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

Ham duniya ke ann-daata hain

Posted on: August 21, 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 : 3686 Post No. : 14591

Today’s song is from a film Naya Tarana-43. The film was produced byAcharya Atre’s ” Navyug Chitrapat Ltd. Poona”. The cast of the film was Snehprabha Pradhan, P.Jairaj, David, Dar Kashmiri (Jeevan), Raja Paranjpe, Protima Devi etc etc.

The film was directed by Najam Naqvi, the Lyricist was Wali Saheb (with one song by Ali Sardar Jaffri) and the music was given by Amir Ali.

Film making had started in India in early 1900s and many enthusiastic lovers of making images were doing a lot of work in this field.By the time the First Talkie Film came in 1931, there were quite a few film producing centres engaged in making silent films, like Bombay, Calcutta, Lahore, Poona, Kolhapur, Bangalore, Madras, Hyderabad etc. However, Bombay, Lahore and Calcutta were the three main centres where bulk of movies were made. In those days, India was vertically divided into two parts-Calcutta on the Eastern part and Lahore and Bombay on the Western part,for Hindi films. Madras,Bangalore and Hyderabad were busy in making southern language films.

Film making at Lahore was a losing proposition for two reasons. One- geographically,its finished product i.e. Films had no market in its West or north side. They had to look at the entire Indian subcontinent as their market and Secondly- Once the actors,Directors or the composers got an experience in Lahore,they would run to Bombay for bigger opportunities and poor Lahore would end up only as a stepping stone or at best a Training and launching pad for artistes ! Pancholi’s Khazanchi-41,was perhaps the First film,where Lahore was a successful profit centre !

By the mid 40s,it was well known that the Partition would take place and so artistes were not interested to remain in Lahore,but preferred Bombay which was prospering as a wholesale Production Centre.

Calcutta had some disadvantages compared to Bombay,on 3 grounds. 1) Geographical- Their Hindi film market was only on its Western side,competing with 2 other centres. 2) Social- The Regional Pride was very prominent(even today,it is.) and hence,except films,everywhere,knowing Bangla was a MUST. In Bombay, one could( and still can) live for 50 years and not speak Marathi, but it was impossible to survive without speaking the local language in Calcutta or Madras. Further,the regional cinema in Bengal fiercely competed with Hindi films here, sharing the only production centre in the Eastern India. The result was,Hindi film production slowly diminished as Artistes made a beeline to Bombay. Not only the Punjabi or the North Indian artistes,but even Bangla Directors (Nabendu Ghosh, Bimal Roy, Satyen Bose, Hrishikesh Mukherjee, Basu Chatterjee etc),Music Directors and Singers( Pahadi Sanyal, K C Dey, S D Burman, Salil Chaudhari, Anil Biswas, Hemant Kumar, even R C Boral) and few actors(Abhi Bhattacharya, Mala Sinha, Talat Mehmood, Pradeep Kumar etc) shifted base to Bombay.

Bombay welcomed one and all from entire India, grew bigger and became the only Hindi cinema production Centre in India. It had markets in East west,North and South. The number of Indian migrants to other countries was growing, it made an Overseas market for Hindi films. Regional pride did not interfere,as it had other centres too in Kolhapur and Poona. Local Language was similar to Hindi/spoken Urdu,the social and commercial aspects were friendly and the cosmopolitan culture was conducive and adaptable to all.

No wonder, then, that Local artistes were in majority in Bombay film world in early days. Heros like master Vithal,Bhagwan,Nandrekar in the early era,Heroines like, Shanta Apte,Shanta Hublikar,Vanmala.Hansa Wadkar,Ratnaprabha,Snehprabha Pradhan,Nalini Tarkhad,Nalini Jaywant,Durga Khote,Leela Chitnis Lalita Pawar (Amboo) etc in the 40s, and Nutan,Usha Kiron later on and composers like C.Ramchandra,Sudhir Phadke,Snehal Bhatkar,N.Datta,K.Datta,Datta Davjekar etc were famous in Bombay film world.

Out of these early Heroines,- Shanta Apte (1916-1964), Snehprabha Pradhan (1920-19930 ), Leela Chitnis ( 1912-2003), Durga Khote (1905-1991), Shobhana Samarth (1915-2000), Hansa Wadkar (Ratan Salgaonkar in real life,(1924-1971) and Shanta Hublikar (1914-1992) had few things common.

-They operated in films almost during the same period.

-They were educated and hailed from upper castes.

-They all were rebellious in nature.

-They all had failed marriages.

-They all worked in Marathi stage dramas
and

-They all ( except Shobhana Samarth) wrote Autobiographies in Marathi.

…. Shanta Apte– Jau mee Cinemaat ? means- shall I join films ? ,
Snehprabha Pradhan-Snehankita,
Hansa Wadkar– Sangte Ayka means- Listen to me (A Hindi film Bhoomika-with Smita Patil- was made on this book ).
Durga Khote– I, Durga Khote,
Leela Chitnis– Chanderi Duniyet
and
Shanta Hublikar– Kashala Udyachi baat.

Snehprabha Pradhan was born in 1920. Her mother became a widow, but married a social worker Vithalrao Pradhan. Her mother Tarabai could not decide between two names -Snehlata and Ratnaprabha,for her,so she combined parts of these names and named her Sneh-prabha. For first 10 years of her life were spent in different cities like Bombay,Nagpur,Poona, Lahore,Delhi and Calcutta and she learnt 4 languages (Marathi, Hindi, Urdu and Bangla) fluently. She attended college but could not get the degree as her mother fell sick and father left them high and dry. family friend Chiman bhai Desai offered her a film PUNARMILAN-1940, opposite Kishore Sahu,in Bombay Talkies.

She married Kishore Sahu,but they separated within an year. She got 3 more films in 1940- Saughagya, Sajni and Civil marriage. In 1942,she did Marathi film,’Pahli mangalagaur’ in which Lata Mangeshkar acted First time. Lata sang songs also with Snehprabha Pradhan. This Marathi film had earned ‘ A ‘ censor certificate, as there was a bedroom scene in which there is darkness on the screen, but hushed voices were heard. in those days some people came with Torches to the film, so that they could see ‘something’ in the dark scene ! She acted in 17 films. She also sang 56 songs in 13 films. Her last Hindi film was ‘ Birha ki Raat-50 ‘.

In 1946,when Tarabai-her mother died, she was so heartbroken that she contemplated suicide also. In the early 50s, she came in contact with the famous doctor of Bombay Dr. V.N.Shirodkar,with whom she stayed for another 40 years of her life. After leaving films, she did some noteworthy roles on Marathi stage. She wrote several books too, like her autobiography-” Snehankita” and ” Rasik prekshakanna saprem” etc. Snehprabha Pradhan died in 1993.

After she divorced Kishore Sahu, she got introduced to a British soldier on war duty in India-Edward Sparkes. Their romance became well known. They travelled all over India, but could not marry,as he had to return to England in 1947.

Snehprabha was the Dreamgirl of Dev Anand. He had acted with Nargis in Khel-1950 which was a flop. He never wanted to work with Nargis again in his life,but when a film ‘Birha ki Raat’1950 was offered to him opposite Nargis,he accepted it only because Snehprabha Pradhan was in it. Thus Dev Anand’s dream was fulfilled !

Film Naya Tarana-43 was directed by Najam Naqvi. He started his career from Bombay Talkies as an apprentice. One day there was an Earthquake in the company. The part owner and the Heroine of the company, Devika Rani had eloped with the Hero of the company, Najmul Husain. The trouble shooters of the company immediately started repairing work.

When the love affair of Najmul Hasan and Devika Rani fizzled out and Devika Rani returned to Bombay Talkies, 2 major things happened.
One- Bombay Talkies,in absence of its main lead,must now find a new Hero for their film ‘Jeewan Naiyya’-36,which was on the floor already. Here again Mukherjee came to Himanshu Roy’s help. He suggested the name of ASHOK KUMAR,who was a graduate,sang well,and also could act. He was working in Bombay Talkies as an apprentice in the Photgraphy Department. Ashok Kumar was sent for Screen test. Though the Directer Franz Osten rejected him,Himanshu Roy selected Ashok Kumar as their Hero and the rest is history,as they say !

Two- The whole episode of elopement had become a matter of embarrassment for a ‘continuity man’ working in the same studio. His name too was Najmul Hasan. Because of the same name, this innocent chap-who had nothing to do with the elopement drama-had to suffer staring eyes, wagging tongues and hush hush whisperings within the studio and the filmi circle of Calcutta !

He was Najmul hasan Naqvi, born on 11-4-1913 at Moradabad-UP. He was working in Bombay Talkies doing odd jobs-continuity man and even as an actor in ‘Achhut kanya-36’ He was a very hardworking person. After this episode he changed his name to a shorter edition-Najam Naqvi. He worked in the Direction department and his first film as an independent Director was PUNARMILAN-1940.

He went on directing films like Raja Rani-42,Tasveer-43,Naya Tarana-43,Panna-44,Prithwiraj Sanyogita-46, Nateeja-47, Parayee Aag-48, Actress-48, Nirdosh-50, Rangili-52 and last film-Samrat-54.

In 1955, Najam Naqvi migrated to Pakistan and directed 7 films from Kunwari Bewa-56 to Payal Ki Jhankaar-66.
Najam Naqvi died on 26-1-82 at Lahore. Due to same name, many sites including IMDB mix up the filmography of these two artistes.

All the songs ( except one song by Sardar Ali Jafri) were written by Wali Saheb. He was a person of one of a kind. He was an educated person fond of writing stories and songs, but he was also very orthodox in nature, So much so, that he had made it compulsory for his actress wife Mumtaz Shanti, to come for shootings in a Burkha, and was also a perfect Hypocrite who allowed her to act in films as a lover of the Hero ! He would put it it in her contract that the hero would not touch her during the shoots. To ensure this, he used to be present personally in her every shoot. After the shooting, she was to put her Burkha again and head straight to home, without speaking a word with anyone.

It seems, her uncle Barkat Nizami ( husband of actress Geeta Nizami) had brought her in films and he used to take away 75% of her earnings ( 50% for himself and 25% for his son). However, after her marriage to Wali saheb, this had stopped.

His name was Wali Mohd Khan. He was born at Poona in 1908. His family was from Punjab. He became a Compounder with a Doctor in Lahore till 1938. He used to write songs for the Recording companies, for a sum of Rs. 5 per song ! He entered film line as a story writer and Lyricist, with film,” Soni Kumharan” produced by East India Film Company.His songs became popular and he started writing dialogues too.He wrote songs, stories and dialogues for 36 films in all, with 280 songs. He worked for Kamla Movietone, Pancholi studios, Talwar productions, Cine art production etc.He even sang one song in film Udhar-1949.

After trying his hand at Direction in Venus pictures film ” Lady Doctor”-44, he went on to produce and direct film ” Dekhoji”-47, under his own banner, Punjab film corporation ltd. Bombay. He produced and directed 4 more films, Padmini-48, Heer Ranjha-48, Putli-50 and Zamane ki Hawa-52. In all these films, the Heroine was Mumtaz Shanti. He migrated to Pakistan, with his actress wife, in mid 50s.

The film’s music was by Amir Ali. He was working with HMV company and could not give music in his own name. In 1935, he gave music to film, ” Daksh yadnya”, but gave his younger brother Manzur Ali’s name as Music Director. Later on, when he left HMV service, he joined Rashid Atre as an assistant. Amir Ali gave music to film Pagli-43, Naya Tarana-43 and Panna -44. Songs of Panna became quite popular. One of the songs, by Rajkumari “Sanwariya re kahe maare” was heard after 42 years in film Mirch Masala-86. Naseeruddin Shah was shown listening to this song on his gramophone. Just before film Panna-44 was released, Amir Ali died after a short illness. He was credited in film Panna-44 as Late Amir Ali.

Today’s song is sung by Khan Mastana aka Hafiz khan Mastana alongwith chorus. I liked this song. Hope you too will like it. This song is the only song in the movie that is not writte by Wali Sahab but is penned by Ali Sardar Jaffri.

(credits-Film Directory, Dhunon ki yatra, Snehankita, HFGK, MuVyz and my notes)


Song-Ham duniya ke ann-daata hain(Naya Taraana)(1943) Singer-Khan Mastana, Lyrics-Ali Sardar Jafri, MD-Amir Ali
Chorus
Khan Mastana+Chorus

Lyrics

ham duniya ke ann-daata hain
ham duniya ke ann-daata hain
ham dhart maata ke bachche
ham duniya ke anndaata hain
ham duniya ke anndaata hain

saawan ki
ee ee ee
saawan ki ghanghor ghataayen
jab kheton par chhaati hain
saawan ki
saawan ki ghanghor ghataayen
jab kheton par chhaati hain
jab pyaasi dharti ke munh mein
wo amrit ras tapkaati hai
ham sab bhi mehnat karte hain
ham sab bhi paseena bahaate hain
ham sab bhi bhookhe marte hain aen aen
ham sab bhi bhookhe marte hain
ham sab bhi bhookhe marte hain
ham duniya ke anndaata hain

jab sooraj aag ugalta hai
aur garam hawaayen chalti hain
jab khet sunahre hote hain
gehoon ki baalen phalti hain
ham sab bhi mehnat karte hain
ham sab bhi dhoop mein jalte hain
ham sab bhi bhookhe marte hain aen aen
ham sab bhi bhookhe marte hain
ham sab bhi bhookhe marte hain
ham duniya ke ann-daata hain

dharti se sona ugta hai
dharti se sona ugta hai
dharti se chaandi ugti hai
dharti se chaandi ugti hai
dhanwaale sab le jaate hain
aur ham munh takte rehte hain aen aen
aur ham munh takte rehte hain
aur ham munh takte rehte hain
ham duniya ke ann-daata hain

ham dharti maata ke bachche
ham duniya ke ann-daata hain
ham duniya ke ann-daata hain

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2 Responses to "Ham duniya ke ann-daata hain"

Arunkumar Sir,

I was always under the impression that Birha ki Raat was the only film starring Dev Anand and Nargis.

So it’s only two films including Khel ?

Snehprabha and Lata Mangeshkar acting and singing duets in the same film. Some record of sorts I suppose.

Thanks.

Enjoyed the khajana of knowlege about old-timers. Thanks Arunbhai.

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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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