishing their training and stepping on a mat which says “Antim Pag”.

This year (2018) was a proud year for my best-friend-forever when her elder son joined the ranks of military men, graduating into a gentleman officer from IMA Dehradun, following the footsteps of his Grandfather and Father. Feel proud to be a associated with that family.

Just a coincidence -Guruji has also reached a “Lakshya”

Video

Audio

Song-Haan yahi rasta hai tera toone ab jaana hai (Lakshya)(2004) Singer-Shankar Mahadevan, Lyrics-Jawed Akhtar, MD-Shankar Ehsan Loy
Chorus

Lyrics (based on audio)

haan yahi rasta hai tera
toone abb jaana hai
haan yahi sapna hai tera
toone pehchaana hai

haan yahi rasta hai tera
toone abb jaana hai
haan yahi sapna hai tera
toone pehchaana hai
tujhe abb yeh dikhaana hai
roke tujh ko aandhiyaan
ya zameen aur aasmaan
paayega jo lakshya hai tera
lakshya toh
har haal mein paana hai
oooo
oooo
oooo
oooo
oooo
oooo

mushqil koi aa jaye toh
parbat koi takraaye toh
taakat koi dikhlaaye toh
toofaan koi mandlaaye toh
mushqil koi aa jaye toh
parbat koi takraaye toh
barse chaahe ambar se aag
lipte chaahe pairon se naag
barse chaahe ambar se aag
lipte chaahe pairon se naag

paayega jo lakshya hai tera
lakshya toh har hal mein paana hai

himmat se jo koi chale
dharti hiley kadmon taley
kya dooriyaan kya faasle
manzil lage aake galey
himmat se jo koi chaley
dharti hiley kadmon taley
tu chal yoonhi abb subah-o-shaam,
rukna jhukna nahin tera kaam
tu chal yoonhi abb subah-o-shaam,
rukna jhukna nahin tera kaam

paayega jo lakshya hai tera
lakshya toh har haal mein paana hai
oooo
oooo
oooo
oooo
oooo
oooo

haan yahi rasta hai tera
toone abb jaana hai
haan yahi sapna hai tera
toone pehchaana hai
tujhe abb yeh dikhaana hai
oooo
oooo
oooo
oooo
oooo
oooo


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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1150
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