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

Archive for November 2018


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 : 3787 Post No. : 14771

“Lakhpati”(1948) was directed by Ravindra Jaikar for Fim Chitra Corporation, Bombay. This “social” movie had Sulochana Chatterji, D M Sapru, Rajan Haksar, Om Prakash, Baby Tabassum, LLeela Chitnis, Narmada Shankar, Dharpure, Nagotkar, Satyapal etc in it.

This forgotten movie had eleven obscure songs in it. Two of these songs have been covered in the past

Here is the third song from “Lakhpati”(1948) to appear in the blog. This song is sung by R P Sharma. Qamar Jalalabadi is the lyricist. Music is composed by Husnlal Bhagatram.

Only the audio of the song is available.

The singer R P Sharma appears to be a new name and he makes his debut in the blog with this song. I request our knowledgeable readers to throw light on him.


Song-O bhoolne waale tera iqraar kahaan hai (Lakhpati)(1948) Singer-R P Sharma, Lyrics-Qamar Jalalabadi, MD-Husnlal Bhagatram

Lyrics

Kahaan hai
kahaan hai
kahaan hai ae
o bhoolne waale
tera iqraar kahaan hai
iqraar kahaan hai
o bhoolne waale
tera iqraar kahaan hai
iqraar kahaan hai
khwaabon ne jise paala thha
wo pyaar kahaan hai
wo pyaar kahaan hai
khwaabon ne jise paala thha
wo pyaar kahaan hai
wo pyaar kahaan hai

o jaane waale
tujhko mubaarak nayi duniya
o jaane waale
tujhko mubaarak nayi duniya
mubaarak nayi duniya
hamne jo basaaya thha
wo sansaar kahaan hai
sansaar kahaan hai
hamne jo basaaya thha
wo sansaar kahaan hai
sansaar kahaan hai
kahaan hai ae
kahaan hai
kahaan hai ae
o bhoolne waale
tera iqraar kahaan hai
iqraar kahaan hai

ae aansuon ke haar
mujhe itna bata de
ae aansuon ke haar
mujhe itna bata de
itna bata de
phoolon ka banaaya hua
wo haar kahaan hai
wo haar kahaan hai
phoolon ka banaaya hua
wo haar kahaan hai
wo haar kahaan hai
kahaan hai ae
kahaan hai
kahaan hai ae
o bhoolne waale
tera iqraar kahaan hai
iqraar kahaan hai

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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 : 3786 Post No. : 14770

Today’s song is from the film Safar-1946. This was a film made by Filmistan, directed by a comparatively new person-Bibhuti Mitra. The lyricist was G S Nepali and composer was C.Ramchandra.

This was C Ramchandra’s first film after joining Filmistan. His friend, Kavi Pradeep, who was close to S Mukherjee of Filmistan, had brought C Ramchandra to this company. Now it was imperative for C Ramchandra to make his first film a musical hit, to establish himself, impress the owners and earn respect.

The working conditions at Filmistan were much better than what they were at Jayant Desai’s company, C Ramchandra’s earlier job. This was because, here all the people-atleast the most important ones- were from Bombay Talkies and Discipline and commitment were built into their work pattern. The planning was good and good facilities were provided to its workers.

The cast of film Safar-46 was Shobha, Kanu Roy, V.H.Desai, Haroon, Chandrika, Mumtaj Banu etc etc.

When I talk about film Safar-46, I invariably remember the film ” Maine Pyar kiya”-89. There are many similarities in both films.

First, both films were made by Big banners like Filmistan (Safar-46) and Rajashri (Maine Pyar Kiya-89).

Secondly, the lead pair in both films were unknown and New comers. It was just the second film of Salman Khan-his First film as a Hero. His Heroine Bhagyashree (Patwardhan) was making her Debut with the film Maine Pyar kiya-89. In Safar-46, the Heroine Shobha was totally unknown and she was making her a Debut as a Heroine here. For Kanu Roy, this was the first film as a Hero.

The name Kanu Roy is generally confused with composer Kanu Roy. Actor Kanu Roy was a different person.

Kanu Roy (the Actor) was in reality a name for Nalini Ranjan Roy, born on 9-12-1912 at Jabalpore. He was very fond of acting and so landed at Bombay Talkies, a company started by two Benagalees- Himanshu Roy and Devika Rani. Those days many people from Bengal used to come to Bombay Talkies, but only the capable ones like Amiya Chakravarty, Shashadhar Mukherjee or Ashok Kumar etc could make their careers here.

Kanu Roy started his acting career from the film Basant-1942. His name Nalini was sounding like a Girl’s name in Bombay ( there were already half a dozen Nalinis working in films those days), so it was changed and he opted for Kanu, his pet name in the house. Thus Kanu Roy came into films. Due to his good looks, he even became a lead actor in a few films. Nazrana-46 (UR) was one such film where he was working opposite Kamini Kaushal.

Kanu Roy worked in about 40 odd films from 1942 to 1983 ( Kisi se naa kehna). Kanu Roy also left Bombay Talkies along with S.Mukherjee and others and joined Filmistan. He was in many Filmistan films like, Munim ji, Nastik, Naagin, Jagriti etc. He acted in a Bangla film ‘Samar’ too in 1950.

Kanu Roy (the Composer) gave music to very few films like Uski Kahaani-66, Anubhav-71, Avishkar-74, Tumhara Kallu-76, Grih pravesh-79, Mayuri-81 and Shyamla-79 which was re-censored in 1981 as Woh phir naa aayee. Some people and sites describe him as Geeta Dutt’s brother, but he was not her brother. Her brother was Mukul Roy. Kanu Roy, the composer died in Bombay on 20-12-1981.

Thirdly, the Director of Maine Pyar Kiya, Sooraj Barjatya was making his Debut with this film. ( Later on he made Hits like, Hum apke hai kaun and Hum saath saath hai etc.). For film Safar-46, the Director was Bibhuti Mitra-an import from Calcutta.

It was just his second film. His first film ‘ Angoothi’-43 was a resounding Flop. Actually Ashok Kumar was its Hero and when Angoothi was released Ashok’s film Kismet was making records all over India. Film Angoothi ran only for 3 days and it was then withdrawn from theatres. Normally, in Film Industry, an unsuccessful Director is not touched even with a barge pole, but S. Mukherjee selected him as a Director. ( C Ramchandra has written in his autobiography that this Bibhuti Mitra had a nasty habit of interfering in Music Director’s work, which irritated him. He tolerated him, because this was C Ramchandra’s first film in Filmistan. Anyway, after this film was done, Mitra went back to Calcutta….only to come back again to Filmistan to direct Shabistan-51, for which C Ramchandra was the Music Director. This time, C Ramchandra was ready. When Mitra started his interference, C Ramchandra not only left the film halfway, but also left Filmistan.)

Lastly, the Music Director for Maine Pyar kiya-89 was Ram-Laxman, hardly a known name at all. For Safar-46, C Ramchandra was selected. He had done 10 C grade films and just 5 social films till then and his name had not yet become famous. In spite of this, S.Mukherjee took the risk and trusted his talent, which he had judged correctly. S.Mukherjee was known to judge person’s capabilities accurately. In only one case- that of Lata- he went flat wrong.

Despite the Actors, MDs, Director and the lead pair being either Unknown, making a Debut or less known, both the films became Hits- only because of Music. Both Music Directors, C Ramchandra as well as Ram-Laxman became famous overnight and this became virtually the starting point of their ascent to the Top of HFM. What happened first with Safar-46 repeated itself after 43 years in the success of Maine Pyar Kiya-89 !!!

Besides this similarity, I feel the story of Safar was inspired by a Hollywood film of the year 1934- ‘It happened one night’. Directed by Frank Capra, the film had Clark Gable and Claudette Colbert in the lead. This film had become popular wherever English films were shown in the world. In turn, film Safar-46 inspired many films made in later years, in many languages. Two names come to the mind- Raj-Nargis film Chori Chori-56 and Amir Khan-Pooja Bhatt film ‘ Dil hai nki manata nahin’-1991. Of course in every such film some changes to suit the public taste were made.

Today’s song is sung by Naseem Akhtar. The history of Hindi Films and Music is replete with unsolved mysteries, disputes, misinformation, riddles and puzzles as well as half or wrong informations. Fortunately, there are few dedicated workers who constantly dig out correct information and few matters are thus straightened. Though delayed, at least the true information is available for the future workers.

There was the case of who actually sang the song Dilli se aaya bhai Tingu from film EK THI LADKI-1949. For almost 50-60 years it was believed that Honey O’Brion, who lip synched this song in the film had sung this song herself-though there was no history of her singing any songs anytime. And then the interview of singer Binota Chakraborty (nee Vinita Amladi ) was published in July 2007 issue of the Listeners’ Bulletin of Hamraz ji, and it was revealed that it was she who had actually sung this song !

Similarly, the name of MD Mohan Junior (Ajamil-48 and Dana pani-52) was treated as the cover-name of MD Madan Mohan. After about 60 years, it was proved that Mohan junior (Real name- Mohan kanoji Rajpoot) was a Gujarati composer and a different person-and NOT Madan Mohan. Even mMadhubala Jhaveri who sang for him also confirmed this in an answer to a Telephone call made to her.

It was commonly believed that the MD pair of “VASANT-RAMCHANDRA” ( Kalakar, Suhagan of 1954) was short forms of Vasant Desai and C Ramchandra. The myth of almost 65 years was busted when it was revealed that C Ramchandra himself had said, that it was not him, but they were Vasant Prabhu and Ramchandra Vadhavkar.

One more example is that of Child actor Shashi Kapoor. It was popularly believed that Shashi Kapoor (Deewar, Trishul, Dharmaputra fame) had acted as a child artist in about 25 films. This misinformation was cleared when the real child artist-Shashichand Kapoor gave an interview on Cineplot and Maitri Manthan, explaining that it was him who had acted in 21 films as child actor (Bhakta Prahlad-46 etc). Shashi Kapoor (Deewar wala) had actually done only 5 child roles-in Aag-48, Bhakta Bilwamangal-48, Patanga-49, Sangram-50 and Aawara-51.

In case of today’s singer-Naseem Akhtar also, the same thing is happening. It was popularly believed that Naseem Akhtar is the sister of Sardar Akhtar( wife of Mehboob Khan) and Bahar Akhtar( wife of A.R.Kardar),but it is NOT TRUE !

Both Sardar Akhtar-known as Daari and Bahar Akhtar-known as Bahaaro were tawayafs of Hiramandi Lahore. When A R Kardar eloped with Bahar Akhtar and married her, Sardar Akhtar registered a Police complaint of abduction. Kardar and his family were arrested and put in lock up. It was only after Bahar’s statement that she married Kardar on her own choice, they were released. Sardar Akhtar herself later married Mehboob Khan.

Naseem Akhtar’s father was a Sarangi player. They were originally from Kashmir. She was born in 1924. She started singing on Lahore Radio. Impressed with her singing style, composer Pt. Amarnath gave her a break in Nishani-1942. Till then she used to sing at rich persons functions and mehfils etc. after Nishani, she came to Bombay to sing for Khooni Laash-43. She never acted in any films. She sang in Bhai, Ek din ka Sultan, 40 karod, Flat no.9, Pehli nazar, Ratnavali, Dharma, Sanyasi, Tadbir, Shahjehan, Nek Parveen, Safar, keemat, Sohni Mahiwal, Bhanwar, Ek Roz, Doli, Parai aag etc. She sang for Naushad, Ghulam Mohd, Anil Biswas, Shyam sunder, Ghulam Hyder, Rafiq Gaznavi, Govind Ram, Sajjad Hussain, Firoze Nizami and C.Ramchandra. She sang 67 songs in 38 films.

She left for Pakistan after Partition and sang in few films,but was not successful She got married to Rauf Maula, a Producer and settled as housewife. It seems, she died in Lahore on 11-5-2007.

Out of the 10 songs of film Safar-46, 6 songs have already been discussed. This is the 7th song. The song is quite good, however some other songs of this film had more melodious tunes and catchy rhythms.


Song-Dil jo diya kehne lage aaj na(Safar)(1946) Singer- Naseem Akhtar, Lyrics-G S Nepali, MD- C Ramchandra

Lyrics

dil jo diya
dil jo diya
kahne lage aaj naa
dil jo diya
kahne lage aaj naa
mujhse
mujhse mil ke gaye bhole bhaale saajna
o mere
o mere saajna
saajna aa
mujhse
mujhse mil ke gaye bhole bhaale saajna
dil jo diya
kahne lage aaj naa
mujhse mil ke gaye bhole bhaale saajna

daal milee daal se ae ae ae ae
phool mila phool se
phool se
daal milee daal se ae ae ae ae
phool mila phool se
ham bhee mil gaye kaheen pe raaste kee dhool se
kahne lage ae ae
maan jaao
ek maheena
main kah naa sakee naa
taar mere
taar mere dil ke uthhe jhanjhana
mujhse
mujhse mil ke gaye bhole bhaale saajna
o mere
o mere saajna
saajna aa
mujhse
mujhse milke gaye bhole bhaale saajna
dil jo diya
kahne lage aaj naa
mujhse mil ke gaye bhole bhaale saajna

mere prem ke kumkum
khilo tum hanso tum
aise hee mere baag mein uss roz bhee khilna
jis roz hamaara ho kisee kunj mein milna
aise hee mere baag mein uss roz bhee khilna
jis roz hamaara ho kisee kunj mein milna
nain miley jinse hamaare
jinse hamaare
ab unki
abb unki yaad mein hai jaagna
mujhse
mujhse mil ke gaye bhole bhaale saajna
o mere
o mere saajna
saajna aa
mujhse
mujhse mil ke gaye bhole bhaale saajna
dil jo diya
kahne lage aaj naa
mujhse mil ke gaye bhole bhaale saajna


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3786 Post No. : 14769

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 30
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘ल’ – लीजिये दिल का नज़राना, लीजिये आँख का शुक्राना ॰ ॰ ॰

– – – –

आवाज़ दे कर हमें तुम बुलाओ ॰ ॰ ॰ 

Ah yes, that is what the heart desires, but sadly, that will happen no more. . . you are so far away now, that our supplications so sent, do not reach you any more.

– – – –

OK, wow, another gem from the radio listening days. And what a wonderful reminder this song is. The film is ‘Naya Kanoon’ from 1965, and Rafi Sb is accompanied by Asha Bhosle in this song. Given that Madan Mohan is the music director, I am a little surprised that Lata does not figure in this film at all. Eight songs in all, with four female solos, and one duet (this one) – all carry the voice of Asha Bhosle. Possibly this recording may have been done during the time when there was a stand off between Lata ji and Rafi Sb. Still surprising that Madan Mohan did not get Lata to sing even one of the solo songs. Or possibly, other reasons, circumstances may have intervened.

The film is directed by RC Talwar for the banner of Manchanda Productions, Bombay. The main star cast is listed as Ashok Kumar, Vaijayantimala, Bharat Bhushan, Poornima, Nishi, Leela Mishra, Badri Prasad, Kamal Mehra, and Om Prakash among others. There are eight songs in this film, or may be seven, because one song is a multi version song sung as a solo by both Rafi Sb and Asha Bhosle. All songs are from the pen of Hasrat Jaipuri, except one, which is written by Saraswati Kumar Deepak.

On screen, this song is filmed a recording studio song. The two singers – Bharat Bhushan and Vijayantimala, are recording this song in a studio. Or maybe the song is being broadcast live.  As we see the three stanzas, there are short visual interludes, and the dresses of the two artistes are different in each stanza. The intervening scenes convey a message as if displaying the rising popularity, as well as prosperity of the singer.

Bharat Bhushan in this 1965 film is a distant call from his heydays of ‘Baiju Baawra’ in 1952. Decidedly not looking any younger, but he is also looking much more morose. As the visual clip starts and the music comes on, the mind gets into position for a fast paced light hearted duet. But the expression on the face of the hero conveys as if he is going to break into “Maayoos To Hoon Waade Se Tere. . .” 🙂 🙂 .

Regardless, a very breezy composition which will tickle a few memories in the minds of radio listeners.  Listen and relive those memories.

 

Song – Lijiye Dil Ka Nazraana, Lijiye Aankh Ka Shukraana  (Naya Kanoon) (1965) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Hasrat Jaipuri, MD – Madan Mohan

Lyrics 

lijiye dil ka nazraana
lijiye aankh ka shukraana
ye preet banegi afsaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana
ye preet banegi afsaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi

aankh ne dekha to dil ne paa liya
meethi baaton ne hamne behka liya
pyaar mein hum bhi tumhaare ho gaye
tum miley to hum khushi se kho gaye
kadmon mein khada hai deewaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana

dil bade armaan se laaya hoon main
ye kali toofaan se laaya hoon main
meri palken jhuk rahi hain laaj se
tum hamaare ho chuke ho aaj se
aaya hai shama ka parwaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana

aur bhi duniya mein laakhon chaand hain
aapke aage magar wo maand hain
aur bhi duniya mein laakhon phool hain
aapke aage magar wo dhool hain
haazir hai tumhaara mastaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana
ye preet banegi afsaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना
ये प्रीत बनेगी अफसाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना
ये प्रीत बनेगी अफसाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी

आंख ने देखा तो दिल ने पा लिया
मीठी बातों ने हमने बहका लिया
प्यार में हम भी तुम्हारे हो गए
तुम मिले तो हम खुशी से खो गए
कदमों में खड़ा है दीवाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना

दिल बड़े अरमान से लाया हूँ मैं
ये काली तूफान से लाया हूँ मैं
मेरी पलकें झुक रही हैं लाज से
तुम हमारे हो चुके हो आज से
आया है शमा का परवाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना

और भी दुनिया में लाखों चाँद हैं
आपके आगे मगर वो माँद हैं
और भी दुनिया में लाखों फूल हैं
आपके आगे मगर वो धूल हैं
हाजिर है तुम्हारा मस्ताना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना
ये प्रीत बनेगी अफसाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना


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 : 3785 Post No. : 14768

Today’s song is from the film Madhubala-50.

What is the meaning of ‘Sone pe suhaga ‘ or ‘Doodh mein shakkar ‘ or even ‘Saatwe aasmaan par’ ? These and similar expressions are used when more than one pleasing matters are combined. Same is the case with film Madhubala. The most beautiful actress in Hindi film history and the most charming and handsome actor in Hindi cinema worked in this film as the lead pair in this film.Yes, Madhubala and Dev Anand.

It was a dream for many to see these two beautiful and handsome creations of the Almighty together. people would become ecstatic in the theatres, when they sang together or exchanged love dialogues on the screen. I know, because I too was one of them. Those days, Dev Anand was becoming the heart throb of many a college girls and young ladies. In the later years of the 50’s decade, Dev Anand was the most popular actor in the Hindi films.

In this film Madhubala-50, Dev and Madhubala acted together for the second time . Their first film was Nirala also made in 1950, but released first.In all they acted together in 8 films. This was a record till the Dream girl Hema Malini broke it with 11 films with Dev Anand.

Though Dev ( 26-9-1923) was 10 years older than Madhubala ( 14-2-1933), he was very junior to her in the Film industry. By the time Dev Anand did his first film Hum Ek Hain-1946, Madhubala had already done 13 films. She had started as a child artist in Swastik-1939. Madhubala-50 was her 35th film and Dev’s 13th film ! Fron Nirala-50 to Sharabi-64, they did 8 films together. Dev Anand did 116 films and sang 303 songs on screen. Madhubala did only 81 films and sang 189 songs on screen. Her speed came down drastically, after her Heart ailment was detected while shooting in Madras and the treatment had started.

Dev of course continued steadily for a much longer period, but out of his 116 films how many films were actually watchable is a moot question.

Film Madhubala-50 was made by Ranjit Movietone. There is an interesting story behind this film’s making. When Madhubala was about 13-14 years old, Chandulal knew her and also liked her. He had already predicted a bright future for her. Her father Ataulla Khan was a very careless and irresponsible person. One day, when Chandulal Shah was playing cards with his friends, he got a phone call from his nephew, Ratilal Punatar, saying that Madhubala had come and she is asking for a loan of Rs. 2000, on interest, immediately. Her mother was in serious condition to deliver for the 10th time and her father was not at home. Chandulal asked Ratilal to give the money to her without interest, but to tell her that in future if Ranjit needed her, she should work for them.

In the end of 40’s decade, due to a heavy loss in gambling, Ranjit had seen bad days. They decided to make a film with Dev and Madhubala. Ratilal went to Ataulla Khan, but he quoted an astronomical amount. Ratilal returned. Next day Madhubala herself came to Ranjit and told them that she will work in their film and that too without any money. Those were the days, when she had become famous after the success of film Mahal-49. But she worked in the film and Ranjit, as a mark of gratitude, named the film as Madhubala.

The film was directed by an outsider named Prahlad Dutt. He was actually a foreign trained photographer and Cameraman-expert in Trick scenes. He was working in Lahore in the early 40s. Pancholi’s film ” Shirin Farhad”-45 was getting ready and Prahlad Dutt was its Director and trick scene Master. His work was applauded by everyone. The scene where Farhad digs out a canal from a big mountain single handedly, was done by Prahlad with astounding results. After the Partition, he ran away from Lahore to Bombay. He soon got work here as his name was well known and famous.

Author Vithal Pandya, in his book ” Sapnon ke saudagar” has described an incident about Prahlad Dutt.
” Dutt was working in Ranjit, directing a film ” Mitti ke Khiloune”-48. It was in early 1948. Gandhiji was killed on 30th January. 4-5 days after that, Ranjit studio workers were shocked to find a Police Jeep entering the studio,in speed. Out jumped an Inspector and asked, ” Where is Prahlad Dutt?” Ranjit Manager asked” why?” the answer was ” We have his arrest warrant in connection with Gandhi killing”. While the Manager offered to call him here from another floor where he was shooting, the Police ran towards that place. As soon as Prahlad saw the Police, he started running, with Police chasing him and shouting stop stop. He tried to climb the wall and disappear, but the inspector warned him first and then shot him with his pistol in his thigh. He fell down. He was arrested and taken away.

He was charged with various crimes and a case was put on him. However, he was released unblemished after 4 months. Ranjit management helped him quite a lot in those days. ”

Prahlad Dutt acted in only one film-Ek hi Bhool-40 ( There was another actor S.Prahlad in films same time, but he was different). He directed 5 films in all- Shirin Farhad-45, Piya Ghar aajaa-47, Mitti ka khilouna-48, Nazare-49 and Madhubala-50.

The music of film Madhubala was by Lachhiram Tamar. LACHHIRAM is a name not known to many readers. Most people think that his family name is TOMAR. Many sites and books also say so. However, one of his family members has clarified on the Blog,’ Songs Of Yore’ that the correct surname is TAMAR. He was a very talented but unlucky composer, who, despite his good work was never counted among the A grade composers.

LACHHIRAM TAMAR was a Punjabi Chaudhary born in 1914 in the princely state of Kuthar in the present day Himachal Pradesh. His father died early and he was brought up and trained in music by the Rana Jagjit Chandra of Kuthar, under the tutelage of Ustad Noore Khan. He came to Delhi at the age of 20 years and served in H.M.V.Company as a singer. He cut many records there. Side by side he was singing on A.I.R. also.

Aziz Kashmiri, writer and Director of Shorey Films, Lahore came scouting for talents and engaged him as an assistant to music composer for a salary of Rs.750 per month. He assisted in films like Champa, Badnami and Shalimar. His first independent film as a composer was Kahaan Gaye-46. Then he did Aarsi-47, Mohini, Birhan and Director in 47-48 and did Guru Dakshina and Madhubala in 1950.

The songs of Madhubala became Hits, but his luck misfired. He suffered from T.B. and had to leave everything. He lost one Lung also in it. However this brave man came back and did Ameer, Shaheed Bhagat Singh-54 (Sarfaroshi ki tamanna-Rafi), Maharani Jhansi, Guru Ghantal and Hazaar pariyaan-59. In his last spell he did Do Shahzade, Razia Sultan and his Last film was Main Suhagan Hoon-64.

Lachhiram Tamar died on 5-2-1966 at Bombay.

Today’s song is sung by G M Durrani – a singer who had a natural charm in his voice. I like many of his songs. His career was a ” Riches to Rags” story, which I will discuss some other day. Let us now enjoy his song today.


Song-kisiko yaad karta hai mera dil (Madhubala)(1950) Singer-G M Durrani, Lyrics- I C Kapoor, MD-Lachhiram Tamar

Lyrics

kisi ko yaad karta hai
mera dil raat din
haaye mera dil raat din
akela aahen bharta hai
mera dil raat din
haaye mera dil raat din

chaman mein gar bahar aaye hamen kya
kali gar phul ban jaye hamen kya
chaman me agar bahar aaye hame kya
kali gar phul ban jaye hame kya
chahak kar aam ki daai pe bulbul
khushi ke geet gar gaye
hame kya
hame kya
judai me tadapta hai
mera dil raat din
kisi ko yaad karta hai
mera dil raat din
haaye mera dil raat din
akela aahen bharta hai
mera dil raat din
haaye mera dil raat din

ye aansu aankh mein jo aa rahe hain
fasaana ishq ka dohra rahe hain
ye aansu aankh mein jo aa rahe hain
fasana ishk ka dohra rahe hain
tujhe meri kasam ik baar aaja
aaja
tujhe meri kasam ik baar aaja
sandeshe maut ke bhi aa rahe hain
aa rahe hain
yahi fariyaad karta hai
mera dil raat din
kisi ko yaad karta hai
mera dil raat din
haay mera dil raat din
akela aahen bharta hai mera dil raat din
haay mera dil raat din
raat din


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 : 3784 Post No. : 14767

“Dharma”(1973) was directed by Chaand for Kapoor Films Bombay. This “social” movie had Naaveen Nischol, Rekha, Pran, Bindu, Ajeet, Ramesh Deo, Madan Puri, Faryal, Anjali Kadam, Paro, Asit Sen, Mohan Choti, Jayshree T, Rajan Haksar, Sonia Sahni etc in it.

The lead pair, the lyricist as well as the music directors are same as that of “Saawan Bhaado”(1970), so it appears to me that the makers of this movie had signed them up hoping to replicate the success of “Saawan Bhaado”(1970).

“Dharma”(1973) had four songs in it. Three of these songs have been covered in the past. Here are the details of these three songs from the movie:-

Song Title

Post No.

Post Date

Raaz ki baat kah doon to 1325 21-May-09
Main teri gunahgaar hoon 8339 13-Jul-13
Arre saaqi jo kal ki hai bachi baaqi 14501 18-Jul-18

Here is the fourth and final song from “Dharma”(1973) to appear in the blog. The song is a teasing song along the lines of “Saawan Bhaado”(1970) song Kaan mein jhumka chaal me thumka.

The song is sung by Rafi. Verma Malik is the lyricist. Music is composed by Sonik Omi. Exactly the same musical team as “Saawan Bhaado”(1970). The song is picturised on the same actors as well, viz on Navin Nischol and Rekha.

I have provided the audio as well as video link of the song. There is slight variation in the lyrics of the two versions in the last stanza.

With this song, “Dharma”(1973) joins the list of movies that have all their songs covered in the blog.

Video

Audio

Song-Na satrah se oopar na solah se kam (Dharma)(1973) Singer-Rafi, Lyrics-Verma Malik, MD-Sonik Omi

Lyrics

sada itni umar teri rahe o sanam
haan aan aan
na satrah se ooper na solah se kam
na satrah se ooper na solah se kam
issi umr mein dhaate jaao sitam
o o o
na satrah se
na satrah se ooper na solah se kam
na satrah se ooper na solah se kam

surhk honthon pe til ye suhaana hai
jaise kaliyon pe shabnam ka daana hai
haaye
surhk honthon pe til ye suhaana hai
jaise kaliyon pe shabnam ka daana hai
ye shabaab hai haaye ya gulaab hai
hisaab koi nahin
ye to behisaab hai
hamesha raho tum
khuda ki kasam
haaye haaye haaye haaye
na satrah se
na satrah se ooper na solah se kam
na satrah se ooper na solah se kam

tum yoon hi apne jalwe lutaate raho
aur kaleje pe chhuriyaan chalaate raho
haaye
tum yoon hi apne jalwe lutaate raho
aur kaleje pe chhuriyaan chalaate raho
o laajawaab ho ya koi khwaab ho
nigaah tik na sake jispe tum wo shabaab ho
mubaarak jawaani ka pehla kadam
oy hoy hoy hoy
na satrah se
na satrah se ooper na solah se kam
na satrah se ooper na solah se kam
sada itni umer teri rahe o sanam
o haay haay haay
na satrah se ooper na solah se kam
na satrah se ooper na solah se kam


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 : 3784 Post No. : 14766

“Dulhan Wahi Jo Piya Man Bhaaye”(1977) was a movie that must be regharded as a landmark movie of its time. It had a profound impact on movie goers who watched it. I was one of those who were impacted by this movie.

I was one of those who would only watch Amitabh Bachchan angry young man movies those days. And most movie watchers were like that. This movie was clearly a small budget non action movie which did not have Amitabh Bachchan. From the title, I concluded that it was a “sissy” kind of movie not fit to be watched by action movie watchers like yours truly. 🙂

The local daily newspaper that I got those days carried a list of local cinema halls and movies played in them. This movie was released in a new movie hall called “Uphaar”. Most movie halls of Ranchi were located around a single road of Ranchi called “Main Road”. This hall was one of the four that were not located on that road and was in fact situated as the farthest distance. Not that it mattered for movie goers like me. I had watched “Don”(1978) in that hall and I had quite enjoyed that experience. But that was an Amitabh Bachchan action movie, as one can notice. There was no way I was going to this hall to watch “Dulhan Wahi Jo Piya Man Bhaaye”(1977).

Most movies in Ranchi those days lasted for just three or four weeks if they were popular movies. “Sholay”(1975), the biggest hit of that time had lasted for 14 weeks, which was a big achievement for a place like Ranchi those days.

I noticed that this movie “Dulhan Wahi Jo Piya Man Bhaaye”(1977) was going on and on and it was showing on signs of being taken off even after the passage of seven or eight weeks. A few weeks later, this movie was taken off “Uphaar”, but released in “Sandhya”, another movie hall not on Main Road, but close enough to my College. Incidentally, I college was located at a place where the main road ended /started and the road going towards Sandhya cinema called Purulia road started/ended. That central location where roads ended/started was called Firayalal Chowk, which was renamed as Albert Ekka Chowk in 1972. Albert Ekka, a native of those places won Paramveer Chakra during 1971 war and so this landmark, one of the most important landmarks in Ranchi was renamed in his honour though the place continued to be known by its earlier name as well.

Coming back to topic, “Sandhya” cinema was close to my college. I decided to watch the movie to see what the fuss was all about. I went to the movie hall, with very low expectations.

For the first few minutes, I thought that I had wasted my time and money. But soon thereafter, I warmed up to the movie and became engrossed in it. By the time the movie ended, I was overwhelmed, as were the others who had come to watch it. I liked the movie so much that I watched it four more times. It was the first time that I went for repeat watch of a movie.

The movie had a simple tale that may have been told quite a few times. Here is the plot of the movie as mentioned in wikipedia:
Seth Harikrishan, the industrialist had as his heir, his only grandson Prem. The grandfather’s only desire was to see the bride of his grandson. When he fell seriously ill, his friend and doctor Farid prevailed upon Prem to bring his girl friend Rita, whom he wanted to marry. But as luck would have it, Rita had gone away to Srinagar to participate in a fashion show and she could not return, as due to snowfall all roads were blocked and air service was suspended. To satisfy his dying grandfather, Prem suggested to his company’s Public Relations Officer Jagdish to hire a model girl who could pose as Rita for some time. Instead, Jagdish brought an illiterate flower seller girl Kammo, with whom Prem and his sweetheart Rita had many altercations. But when Rita came, followed by her scheming mother, Kammo knew that her days were numbered. Yet all efforts of Rita and her mother to win the grandfather’s favours failed. Ultimately, on the birthday of the grandfather, Rita’s mother divulged the truth to doctor Farid. And at the birthday party, it was apparent that Kammo’s true identity was known to everyone. Despite this, the grandfather announced his grandson’s engagement to Kammo, whom he had really liked. His grandson blew into a rage and threatened to leave the house along with Rita and her mother. The grandfather did not stop him. Prem rushed to Rita only to find that without his grandfather’s wealth, his love and sacrifice had no meaning for her. Meanwhile, Kammo, hurt and disillusioned, decided to leave the house for good. Did Prem realise his mistake? Did Kammo forgive him? Did the grandfather welcome him back? See for yourself.

This movie was a Rajshree Productions movie directed by Lekh Tandan. The movie had Rameshwari, Prem Kishan, Shyamlee, Madan Puri, Iftekhar, Shivraj, Sunder, Leela Mishra, Savita Bajaj, Piloo Wadia, Shashikala, Viju Khote, Jagdeep etc in it. Rameshwari, who made her debut with this movie became a overnight sensation. It was she who won over the heart of millions in her role of a simple illiterate flower seller Kammo.

Rameshwari’s debut was like a cricketer scoring a century on test debut. There are many cricketers who have done that but then failed to replicate that in subsequent movies. Sadly the same happened with Rameshwari as well. Her subsequent movies were damp squibs and this debut movie of hers remains the biggest highlight of her acting career.

As far as I am concerned, I remember her for this role. The magic that she cast over her audience in this movie four decade ago is yet to wear off. I realised this fact when I watched the picturisation of this song in the process of covering this song in the blog.

The other big attraction of this movie was its music. In fact, it was the music of this song blaring out on loudspeakers that played an important role in forcing me to go to the movie hall.Ravindra Jain’s music and Hemlata’s voice created magic in this movie and also in subsequent Rajshree Production movies for nearly a decade.

Here is this bhajan for “Dulhan Wahi Jo Piya Man Bhaaye”(1977). It is sung by Hemlata and chorus. The picturisation shows Kammo singing this bhajan and the rest of the family, including the ailing sethji (Madan Puri) getting attracted towards the puja room and joining her.

One can find such beloved figures of those days as Leela Mishra (playing her usual role) and Ifthikhar (playing not a police officer but a kindly family Doctor). Prem Kishan (son of Premnath) was the errant grandson of sethji and the hero of this movie. The picturisation also reminds us of those days when long distance telephone calls were not as easy (and cheap) as they have become now a days. 🙂


Song-Mangal bhawan amangalhaari (Dulhan Wahi Jo Piya Man Bhaaye)(1977)Hemlata, Traditional, Ravindra Jain
Chorus

mangal bhavan amangal haari ee ee ee ee
dravhu sudasrath achar bihaari
raam siyaaraam siyaaraam jay jay raam
raam siyaaraam siyaaraam jay jay raam

o o
jiya bin deh nadi bin paani ee ee ee ee
jaisiyanaath(?) purush bin naari
raam siyaram siyaram jay jay raam
raam
raam siyaram siyaram jay jay raam

o o o
tum te adhik punya badhkaake ae ae ae
raajan raam sarit sut jaake
raam siyaraam siyaram jay jay ram
o o
raam siyaram siyaram jay jay ram

ram siyaram siyaram siyaram
ram siyaram siyaram jay jay raam

o o
hoi hai sohi jo raam rachi raakha aa aa aa aa
ko kari taraa badhai saaka
raam siyaram siyaaram jay jay raam
raam
raam siyaram siyaram jay jay raam

o o o
jehike jehi par satya sanehu u u u
so tehi milayi na kachhu sandehu
raam siyaram siyaram jay jay raam
o o
ram siyaram siyaram jay jay raam

ho o
maat pita guru prabhu ke baani ee ee ee
bin hi bichaari kariya shubh gyaani
ram siyaaram siyaaram jay jay raam
raam

raam
raam siyaram siyaram jay jay raam
ho o
hari anant hari katha ananta
aa aa aa aa
kahahi sunahi bahuvidhi sab santa
raam siyaram siyaaram jay jay raam
o o
raam siyaaram siyaram jay jay ram
o o o
raam siyaaraam siyaaraam jay jay raam


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 : 3783 Post No. : 14765

With the advent of talkies in 1931, many new actors joined the Hindi film industry in the 1930s in addition to those who had switched over from silent films. While some actors became successful and remained active in the film industry for a long time, an overwhelming majority of actors could not be sustained for longer period in the film industry. Within this category, there were some actors who became successful in their initial stages of the filmy career, but lost the momentum of success in their later stage. While they remained active in the film industry for reasonable period, they went into oblivion and thus forgotten after the end of their filmy career.

Rama Shukul was one of such actors who despite talent and age on his side could remain active only for a decade or so. Thereafter he made some sporadic appearances films in minor roles for about another decade. Today, he has been forgotten to such an extent that no basic information about him is available on the internet other than his incomplete filmography. Luckily, I could lay my hand on an article written by Hyacinth (pseudo name of Susheela Rani) on Rama Shukul in Filmindia magazine (September 1942) based on her inter-actions with him sometime in 1942. I could also update his filmography and other information from various issues of Filmindia magazines of 1938 to 1949 and thereafter from the website, myswar.co. I also watched his four films – ‘Bhabhi’ (1938), ‘Navjeevan’ (1939), ‘Durga’ (1939) and ‘Aazaad’ (1940) which are available online to get a feel of his acting. I found Rama Shukul to be a natural actor. He looked like a seasoned actor even in his first film ‘Bhabhi’ (1938).

Rama Shukul was born in Jabalpur to Badri Prasad Shukul and Sushila Shukul in a wealthy family. His father was the District Superintendent of Police in Central Province (presently the parts of Madhya Pradesh, Chhatishgarh, Odisha and Maharashtra). Rama Shukul was the only son and therefore was pampered a lot by his father. Whenever his father was transferred, he would take with him Rama Shukul. As a result, his education was affected. He completed his Matriculation and was enrolled in Robertson College, Jabalpur for graduate study. The pampering of his father was such an extent that he gifted a car for his son to travel to the college. The whole idea of his father was to keep Rama Shukul interested in studies. However, he was more interested in sports and acting than the studies.

Rama Shukul was the college champion for three years in a row in tennis and was in the college teams for cricket, hockey and volleyball. In 1935, he participated in the Inter-Collegiate Drama Competition at Banaras Hindu University where he received the trophy for the best actor in the role of Hamlet in the drama. His father wanted to send him to England for ICS or for becoming a barrister. But Rama Shukul could barely complete his Senior Cambridge. Looking at his son’s interest in sports, his father arranged for a job for him as an Assistand Director of Physical Culture in the State at Nagpur. But the young Rama Shukul refused to accept the job saying that he was going to become a film actor. His father lost all hopes of shaping his bright career.

In 1938, Rama Shukul came to Bombay (Mumbai) to pursue an acting career in the films. But to get into the film studios, one must have reference but Rama Shukul did not have any in Mumbai. He had one friend in Mumbai, Fazal Chinoy. His father, Sir Rahimtula Chinoy was the promoter of the Indian Radio Company and the Director of the Imperial Bank of India (now State Bank of India). He was also a former member of the Indian Legislature Assembly. With his influence, Rama Shukul could get an appointment with Sir Richard Temple, the Managing Director of Bombay Talkies.

Sir Richard was impressed with his educational background. He introduced Rama Shukul to Himanshu Rai who agreed to take him as an actor. He signed a contract with Bombay Talkies in September 1938 and made it to ‘Bhabhi’ (1938) as his first film in a villainous role. The film was a box office success. In the film’s review published in ‘Filmindia’, Baburao Patel praised his acting by saying that ‘Rama Shukul is a good addition to the Indian screen. In the role of Anupam – the main obstacle in the whole scheme, he turns out to be a successful nuisance’.

Rama Shukul worked for Bombay Talkies for about 2 years during which time he acted in lead roles with Hansa Wadkar in ‘Navjeevan’ (1939) and with Devika Rani and Hansa Wadkar in ‘Durga’ (1939). In ‘Aazaad’ (1940), though Ashok Kumar and Leela Chitnis had lead roles, it was Rama Shukul pairing with Hansa Wadkar who had major presence in the film.

When he was to work opposite Devika Rani in his 5th film in Bombay Talkies, Himanshu Rai died. His death was a great shock to Rama Shukul due to his personal attachment. He was regarded as a blue-eyed boy of Himanshu Rai. Many in the Bombay Talkies had developed dislike for him as they felt that he was pampered by the boss of the Bombay Talkies. In this milieu, Rama Shukul could not continue in the Bombay Talkies for long.

His next destination was Ranjit Movietone where he acted in the second lead role in ‘Iqraar’(1942). This was followed by ‘Mehmaan’ (1942), ‘Fariyaad’ (1942) and ‘Dukh Sukh’ (1942). However, none of these films made much impact on the box office front. From 1943, he became a free-lance artist and acted in the second lead in Ramnik Productions’ ‘Dulhan’ (1943), ‘Kiran’ (1944), and ‘Gaon Ki Gori’ (1945).

By this time, his status as an actor seems to have come down from second lead actor to one among the supporting actors. In this category, he worked in Filmistan’s ‘Eight Days’ (1946) and ‘Shikari’ (1946). This was followed by ‘Mulaaqat’ (1947), ‘Shikaayat’ (1948) and ‘Meherbaani’ (1950).

After 1950, the filmy assignments of Rama Shukul seem to have dwindled significantly. His name started appearing in ‘other actors’ like in ‘Shamsheer’ (1953), ‘Sardaar’ (1955) and ‘Sitaaron Se Aage’ (1958). ‘Madhu’ (1959) was Rama Shukul’s last film as an actor when he may be around 45 years of age. I could not get any information as to how he spent rest of his life after 1959.

Despite being recognised as one of the fine actors of the 1940s, Rama Shukul had an active filmy career of about 10 years (1938-48). During his entire career, he acted in 20 films.

I am presenting ‘zara dheere ho zara dheere’ from ‘Mehmaan’ (1942) sung by Shamim Bano and Rama Shukul. The song is written by Pandit Indra and is set to music by Khemchand Prakash. This duet is actor-singer songs and is the 5th song to appear in the Blog.

Although HFGK credits the male voice in the song to Rama Shukul, in my view, it may not be his voice when I compare his voice in the songs in ‘Navjeevan’ (1939) and ‘Durga’ (1939). My hunch is that the male voice in this song may be of Bulo C Rani based on his rendition of ‘rootthna pyaar mein karwat ka badal jaana hai’ from the same film. I request the opinions from the experts on my presumption.

For the time being, however, I have retained the name of Rama Shukul as the male singer in the video caption of the song.

I find this song a sweet expression of love.


Song-Zara dheere ho zara dheere(Mehmaan)(1942) Singers-Shamim Bano, Rama Sukul, Lyrics-Pt Indra Chandra, MD-Khemchand Prakash
Both

Lyrics

zara dheere ho zara dheere
zara dheere ho zara dheere
zara dheere ho zara dheere
zara dheere ho zara dheere
saajanwa
saajaniya
saajanwa
saajaniya
zara dheere dheere
zara dheere dheere
jhoola na ho
mora naazuk jiya behlaana
o mora naazuk jiya behalaana
zara dheere ho zara dheere
zara dheere ho zara dheere

chunariya hamaari hawa ho gayi
nazariya tumhaari dawa ho gayi
chunariya hamaari hawa ho gayi
nazariya tumhaari dawa ho gayi
ye champa chameli rahi kyun akeli
bataao zara morey shyaam
ye champa chameli rahi kyun akeli
bataao zara morey shyaam
saajanwa
saajaniya
saajanwa
saajaniya
zara dheere dheere
zara dheere dheere
jhoola na ho
mora nazuk jiya behlaana
o mora najuk jiya behalaana
zara dheere ho zara dheere
zara dheere ho zara dheere
zara dheere ho zara dheere
zara dheere ho zara dheere


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 :

3783 Post No. : 14764 Movie Count :

4037

Today’s song is from film ‘Holi’ (1940). It is written by DN Madhok and composed by Khemchand Prakash. This duet is sung by Sitara Devi and Kantilal.

When silent films started talking, it became imperative for the film makers to recruit only those artistes who could sing on screen. In this compulsion, most of the times, the composers had to compromise on the singing ability of the artistes, because for the artistes, acting was primary and singing was secondary. Barring the born, natural singers like Noorjehan, KL Saigal, Khursheed, Surendra and few others, the rest of the singers in the film industry were all ‘make do’ types. In the early era, till about the beginning of the 40’s decade, the music directors had a tough time getting songs sung by these so called ‘singers’. May be, that is the reason why we find that many composers also sang when the playback started.

Almost all the heroes and heroines (with the sole exception of Jairaj – who was an ‘Aurangzeb’ in music) willy-nilly sang even after the playback singing had firmly set in. Pure and exclusive singers like Lata, Asha, Geeta, Rafi, Mukesh and Talat started occupying their legitimate place in playback singing in films from the mid 1940s onward. At the same time, slowly and steadily singing by the actors and actresses diminished, and by the dawn of the 1950’s decade, playback singing was rooted firmly. In my opinion, this was also one of the major reasons of ‘Golden Period of Film Music’ blossoming from around 1947-48 onward. Due to the availability of playback singers, actors started acting wholeheartedly and composers got new energy and they concentrated on making good music rather than breaking their heads on teaching the ‘pseudo-singers’ how to sing their songs ! In one of the interviews, Naushad had expressed his relief from getting song sung by non-singers !!

Singers like Ishwarlal, Kantilal, AR Oza, Vatsala Kumthekar etc were part actors and part singers. Thus we find that very rarely any song sung by these part time singers became an evergreen song. I can, however, think of only one song- “Zindagi Ka Saaz Bhi Kya Saaz Hai, Baj Raha Hai Aur Be-awaaz Hai” by Naseem Bano in film ‘Pukar’ (1939). She had sung it well and the composer Meer Sahab too should get some credit for its composition. But such cases are rare. Mohd. Rafi’s case in this connection can be quoted. After the regular playback singers became composers’ first choice, one by one the ‘part time’ singers closed their shops ! See here how Rafi did it.

Mohd. Rafi, no doubt, was a versatile singer. Like Lata, when he came on the scene of playback singing – after considerable hard work and struggle, he replaced the old singers who sang in the films, one by one.

  • Ashok kumar’s singing spree stopped when Rafi sang for him in film ‘Saajan’ (1947).
  • Ishwarlal stopped singing when Rafi sang for him in film ‘Sharbati Aankhen’ (1945).
  • Shahu Modak stopped after ‘Chakradhari’ (1954).
  • WM Khan after ‘Aalam Ara’ (1956).
  • Master Nissar after ‘Boot Polish’ (1954)
  • GM Durrani after ‘Lal Pathar’ (1971)
  • Karan Dewan after ‘Duniya’ (1949).
  • Noor Mohammed Charlie after ‘Zameen Ke Taare’ (1960).
  • Balak Ram after ‘Shri Ram Bharat Milan’ (1965).
  • Moti Sagar after ‘Paak Daman’ (1957).
  • Man Mohan Krishna after ‘Basant Bahar’ (1956).

Mohd. Rafi even sang for some composers who used to sing in films,

  • SN Tripathi – ‘Pawanputra Hanuman’ (1957).
  • Snehal Bhatkar – ‘Baawre Nain’ (1950) (he was doing a beggar’s role in this film)
  • Sudhir Sen – ‘Saat Phere’ (1970).

By the way, Rafi was the only male playback singer who sang with all 3 major singer actresses

  • Noorjehan – ‘Jugnu’ (1947).
  • Khursheed – ‘Aage Badho’ (1947)
  • Suraiya – they have sung together in 13 films

The female singer in today’s song is Sitara Devi (8-11-1920 to 25-11-2014), the well known Kathak dancer. Her life story is available freely on the internet. She was bestowed the title of ‘Nritya Samragni’  by Ravindranath Tagore, in 1936, when she was just 16 year old. Sitara is also famous for her multiple marriages. She was the one who refused to accept ‘Padma Bhushan’ honour, stating that she deserves nothing less than ‘Bharat Ratna’ alone ! She had taught Kathak Dance to younger actresses like Madhubala, Rekha, Mala Sinha and Kajol.

The male singer in today’s song is Kantilal. KANTILAL CHHAGANLAL PACHCHIGAR was born on 18-4-1907 in Surat, Gujarat. Due to inherent interest in music, after college education he came to Bombay to try film singing. His first film was ‘Bulbul e Paristan’ (1934) from Vishnu Cinetone. Kikubhai Yagnik was the MD. Kantilal sang 2 songs in it. In 1935, he acted, sang and gave music to ‘Preet Ki Reet’ (1935). He sang 6 songs. He also gave music in ‘Punjab Ka Sinh’ (1936) and also in ‘Gul Badan’ (1937). From 1937 to 1941, he was with Ranjit Movietone and acted and sang in 16 films. He sang 40 songs under Khemchand Prakash and Gyan Dutt.

Then came ‘Gazi Salahuddin’, ‘Kangan’, ‘Holiday In Bombay’ and ‘Kanchan’. Kantilal sang 60 songs in 24 films under 5 MDs. Some of his films were, ‘Toofaani Toli’, ‘Ban Ki Chidiya’, ‘Billi’, ‘Gorakh Aaya’, ‘Prithviputra’, ‘Adhoori Kahaani’, ‘Nadi Kinaare’, ‘Aaj Ka Hindusthan’, ‘Achhoot’, ‘Diwali’, ‘Holi’, ‘Musafir’, ‘Pardesi’, ‘Sasural’, ‘Shaadi’ etc.

In 1943, he married Ushaben and acted in Gujarati films and dramas. He passed away on 17-6-1971.

Khemchand Prakash (12-12-1907 to 10-8-1950) was a very talented composer, but unfortunately  most of his career, he dealt with average singers. Whenever he got opportunity to make songs for real singers like Saigal (‘Tansen’ and ‘Bhanwara’), Khursheed, Kishore ( ‘Ziddi’ and ‘Muqaddar’), Lata (‘Mahal’) and Rajkumari, his songs became famous and very popular. Today’s song is sung by the so called part time singers, but they have tried their best in it.

With this song film ‘Holi’ (1940) makes its debut on the blog.

 


Song – Dhanwaalon Ki Duniya Hai Ye, Nirdhan Ke Bhagwaan  (Holi) (1940) Singer – Kantilal, Sitara Devi, Lyrics – DN Madhok, Music – Khemchand Prakash
Kantilal + Sitara Devi

Lyrics (Provided by Sudhir)

dhanwaalon ki duniya hai ye
nirdhan ke bhagwan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan

nirdhan teri
nirdhan ka main
nirdhan teri
nirdhan ka main
ek anokhi shaan
ek anokhi shaan

do din ki ye mast jawaani
do din ki ye mast jawaani
do din ka ye roo..oop
ek mundere chaanv hai aayi
ek mundere dhoo..oop
bhole panchhi is pinjre ka
bhole panchhi is pinjre ka
jhootha tere maan
haa..aan
jhootha tere maan
haa..aan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan

ret ke mahal bana kar moorakh
ret ke mahal bana kar moorakh
in mein kiya baseraa. . .
ek fanaa ke jhonka aaya
kooch hua sab dera
ret ke mahal bana kar moorakh
ret ke mahal bana kar moorakh
in mein kiya baseraa. . .
ek fanaa ke jhonka aaya
kooch hua sab dera
jhootha jeevan ka iktaara
jhootha jeevan ka iktaara
jhoothi us ki taa..aan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-

धनवालों की दुनिया है ये
निर्धन के भगवान
धनवालों की दुनिया है ये
निर्धन के भगवान

निर्धन तेरी
निर्धन का मैं
निर्धन तेरी
निर्धन का मैं
एक अनोखी शान
एक अनोखी शान

दो दिन की ये मस्त जवानी
दो दिन की ये मस्त जवानी
दो दिन का ये रू॰॰प
एक मुंडेरे छाँव है आई
एक मुंडेरे धू॰॰प
भोले पंछी इस पिंजरे का
भोले पंछी इस पिंजरे का
झूठा तेरे मान
हाँ॰॰आँ
झूठा तेरे मान
हाँ॰॰आँ
धनवालों की दुनिया है ये
निर्धन के भगवान

रेत के महल बना कर मूरख
रेत के महल बना कर मूरख
इन में किया बसेरा॰ ॰ ॰
एक फना का झोंका आया
कूच हुआ सब डेरा
रेत के महल बना कर मूरख
रेत के महल बना कर मूरख
इन में किया बसेरा॰ ॰ ॰
एक फना का झोंका आया
कूच हुआ सब डेरा
झूठा जीवन का इकतारा
झूठा जीवन का इकतारा
झूठी उसकी ता॰॰आन
धनवालों की दुनिया है ये
निर्धन के भगवान
धनवालों की दुनिया है ये
निर्धन के भगवान


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 : 3782 Post No. : 14763

“Dulhan”(1958) was produced by A A Nadiadwala and directed by V M Vyas for Pushpa Pictures, Bombay. This “social” movie had Nirupa Roy, Rajkumar, Bhagwan, Nanda, Jageerdaar, Sheila Kashmiri, Manorama, Agha, Jeewan, Indira Bansal, Munshi Munaqqa, Maqbool, Iqbal, Kanchan, Ansari, Moti (the dog) etc in it.

The movie had nine songs in it. Four songs from the movie have been covered in the blog.

Here is the fifth song from “Dulhan”(1958) to appear in the blog. This song is a duet sung by Shamshad Begam and Rafi. P L Santoshi is the lyricist. Music is composed by Ravi.

The song is sung in a rock and roll style (which was quite popular in India at that time. The song is picturised as a club dance song. One can see Bhagwan lip syncing in Rafi’s voice. I am unable to identify the lady who lip syncs in Shamshad Begam’s voice. I request our knowledgeable readers to help identify her.

With this song, the blog now has 4800 songs from the decade of 1950s (1951 to 1960), which is easily the most well represented decade in the blog.


Song-Mere gore gore gaal (Dulhan)(1958) Singers-Shamshad Begam, Rafi, Lyrics-P L Santoshi, MD-Ravi
Both
Bhagwaan

Lyrics

yaa hoo

mere gore gore gaal
mere kaale kaale baal
mera husn laajawaab
meri ada bemisaal
that’s all
o tere neele neele nain
tere meethhe meethhe bain
loote mere dil ka chain
kya kahoon main dil ka haal

that’s all
mere gore gore gaal
mere kaale kaale baal
mera husn laajawab
meri ada bemisaal

husn waale kahte nahin kitne hum hain haseen
apne husn per unhen hota nahin hai yakeen
o husn vaale kahte nahin kitne hum hai haseen
apne husan pe unhe hota nahin hai yakeen
poochhe kaun husn ko na ishq ki jo shah mile
poochhe kaun husn ko na ishq ki jo shah mile
chaahne valo ki nazar ka hai ye sab kamaal

that’s all
mere gore gore gaal
mere kaale kaale baal
mera husn laajawaab
meri ada bemisaal
that’s all
o tere neele neele nain
tere meethhe meethhe bain
loote mere dil ka chain
kya kahoon main dil ka haal

pahle kisi but pe kabhi marna nahin chaahiye
mar gaye to shor kabhi karna nahin chaahiye
pahle kisi but pe kabhi marna nahin chaahiye
mar gaye to shor kabhi karna nahin chaahiye
aaye thhe ye ban ke chacha majnu farhaad ke
laila
haaye laila

aaye thhe ye ban ke chacha majnu farhaad ke
kuchh na ban pada to kahen that’s all
that’s all
that’s all
o tere neele neele nain
tere meethhe meethhe bain
loote mere dil ka chain
kya kahoon main dil ka haal

that’s all
mere gore gore gaal
mere kaale kaale baal
mera husn laajawaab
meri ada bemisaal
that’s all
tere gore gore gaal

that’s all
tere kaale kaale baal
that’s all
tera husn laajawaab
that’s all
teri ada bemisaal
that’s all


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 : 3782 Post No. : 14762

Today’s song is from the film Gunsundari(1948). It was a bilingual movie in Gujarati and Hindi, made by Ajit Films-a cover company of Ranjit Movietone.

This film was the third Avatar of the same story with same title. First time, Chandulal Shah wrote the story of the film, based on a famous Gujarati drama,”Sangeet Leelavati”, which had appeared in the first decade of the twentieth century. It was written by Keshavlal Bhojak. Chandulal Shah directed the silent film Gunsundari-1927, made by Kohinoor Film company. The cast included Miss Gohar, Raja Sandow and Rampyari in the lead. This silent film was remade in 1934 as a Talkie film ” Gunsundari’-1934, with the same story and same cast. Like the first silent film, even this edition was a hit film.

In the initial stage of Ranjit Movietone, Gunsundari-34 was a Milestone and gave the company the much needed money and stability. Incidentally, after this film, Chandulal and Gohar Mamajiwala came closer and stayed together till Chandulal’s death.

In 1946-47, when Ranjit Movietone came into financial difficulties ( Chandulal Shah had lost 1.25 Crores in one day in Satta Bazar ), it was ‘Gunsundari’ again which was thought of as a saviour. This time, however, the film was made by a cover company of Ranjit- Ajit Chitra, and was directed by Ratilal Punatar, nephew of Chandulal Shah. The set of actors also changed as Gohar had not only stopped acting, but had passed the age and glamour of a Heroine, by now.

A new Heroine- Kokila Balsara was selected as Heroine. She was renamed as Nirupa Roy. This was her first film as a Heroine. The Hero was Manhar Desai. He was actually a Christian- Malcolm Alfredo D’souza. This was his first film with Nirupa Roy. Later, the pair featured in many films-mostly Mythologicals. In Hindi films, it is a miracle that two Christian actors- Manhar Desai and Shahu Modak, became famous by doing Hindu God’s roles in Hindi films. This also confirms that our Film industry was truly a Secular one.

Due to the Partition, Independence etc, film Gunsundari got delayed. Meanwhile Chandulal started another film Lakhon mein ek-47, with Nirupa Roy as the Heroine. This film was released first and for Nirupa Roy, it was on record as her Debut film as a Heroine. As expected, Gunsundari-48 which was made in Gujarati and Hindi, became a hit film in both languages. Nirupa Roy’s acting was appreciated by one and all…including the impossible Baburao Patel of Film India. Gujarati people spread all over India loved the film, as it was shown to be a story happening in a Gujarati family.

The story of Gunsundari was very simple. A simple village girl is married to a rich, educated and modern boy. He does not like this villege belle and keeps off her, spending his time with a professional singer. The film showed how the heroine gets herself educated and becomes modern. At the same time she serves her in laws in traditional ways, winning their hearts and support. In the end, the husband realises his folly and she wins him back completely.

Indian film audience of India is unusual. They are not tired of repetition of popular stories and themes rather they take pleasure in repeat viewing. Therefore a popular theme gets made as a film again and again. This is exactly what happened in case of Gunsundari.

There are several examples of popular films made with same story and same title.

Gunsundari- 1927, 1934 and 1948 ( Gohar in first 2 films)
Devdas- 1934 (Bangla), 1935 (Hindi) and 1955 ( I am not counting Shahrukh’s film)
Anarkali- 1928, 1935 and 1953 ( Sulochana-Ruby Myers- acted in all three. In the first two films, she was Anarkali. In the third, she did a character role.)
Khazanchi-1941 and 1958 ( Manorama acted in both films.)

Off hand, I remember only these films, where the story and Title was same. There may be more such cases.

There are umpteen number of film remakes on the same story, but with different Titles and casts. Some examples I remember at this moment are.

Aurat-40 and Mother India-57 ( Kanhaiyalal acted in both versions).
Mala-41 and Amar-54 (Jayant acted in both. Naushad gave music to both)
Grihasthi-48 and Ghar basake dekho-63
Malkin-53 and Biradari-66
Geeta-40 ( Chandramohan did double role of Father and son) and Ustad-57 (Ashok kumar did the double role) and Karmyogi-78(Rajkumar did double role)
Sangram-50 and Shakti-82
Kismet-43 and Bandhe Haath-73
School Master-59 and Zindagi-76 and Baadbaan-2003

There are many such remakes and the list would be too long. This only proves that a popular theme/story is worth in remaking a film.

Why does this happen. Are there shortage of stories ?

In 2004, a book called “Why we tell stories’, written by Christopher Booker was published. It is a book having more than 700 pages-728 pages to be exact. The book says “There are only 7 (Seven) basic plots in the whole world. They are recycled again and again in Novels, movies, Plays and Operas. These are

1.Overcoming the Monster
2.Rags to riches
3.The quest
4.Voyage and return
5.Rebirth
6.Comedy and
7.Tragedy .

After this book was published, there was a chaos and criticism started. ‘New York Times’ also jumped in. The author coolly replied all points and stuck to his statements. If we look at Hindi films, I personally feel that what the author has said is true in our case. Only thing is that our film stories are always a clever mixture of all or some of the above points.

Coming back to today’s song, it is a lovely song by Amirbai. There were 3 MDs-Bulo C Rani, Hansraj Bahl and Avinash Vyas. For 14 songs, 5 singers were used. Sadly, some of the songs ( including today’s song) are not credited to any of the 3 Music Directors. Also we do not know the lyricist’s full name .

After listening to the song, I find it has lot of similarity to Nurjehan’s song from film ‘Dost’-44- Badnam muhabbat kaun karen, aur ishq ko ruswa kaun kare. Just like Sajjad Hussain used a pause after the word ‘badnaam’, in Nurjehan’s song to get a special effect, in today’s song also there is a pause after the word Ármaan’. However, the same magical effect is not achieved. Afterall original is original !


Song-Tumse muhabbat kaun kare armaan pareshaan kaun kare(Gunsundari)(1948) Singer- Amirbai Karnataki, Lyricist- Sharma

Lyrics

Tumse muhabbat kaun kare
armaan pareshaan kaun kare ae
Tumse muhabbat kaun kare
armaan pareshaan kaun kare
ummeed se hansti duniya ko
ummeed se hansti duniya ko
pal bhar mein biyaanbaan kaun kare ae
tumse muhabbat kaun kare
armaan pareshaan kaun kare

jab jaan ki dushman ulfat hai
jab jaan ki dushman ulfat hai
aur pyaar hai dushman raahat ka
aur pyaar hai dushman raahat ka
aap hi apne haathon se
aap hi apne haathon se
phir maut ka saamaa kaun kare ae
tumse muhabbat kaun kare
armaan pareshaan kaun kare

kyun tumse aankhen chaar kare
kyun tumse aankhen chaar kare
kyun ulfat ka iqraar kare
kyun ulfat ka iqraar kare
chitchor ko dil ki nagri ka
chitchor ko dil ki nagri ka
betaur(??) nigehbaan kaun kare ae
tumse muhabbat kaun kare
armaan pareshan kaun kare

har waqt labon par aahen hon
har waqt labon par aahen hon
aur haath kaleje par hi rahe
aur haath kaleje par hi rahe
din raat lahu ke ashq baha kar
aankhon ko veeraan kaun kare
din raat lahu ke ashq baha kar
aankhon ko veeraan kaun kare ae
tumse muhabbat kaun kare
armaan pareshaan kaun kare ae
tumse muhabbat kaun kare
armaan pareshaan kaun kare


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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 ELEVEN years. This blog has over 15200 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15212

Number of movies covered in the blog

Movies with all their songs covered =1178
Total Number of movies covered =4181

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