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

Naya zamaana aaya logon naya zamaana aaya

Posted on: December 8, 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 : 3795 Post No. : 14782

Today’s song is from the film Naya Sansaar-41. This was a film made by Bombay Talkies. It was directed by N.R.Acharya and the music was by Saraswati Devi (4 songs ) and Ramchandra Pal (6 songs ). The lead pair of the film was Ashok Kumar and Renuka devi, along with Mubarak, Shahnawaz, Suresh, David, V.H.Desai and many more.

Bombay Talkies was established By Himanshu Rai and Devika Rani in 1934. Their marriage was a confluence of two rich,cultured,educated and Handsome/ Beautiful souls with common interests. While in England, these two frequently appeared on page 3 of the Tabloids of London. They came back to India and established Bombay Talkies Studios in the far western suburb of Bombay City- Malad. The rich and the famous joined them as shareholders and the studio soon boasted of most modern equipment, and a team of European ( read German ) technicians. Himanshu Rai was keen to have only the educated and capable artistes from respectable families. At the pinnacle period, the company had a roll call of 400 persons. They were offered the best of facilities for work and recreation. A 24 hr. Medical assistance with a Doctor was also made available.

Within two years of its existence, Bombay Talkies got its first jolt, when its Heroine cum owner-Devika Rani, eloped with her handsome Hero- Najmul Hasan. This whole thing was somehow managed, with Devika Rani’s return to Bombay Talkies. In the process, a new Hero- Ashok kumar emerged, from within its own stock. Soon all seemed well and the company rolled out 15 films- mostly successful and its name became synonymous with quality films and popular music.

The second jolt came in 1939, when film Kangan was being made and the Second World War started on 1-9-1939. In addition to restrictions on Raw film supply, the British Government arrested the German Technicians of Bombay Talkies and deported, Franz Osten-Director, Joseph Wirsching-Cinematographer, Carl Von Spratti- Set Designer and Len Hartley- Sound Recordist, to Deolali ( near Nashik) under house arrest. Film Kangan was completed by the second line staff of N.R.Acharya and Najam Naqvi. Soon Himanshu Rai lost his mind, suffered from mental illness and died on 19-5-1940.

After his death, the Directors of Bombay Talkies, namely-F.A.Dinshaw, Chimanlal Setalvad, Sir Chunilal Mehta, Sir Phiroze Sethna, Sir Richard Temple and Cawasji Jahangir met in a huddle and appointed Devika Rani as the Production In charge of the company with all powers. Consequently, this led to dissatisfaction among a group of people led by S.Mukherjee. So, two teams were formed for making films. To the credit of Devika Rani, it must be said that during her reign, Bombay Talkies rolled out the best films ever from the studio,like Bandhan, Jhoola, Kismet, Basant, Jwar Bhata, Milan etc till 1945. Devika Rani left Bombay Talkies in 1945 after her marriage. The other group had already left to form Filmistan. During this disturbed phase of the company, film Naya Sansar was made based on the story, screenplay and Dialogues by K.A.Abbas.

Khwaja Ahmad Abbas was born in Panipat, Haryana, on 7-6-1916. He was born in the home of celebrated Urdu poet, ‘Khwaja Altaf Husain Hali’, a student of Mirza Ghalib. His grandfather Khwaja Gulam Abbas was one of the chief rebels of the 1857 Rebellion movement, and the first martyr of Panipat to be blown from the mouth of a cannon. Abbas’s father Ghulam-Us-Sibtain graduated from Aligarh Muslim University, was a tutor of a prince and a prosperous businessman, who modernised the preparation of Unani medicines. Abbas’s mother, ‘Masroor Khatoon’, was the daughter of Sajjad Husain, an enlightened educationist. Abbas took his early education in ‘Hali Muslim High School’, which was established by his great grand father Hali. He had his early education till 7th in Panipat. He was instructed to read the Arabic text of the Quran and his childhood dreams swung at the compulsive behest of his father. Abbas completed his matriculation at the age of fifteen. He did his B.A. with English literature in 1933 and LL.B. in 1935 from Aligarh Muslim University

Worked on National Call, a New Delhi paper (1933); started Aligarh Opinion when studying law (1934); obtained law degree in 1935; political correspondent and later film critic for nationalist Bombay Chronicle, Bombay (1935- 47) praising Dieterle, Capra and esp. Shantaram. Wrote Indian journalism’s longest- running weekly political column, Last Page (1941-86), in Chronicle and Blitz. Best-known fiction (Zafran Ke Phool situated in Kashmir, Inquilab on communal violence) places him in younger generation of Urdu and Hindi writers with Ali Sardar Jafri and Ismat Chughtai, whose work followed the PWA? and drew sustenance from Nehruite socialism’s pre- Independence, anti-Fascist and anti-communal commitments. Founder member of IPTA’s all- India front (1943), to which he contributed two seminal plays: Yeh Amrit Hai and Zubeida. Entered film as publicist for Bombay Talkies (1936) to whom he sold his first screenplay, Naya Sansar (1941). First film, Dharti Ke Lal, made under IPTA’s banner and drew on Bijon Bhattacharya’s classic play Nabanna (1944), dealing with the Bengal famine of 1943.

Set up production company Naya Sansar (1951), providing India’s most consistent representation of socialist-realist film (cf. Thoppil Bhasi and Utpal Dutt). Best work is in the scripts for his own films and for those of Raj Kapoor (Awara 1951); Shri 420 (1955), 1955, both co-written with V.P. Sathe; Jagte Raho, 1956; Bobby, 1973) and Shantaram’s Dr. Kotnis Ki Amar Kahani (1946; adapted from his own book, And One Did Not Come Back), which combined aspects of Soviet cinema (Pudovkin) and of Hollywood (e.g. Capra and Upton Sinclair), influencing a new generation of Hindi cineastes (Kapoor, Chetan Anand) and sparking new realist performance idioms (BALRAJ SAHNI). His Munna, without songs or dances, and Shaher Aur Sapna, cheaply made on location in slums, were described as being influenced by neo-realism. Pardesi is the first Indian-Soviet co-production, co- directed by Vassili M. Pronin. The landmark Supreme Court censorship judgement about his Char Shaher Ek Kahani (aka A Tale of Four Cities) curtailed ‘arbitrary’ governmental pre- censorship powers on the grounds that the Indian Constitution guarantees the right to free speech. His constitutional challenge of the Cinematograph Act led to the famous Supreme Court decision upholding the validity of precensorship of cinema. Interestingly in Interestingly in 1939, K A Abbas had written a letter to Gandhi urging him to reconsider his opinion on the idea of the evil of cinema. He writes
“Today I bring for your scrutiny – and approval -a new toy my generation has learned to play with, the CINEMA! – You include cinema among evils like gambling, sutta, horse racing etc… Now if these statements had come from any other person, it was not necessary to be worried about them… But your case is different. In view of the great position you hold in this country, and I may say in the world, even the slightest expression of your opinion carries much weight with millions of people. And one of the world’s most useful inventions would be allowed to be discarded or what is worse, left alone to be abused by unscrupulous people. You are a great soul, Bapu. In your heart there is no room for prejudice. Give this little toy of ours, the cinema, which is not so useless as it looks, a little of your attention and bless it with a smile of toleration”.

Published many books including I Am Not An Island and Mad Mad World of Indian Films (both 1977). Other important scripts: Neecha Nagar (1946); Mera Naam Joker (1970); Zindagi Zindagi (1972); Henna (1991). Abbas also brought a number of new talents into the film industry, such as Amitabh Bachchan in Saat Hindustani . K.A.Abbas died on 1-6-1987 at Bombay. ( adapted, with thanks, from The Encyclopedia of Indian Cinema).

One of the many artistes developed by Bombay Talkies was N.R.Acharya. He was born in Karachi in 1909. He was a Government contractor, when he joined the East India Film Company, Calcutta- one of the first sound film studios in India. He shifted to Bombay and joined Bombay Talkies as Production Manager, when film Achhut Kanya was being made in 1936. When Franz Osten was arrested, while directing film kangan, he completed his work on that film.

He directed his first film Azad-40 and then Bandhan-40, both with Ashok kumar and Leela Chitnis. Then came Naya Sansar-41. When S.Mukherjee, Ashok kumar Wachha and others left Bombay Talkies, he too left, but did not join any group. He started his own company Acharya Arts productions. He produced and directed kishor Sahu’s film Kunwara Baap-42. Then it was Uljhan-42,Aage Kadam-43, parivartan and Shohrat-49, Gujarati film Lagna Mandap-50 and lastly Dhola Maru-56. Amiya Chakravarty and gyan mukherjee were his followers. He died in 1993.

The story of film Naya Sansar-41, as given on wiki, is…

The film was written by Abbas, who was a film critic at that time. He used his journalistic background to create a story about the rising radicalism in Indian society and journalism. The story addressed the conflict between a dynamic young reporter and his cautious, yet idealistic, editor of the fictional progressive newspaper, ‘Sansar’. The story line revolved around the editor, Premchand (Mubarak), who is in love with a beautiful orphan named Asha (Renuka Devi), whom his family has raised from an infant. Soon after Asha starts working for the paper, she falls in love with Sansar’s star reporter and dedicated radical-journalist, Puran (Ashok Kumar). Asha, however, still feels indebted to Premchand’s family.
When Premchand starts to hedge on his radicalism by dealing with the evil Dhaniram, Puran quits, and starts his own newspaper, “Naya Sansar”. Premchand quickly sees the error of his ways, and not only returns to the paper’s previous left-wing stance, but also condones the marriage of Asha and Puran.

One remarkable thing about film Naya Sansar. Ashok Kumar started his career from Jeevan Naiya-36 and acted in 11 films till Naya Sansar-41. He became famous as a Romantic hero. His biggest problem was he did not know what to do about his hands while acting and felt very embarrassed in his films. Due to this he looked bewildered in his films all the time.

In film Naya Sansar-41 he solved this problem. His role was of Puran-a radical journalist. For the first time, he smoked cigarette on the screen and his problem of hands was solved for ever. Thus started his smoking as his trademark in films. Even in private life, he was a heavy smoker.

Today’s song is a chorus song, sung by Arun Kumar and Kavi Pradeep.


Song-Naya zamaana aaya logon naya zamaana aaya (Naya Sansaar)(1941) Singers- Singers-Arun Kumar Mukherji, Kavi Pradeep, Lyricst- Kavi Pradeep, MD- Saraswati Devi
chorus

Lyrics

Naya zamaana aaya logon
naya zamaana aaya
Naya zamaana aaya logon
naya zamaana aaya
aaz naya sansaar sang mein
nayi kahaani laaya
haan haan
nayi kahaani laaya
ho Naya zamaana aaya logon
naya zamaana aaya

jag mein jeewan jyot jagaane
aazaadi ka bigul bajaane
aaj naya sansaar nayi dhun
nayi zindagi laaya
haan haan
nayi zindagi laaya

lo Naya zamaana aaya logon
naya zamaana aaya

halchal charon aor machi hai
chahal pahal ghanghor machi hai
lo duniya bhar ke samaaj ki
palat chuki hai kaaya

Naya zamaana aaya logon
naya zamaana aaya

lo duniya bhar ke samaaj ki
palat chuki hai kaaya

Naya zamaana aaya logon
naya zamaana aaya

kadam kadam par naya taraana
kaun sunega geet puraana
kya dharti kya aasmaan
donon par joban chhaaya aa aa
Naya zamaana aaya
kya dharti kya aasmaan
donon par joban chhaaya aa aa
Naya zamaana aaya
Naya zamaana aaya logon
naya zamaana aaya
aaz naya sansaar sang mein
nayi kahaani laaya
haan haan
nayi kahaani laaya
lo Naya zamaana aaya logon
naya zamaana aaya
naya zamaana aaya

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2 Responses to "Naya zamaana aaya logon naya zamaana aaya"

Very lucid and full of anecdotes.

Thanks.

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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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