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

Archive for January 2019


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3834 Post No. : 14842

Today is the 93rd birth anniversary of O P Nayyar (16 january 1926- 28 january 2007).

According to my calculations, O P Nayyar worked in 73 movies and he composed 569 songs in these movies.

This blog has 472 songs from these songs. So, all 73 Hindi movies where O P Nayyar composed music are represented in the blog. 49 of these movies are already YIPPEED. 24 more of O P Nayyar are yet to be YIPPEED. In addition, one Non movie song composed by O P Nayyar has also been covered in the blog.

So, just under one hundred of O P Nayyar compositions remain to be covered.

Here is the filmography of O P Nayyar:-

Movie Year No of songs in the blog No of songs in the movie Remarks
Aasmaan 1952 8 8 YIPPEED
Chham Chhama Chham 1952 9 11
Baaz 1953 8 8 YIPPEED
Aar Paar 1954 8 8 YIPPEED
Mangu 1954 4 4 Md Shafi composed 3 other songs
Mehbooba 1954 5 5 Roshan composed 4 other songs
Baap Re Baap 1955 11 11 YIPPEED
Miss Coca Cola 1955 8 8 YIPPEED
Mr and Mrs 55 1955 8 8 YIPPEED
Musaafirkhaana 1955 8 8 YIPPEED
Sabse Bada Rupaiyya 1955 6 6 Naashaad composed 3 other songs
Bhaagam Bhaag 1956 10 10 YIPPEED
Chhoomantar 1956 10 10 YIPPEED
C I D 1956 7 7 YIPPEED
Dhaake ki Malmal 1956 7 7 One song by Robin Chatterji
Ham Sab Chor Hain 1956 9 9 YIPPEED
Mr Lambu 1956 8 8 YIPPEED
Naya Andaaz 1956 11 11 YIPPEED
Shrimati 420 1956 8 9 Tum to hamre man mein bhagwaan ban ke base ho- this balance song in untreceable as of now
Bade Sarkaar 1957 4 4 YIPPEED
Duniya Rang Rangeeli 1957 8 8 YIPPEED
Johny Walker 1957 6 6 YIPPEED
Maai Baap 1957 6 6 YIPPEED
Naya Daur 1957 9 9 YIPPEED
Qaidi 1957 5 8
Tumsa Nahin Dekha 1957 6 6 YIPPEED
Ustaad 1957 7 7 YIPPEED
12 o clock 1958 7 7 YIPPEED
Farishta 1958 6 6 YIPPEED
Howrah Bridge 1958 8 8 YIPPEED
Kabhi andhera Kabhi Ujaala 1958 5 9
Mr Qartoon MA 1958 5 8
Mujrim 1958 8 8 YIPPEED
Phagun 1958 11 11 YIPPEED
Raagini 1958 8 12 YIPPEED
Sone Ki Chidiya 1958 8 8 YIPPEED
Do Ustaad 1959 8 8 YIPPEED
Basant 1960 10 14
Jaali Note 1960 8 8 YIPPEED
Kalpana 1960 5 10
Mitti Mein Sona 1960 7 7 YIPPEED
Ek Musaafir Ek Haseena 1962 12 12 YIPPEED
Hongkong 1962 9 9 YIPPEED
Phir Wohi Dil Laaya Hoon 1963 9 9 YIPPEED
Kashmir Ki Kali 1964 9 9 YIPPEED
Mere Sanam 1965 9 9 YIPPEED
Akalmand 1966 7 9
Bahaaren Phir Bhi Aayengi 1966 6 6 YIPPEED
Do Dilon Ki Daastaan 1966 7 8
Love and Murder 1966 2 6
Mohabbat Zindagi Hai 1966 5 8
Saawan Ki Ghata 1966 8 8 YIPPEED
Ye Raat Phir Na Aayegi 1966 8 8 YIPPEED
CID 909 1967 6 6 YIPPEED
Naseehat 1967 3 6
Dil Aur Mohabbat 1968 6 6 YIPPEED
Hamsaaya 1968 7 7 YIPPEED
Kahin Din Kahin Raat 1968 7 7 YIPPEED
Kismat 1968 5 5 YIPPEED
Shrimaanji 1968 3 6
Sambandh 1969 5 12
The Killers 1969 1 6
Aisa Bhi Hota Hai 1971 1 4
Ek Baar Muskura Do 1972 8 8 YIPPEED
Pran Jaaye Per Vachan Na Jaaye 1973 6 6 YIPPEED
Taxi Driver 1973 6 6 YIPPEED
Khoon Ka Badla Khoon 1978 1 8
Bin Maa Ke Bachche 1979 1 6
Heera Moti 1979 3 6
Muqaddar Ki Baat (UR) 1983 1 8
Mangni 1992 1 8
Nishchai 1992 1 6
Zidd 1994 1 7
Total 473 569 YIPPEEED movies=49

As a tribute to O P Nayyar on the occasion of his birth anniversary, here is a song from “Raagini” (1958). This movie was produced by Ashok Kumar and Ganesh and directed by Rakhan for Ashok Productions, Bombay. This “social”movie had Ashok Kumar, Kishore Kuamr, Padmini, Jabeen, Baalam, Sundar, Nazeer Hussain, Achla Sachdev, Ameer Banu, Protima devi, Rajendra, Master Vinod, Baby Leela, Navmi, Ifthhikar, Jamal, Mirajkar, Kathana, < Bhardwaj, Narbada Shankar, Master Raja etc in it.

The movie had twelve songs in it. Eight of these songs have been covered.

Here is the ninth song from "Raagini"(1958) to appear in the blog. The song is sung by Asha Bhonsle. Jaan Nisaar Akhtar is the lyricist. Music is composed buy O P Nayyar.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Dil todne waale bata ke jaa (Raagini)(1958) Singer-Asha Bhonsle, Lyrics-Jaan Nisaar Akhtar, MD-O P Nayyar

Lyrics

dil todne waale bata ke ja
dil todne waale bata ke ja
dil todne waale bata ke ja
maine tera kya kiya
oye maine tera kya kiya
maine tera kya kiya
oye maine tera kya kiya
dil todne waale bata ke ja
dil todne waale bata ke ja

aa aa
ro ro ke maine pukaara tujhe
toone chhoda magar besahaara mujhe
ro ro ke maine pukaara tujhe
tune chhoda magar besaahaara mujhe
mujhko rulaake kaha chal diya
dil todne waale bata ke ja
dil todne waale bata ke ja
maine tera kya kiya
oye maine tera kya kiya
maine tera kya kiya
oye maine tera kya kiya
dil todne waale bata ke ja
dil todne waale bata ke ja

ye sooni raahen andhera sama
ye sooni raahen andhera sama
ye sooni raahen andhera sama
is dil ko maia leke jaaun kahaan
is dil ko main leke jaaun kahaan
jaaun kahaan haaye jaaun kahaan
dil todne waale bata ke ja
dil todne wale bata ke ja
maine tera kya kiya
oye maine tera kya kiya
maine tera kya kiya
oye maine tera kya kiya
dil todne waale bata ke ja
dil todne waale bata ke ja

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This article is written by Avinash Scrapwala, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3833 Post No. : 14841 Movie Count :

4058

#the Decade of Seventies – 1971 – 1980 #
———————————————————–
#Bhoole-Bisre Geet # 79 # Remembering Director Tapan Sinha – His movies #
——————————————————————————————————————–

In our film industry we have many personalities who have left indelible mark of their craftsmanship and genius through their contribution to the Indian film Industry.

Some of them achieved this in spite of producing or directing very few films. Such few personalities have immortalized themselves in the history of Indian Cinema through their works.

Today we pay our tributes to one such personality – one of the most prominent directors Shri.Tapan Sinha. He can be considered to be in the leagues of Shri.Satyajit Ray, Shri.Mrinal Sen, and Shri.Ritwik Ghatak. He was conferred with the highest honors for films the ‘Dadasaheb Phalke’ award in 2006.

Today 15th January 2019 is the tenth ‘Remembrance Day’ of Tapan Sinha (02.10.1924 – 15.01.2009).

The ‘nuances of life reality’ in his works and the ‘greatness of his efforts’ behind the presentations on ‘screen’ as we get to watch, cannot be detailed in one article here.

To put in short about him, I am reproducing below the text mentioned in the blurb on the jacket of the VCD (of film ‘Safed Haathi -1977).

“He is arguably the most uncompromising film maker outside the orbit of parallel cinema. And his awe-inspiring body of work can possibly be matched by only a – Mrinal Sen or a Satyajit Ray. He is the grand old man of cinema– Tapan Sinha.

His filmography presents an amazing variety of subjects. Even when the Director has profusely entertained the audience, he has done it every time, with a new yarn promising new experiences for the filmgoers. And these have not been ordinary crowd-pleasers nor have they seemed mired in familiar formulas. A veritable commander of the box-office, Tapan Sinha has offered many super hit films in succession – namely- ‘Hatey Bazaare’, ‘Aapnjan’, ‘Ekhani’, ‘Safed Haathi’ etc creating a record that is unsurpassed even today.

Yet in each of these films, adapted faithfully from widely read literary works and neatly told, a serious observer may discover the creative burst that raises a popular work to an artistic level. This nonchalant mastery of spinning pleasurable surprises right on the screen has been discernible in all his films, even including his work containing raw realities of life like ‘Apanjan’ or ‘Raja’.

His major works have been in Bangla films and in Hindi he has produced/directed – ‘Zindagi-Zindagi-1972’, ‘Sagina-1974’, ‘Safed Haathi-1977’, ‘Aadmi aur Aurat-1982’ and ‘Aaj Ka Robinhood-1987’, and the last one ‘Anokha Moti-2000’.
(Ref wiki page on Tapan Sinha)

Out of the above movies I remember to have watched ‘Ek Doctor Ki Maut’ and ‘Safed Haathi’ on ‘doordarshan’.
On our blog we have already covered all songs from the film ‘Sagina-1974’ and ‘Zindagi-Zindagi-1972’.

Today we introduce a song from the film ‘Safed Haathi-1976’ which was directed by Tapan Sinha, and this movie ‘Safed Haathi-1976’ make its debut on the blog today.

‘Safed Haathi-1977’ (alias ‘White Elephant’) was directed by Tapan Sinha. It was a ‘Neelkamal Movies, Calcutta’ presentation.
It was produced by R.A. Jalan and Pratap Agarwal.

Subodh Roy was the editor of this movie. Its dialogues were written by Hridayesh Pandey.
Tapan Sinha who directed this movie had also written the story and screenplay of this movie.

The film had Shatrughan Sinha (in special appearance), Vijay Arora, Sadhu Mehar, Mala Jaggi, Gayatri, Kalyan Chatterjee, Bhaskar Choudhary, Vishwa Guha Thakurta, Reena Barua and Utpal Dutt as its cast. Child artist Ashwani makes a debut in this movie.

Music of this film was composed by Ravindra Jain who also wrote the lyrics of the four songs in this film. Yesudas, Hemlata, Ravindra Jain, Nirmala Mishra gave their voices to the songs in this film.

This movie was passed by Censor board on 18.10.1977.

(While giving the details of this movie HFGK Vol-V makes a note that from the ‘booklet’ of this movie it comes to light that it was earlier titled as ‘Puraskar’ (The Prize))

As mentioned above, I had watched this movie earlier on ‘Doordarshan’ (may be sometime around 1991-92) and I remember how thrilled I was then and I always like to watch movies that have some ‘message’ in it and watching a movie which has ‘elephant’ as a ‘central character’ always fascinates me.
In this movie too watching ‘Airaavat’ or the ‘white elephant’ whenever he appears on the screen is very very interesting and touching.

So, few years back I had bought the VCD of this movie so that I can watch it again with my family at home. I always thought that such movies should be watched by all irrespective of what our age is.

I would not like to discuss more on the story of this movie since I wish that one should watch this movie and enjoy its thrill, its message and its learning. Review of this movie is available at ‘Memsaab Story’ too.

This movie was awarded National Film Award for Best Children’s Film in 1978.
It also got a ‘Special Jury Award’ in the Sixth Competitive Festival “The Child in Our Time” 1983 in Mifed, Milan, Italy.
It participated in several prestigious International film festivals where it received high acclaim and was well appreciated for its contemporary theme, preservation of flora and fauna and emphasis on qualities of chivalry, adventure and integrity of character in children.

Today we get introduced ourselves to this first song of the movie on our blog which is sung by Yesudas and written and composed by Ravindra Jain.

Let us now enjoy this wonderful song from this movie ‘Safed Haathi’ and pay our tributes to Late Shri.Tapan Sinha ji on the blog here today …

Video (Part I)

Video (Part II)

Audio

Song-Uthho hey laal (Safed Haathhi)(1977) Singer-Yesudas, Lyrics-Ravindra Jain, MD-Ravindra Jain
(Note: – HFGK mentions this song as one song while listing the songs of this movie)

Lyrics

Uthho hey laal uthho hey
Uthho hey laal uthho hey
Sooraj narayan aaye
Kirnon ki doli leke
Tumhre dwaare jaago hey
Jaago hey
Uthho hey laal
uthho hey ae ae
Uthho hey laal
uthho hey

Bhor ki ye bela nahin
soye ke ganwaane ki
Ghadi ye suhaani pyaare
jagne jagaane ki ee
Bhor ki ye bela nahin
Bhor ki ye bela nahin
soye ke ganwaane ki
Ghadi ye suhaani pyaare
jagne jagaane ki ee ee
Bina hi jagaaye jaage
Pyaare pyaare
Panchhiyon ki meetthhi meeththi baani
Suno hey
Jaago hey
Uthho hey laal
uthho hey ae ae
Uthho hey laal
uthho hey

Ban ki guphaaon mein jo luke chhupe baithe hain
Unke bhi sukh dukh
ham tum jaise hain
Ban ki guphaaon mein jo
Ban ki guphaaon mein jo luke chupe baithe hain
Unke bhi sukh dukh
ham tum jaise hain
Sher Cheetah Bhaalu Haathi
Inko banaa ke saathi
Inke bhi sang khelo hey
Jaago hey
Uthho hey laal
uthho hey ae ae ae
Uthho hey laal
uthho hey
Sooraj narayan aaye
kirnon ki doli leke
Tumhre dwaare
Jaago hey
Jaago hey
Uthho hey laal
uthho hey ae ae ae
Uthho hey laal
uthho hey

——————————-
(Part-II)
(In the audio link the following stanza is the second one, while in the film it is a separate one and hence mentioned here as Part-II)
——————————-
Taaron ne bikheri hansi
Phoolon ke bageeche pe
Kirnon ki toli daude
Ghaas ke galeeche pe ae ae
Taaron ne bikheri hansi

Taaron ne bikheri hansi
Phoolon ke bageeche pe
Kirnon ki toli daude
Ghaas ke galeeche pe ae ae
Kal kal gaati huyi
Nadiya ke thhande thhande
Paani ki rawaani
Dekho hey
Suno hey
Jaago hey
Uthho hey laal uthho hey
Uthho hey laal uthho hey

———————————
Devnagri script lyrics
——————————–

उठो हे लाल उठो हे
उठो हे लाल उठो हे
सूरज नारायण आये
किरणों कि डोली लेके
तुमरे द्वारे जागो हे
जागो हे
उठो हे लाल उठो हे ए ए
उठो हे लाल उठो हे
भोर के ये बेला नहीं सोये के गँवाने कि
घडी ये सुहानी प्यारे जगने जगाने कि
भोर के ये बेला नहीं
भोर के ये बेला नहीं सोये के गँवाने कि
घडी ये सुहानी प्यारे जगने जगाने की ई ई
बिना ही जगाये जागे
प्यारे प्यारे
पंछियों की मीठी मीठी बानी
सुनो हे
जागो हे
उठो हे लाल उठो हे ए ए
उठो हे लाल उठो हे
बन कि गुफाओं में जो लुका छुपे बैठे हैं
उनके भी सुख दुःख हम तुम जैसे हैं
बन कि गुफाओं में जो
बन कि गुफाओं में जो लुका छुपे बैठे हैं
उनके भी सुख दुःख हम तुम जैसे हैं
शेर चीता भालू हाथी
इनको बनाके साथी
इनके भी संग खेलो हे
जागो हे
उठो हे लाल उठो हे ए ए ए
उठो हे लाल उठो हे
सूरज नारायण आये
किरणों कि डोली लेके
तुमरे द्वारे जागो हे
जागो हे
जागो हे
उठो हे लाल उठो हे ए ए ए
उठो हे लाल उठो हे
—————-
(भाग – २)
(नीचे दिया गया अंतरा चलचित्र में अलग से दिखायी गया है एवं यह मुख्य गीत के साथ नहीं आता है, जब की गाने के श्रवण अंश यह हमें दुसरे अंतरे के रूप में सुनने को मिलता है )
—————–
तारों ने बिखेरी हंसी
फूलों के बगीचे पे
किरणों कि डोली दौड़े
घास के गलीचे पे ए ए
तारों ने बिखेरी हंसी
फूलों के बगीचे पे
किरणों कि डोली दौड़े
घास के गलीचे पे ए ए
कल कल गाती हुयी
नदिया के ठंडे ठंडे
पानी की रवानी
देखो हे
जागो हे
उठो हे लाल उठो हे
उठो हे लाल उठो हे


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3832 Post No. : 14840

Whenever new technoloy is introduced, people feel threatened. But with time, this new technology not only makes life easy and more enriched, it opens up new employment opportunities.

Take movies for example. Initial movies were silent movies. They required technicians as well as actors.

Movies began to speak from 1927, and in India talkies began in 1931. It suddenly opened up new opportunities. Actors who were ony needed to show their face till then, were now required to speak, and sing as well. Suddenly many good looking actors with poor voices found themselves unemploed.

Movies began to speak, which meant they could speak in various languages and so different language movie industries came up. Language related artists, namely dialogue writers, and lyricists became essential for these movies. Since need of songs was felt so music directors and singers were needed.

As one can see, the “simple” advancement in technology opened up new opportunities and that changed the face of movies. Personnel skilled in languages suddenyly found themselves in demand.

Since Hindi movies came into existence in early 1930s, it followed that most artists of talkies were born in and around early 1900s. So, these early pioneers of Hindi movies were born some one hundred years ago. Many of such early pioneers have already completed their birth centenaries.

This blog began on 19 july 2008. Some Hindi movie stalwards who have completed their centuries after than date are Leela Chitnis, K N Singh, K Amarnath, Gope, Kidar Sharma, Jagmohan Sursagar, Gopal Singh Nepali, Khursheed Bano, Bhagwan Dada, Jaan Nisaar Akhtar, Anil Biswas, Lalita Pawar, G P Sippy, Zohrabai Ambalewali, S D Batish, Kishore Sahu, Hansraj Bahl, Bharat Vyas, Shakeel Badayuni, Chitragupta, Kamal Amrohi, Qamar Jalalabadi, Roshan, C Ramchandra etc.

Lots of artists will have their centenaries in the coming years.

The year 2019 has just begun. Birth centenaries of several artists will fall this year.

Today is 14 january 2019. It is the birth centenary of Kaifi Azmi (14 january 1919- 10 may 2002), who was born on this day exactly one hundred years ago. He was born in Azamgarh in Eastern UP which happens to be about 180 km away from the place where I am based at present.

In the past, when I was based in states like MP, Maharashtra and Chhatisgarh, such birth centenary artists appeared to be born “distant” lands, but ever since I arrived in UP in 2015, I find that many of these famous artists, mostly lyricists, were born in nearly places. For instance, Shakeel Badayuni’s birth centenary fell on 2016, and this place Badayun was about 40 km from Izatnagar, Bareilly where I was based at that time. Azamgarh is 180 km away from Gorakhpur. This year will see the birth centenary of Majrooh Sultanpuri, and guess what , Sultanpur is also nearly, some 200 km away. 🙂

Coming to Kaifi Azmi, he was born as Sayyad Akhtar Hussain Rizvi. Like many other persons of literature, he was influenced by communism and Marxism and his literature reflected that. He became a CPI member in 1943 and a member of Progressive Writers movement in 1945.

He was one of the first shaayars to join Hindi movies as a lyricist. His first movie as a lyricist was “Buzdil”(1951) where S D Burman was the music director. He penned three songs in the movie. All these three songs are already covered in the blog.

According to my calculation, Kaifi Azmi penned some 360 songs in 93 movies. His last movie was “Ek Alag Mausam”(2003) whose songs were released after he had already left for the heavenly abode.

Here is the filmography of Kaifi Azmi.

Movie Year MD Songs of lyricist in the blog Song penned by lyricist in movie
Buzdil 1951 S D Burman 3 3
Bahu Beti 1952 S D Batish 1 7
Gul Bahaar 1954 Dhaniram 0 1
Hatim Tai Ki Beti 1955 A R Qureshi 1 2
Naata 1955 S Mohinder 1 1
Sakhi Hatim 1955 A R Qureshi 1 5
Shaahi Chor 1955 Dhaniram 1 1
Laal e Yaman 1956 A R Qureshi 1 6
Sultaana Daaku 1956 Bipin Baabul 0 2
Yahudi Ki Beti 1956 Kamal Mitra 1 7
Zindagi 1956 Md Shafi 1 7
Jannat 1957 Husnlal Bhagatram 0 6
Lala Rukh 1958 Khayyam 7 7
Chaalis Din 1959 Baabul 5 8
Kaaghaz Ke Phool 1959 S D Burman 6 6
Apna Haath Jaggannath 1960 S D Burman 8 8
Chor Darwaaza 1960 Frank 1 6
Ek Ke Baad Ek 1960 S D Burman 8 8
Razia Sultaana 1961 Pt Lachchiram 1 2
Shama 1961 Ghulam Mohammad 12 12
Bijli Chamke Jamuna Paar 1962 S N Tripathi 0 7
Naqli Nawab 1962 Baabul 2 2
Shola aur Shabnam 1962 Khayyam 2 3
Haqeeqat 1964 Madan Mohan 7 7
Idd Ka Chaand 1964 A R Qureshi 1 9
Kohra 1964 Hemant Kumar 5 5
Main Suhaagan Hoon 1964 Pt Lachchiram 4 4
Do Dil 1965 Hemant Kumar 7 7
Faraar 1965 Hemant Kumar 6 6
Anupama 1966 Hemant Kumar 5 5
Bahaaren Phir Bhi Aayengi 1966 O P Nayyar 1 1
Daak Ghar 1966 Madan Mohan 3 6
Uski Kahaani 1966 Kanu Roy 2 2
Aakhri Khat 1967 Khayyam 6 6
Ghar Ka Chiraag 1967 Madan Mohan 4 6
Mera Bhai Mera Dushman 1967 Khayyam Unknown Unknown
Naunihaal 1967 Madan Mohan 4 7
Anokhi Raat 1968 Roshan 1 1
Saat Hindustaani 1969 Laxmikant Pyarelal 1 4
Satyakaam 1969 Laxmikant Pyarelal 3 3
Daghabaaz 1970 Dilip Roy 1 1
Ek Bulbula Paani Ka 1970 Jaidev 0 1
Heer Raanjha 1970 Madan Mohan 8 8
Maa Ka Aanchal 1970 Madan Mohan 6 6
Maharaja 1970 Madan Mohan 2 2
Saat Phere 1970 Sudhir Sen 1 6
Chhoti Bahu 1971 Kalyanji Anandji 1 1
Do Boond Paani 1971 Jaidev 4 5
Parwaana 1971 Madan Mohan 6 6
Saaz aur Sanam 1971 Chitragupta 0 5
Shaan e Khuda 1971 Iqbal Qureshi 0 2
Baawarchi 1972 Madan Mohan 4 6
Mangetar 1972 Sudhir Sen 1 6
Paakeezah 1972 Ghulam Mohammad 1 1
Rivaaz 1972 Shankar Jaikishan 0 1
Shair e Kaashmir Mahzoor 1972 Prem Dhawan unknown unknown
Sultaana Daaku 1972 Madan Mohan 2 4
Alam Ara 1973 Iqbal Qureshi 0 7
Garm Hawa 1973 Aziz Ahmad Khan Warsi 1 1
Hanste Zakhm 1973 Madan Mohan 5 5
Hindustan Ki Kasam 1973 Madan Mohan 4 4
Naina 1973 Shankar Jaikishan 1 1
Asliyat 1974 Madan Mohan 0 2
Faasla 1974 Jaidev 1 4
Sankalp 1974 Khayyam 4 4
Dhoop Chhaaon 1977 Shankar Jaikishan 0 1
Dil Aur Patthar 1977 Iqbal Qureshi 1 6
Kanneshwar Rama 1977 B V Karanth 0 2
Ooperwaala Jaane 1977 Laxmikant Pyarelal 0 2
Shankar Hussain 1977 Khayyam 1 1
Inspector Eagle 1978 Madan Mohan 1 3
Subhash Chandra 1978 Aparesh Lahiri unknown unknown
Toote Khilaune 1978 Bappi Lahiri 5 5
Angaar 1980 Sonik Omi 0 2
Shaitaan Mujrim 1980 Ratandeep Hemraj 1 1
Suraag 1980 Bappi Lahiri 2 6
Aakhri Mujra 1981 Kalyanji Anandji 0 1
Kaanoon aur Mujrim 1981 C Arjun 1 1
Deedaar e Yaar 1982 Laxmikant Pyarelal 0 2
Lakshmi 1982 Usha Khanna 0 2
Arth 1983 Jagjit Singh 3 3
Razia Sultaan 1983 Khayyam 1 1
Bhaavna 1984 Bappi Lahiri 1 5
Ham Rahe Na Ham 1984 Bappi Lahiri 1 6
Kahaan Tak Aasmaan Hai 1984 Raghunath Seth 0 7
Ek Pal 1986 Bhupen Hazarika 0 2
Naseehat 1986 Kalyanji Anandji 0 1
Main Aazaad Hoon 1989 Amar Utpal 1 1
Phir Teri Kahaani yaad aayi 1993 Anu Malik 0 1
Tamanna 1997 Anu Malik 0 1
Chaand Grahan 1997 Anu Malik 4 7
Khamoshi 2002 Jagjit Singh 0 1
Ek Alag Mausam 2003 Ravi 0 5
Total movies=93 199 360

As can be seen from the filmography, Kaifi azmi has penned many memorable songs that need no introduction. For instance, who can forget the songs of “Kaaghaz Ke Phool”(1959), “Haqeeqat”(1964), or the songs of “Kohra”(1964) and “Anupama”(1966). In “Heer Ranjha”(1970), he not only penned the lyrics but also the dialogues, the dialogues being entirely in verse ! One can look at his filmography and recall the songs from those movies.

On the occasion of his birth centenary, here is a song from “Bahu Beti”(1952). This movie was directed by C L Dheer for Badoda Theatre Limited Bombay. This “social” movie had Geeta Bali, Amarnath, Jaswant, Vijaylaxmi, Rashid, Leela Mishra, S Nazeer, Nazirabai etc in it.

This movie had seven songs in it. Six songs were penned by Kaifi azmi and one by Vishwamita Adil. One song from the movie has been covered in the past.

The first song from the movie was deleted from the movie because of objections of censors. Those were the days when censors could often by quite sensitive towards matters that are taken in their stride today. The lyrics of the song were considered objectionable by the censors. Just imagine, a song penned by Kaifi Azmi was deleted from the movie because its lyrics were found objectionable !

The song luckily continued to remain in the records.

Just as fortuitously, this song happens to be 200th song of Kaifi Azmi appearing in the blog.

Here is this special song from Kaifi Azmi, on the occasion of his birth centenary. This song is sung by Geeta Dutt. Music is composed by S D Batish. Since the video of the song is not available, one can only gess about the picturisation. Seeing that Geeta Dutt’s voice appears in six out of seven songs, one can assume that she had sung for Geeta Bali, the lead actress of the movie. By that assumption, it would seem that this song was picturised on Geeta Bali. Nevertheless, I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Mose chanchal jawaani sambhaali nahin jaaye (Bahu Beti)(1952) Singer-Geeta Dutt, Lyrics-Kaifi Azmi, MD-S D Batish

Lyrics

mose chanchal
mose chanchal
mose chanchal jawaani sambhaali nahin jaaye
mose chanchal
o mose chanchal
mose chanchal jawaani sambhaali nahin jaaye
koi chupke se aaye
koi man ko lubhaaye
koi aakar jawaani ko sang le jaaye
mose chanchal
mose chanchal
mose chanchal jawaani sambhaali nahin jaaye

gudgudaati hai tanhaai hardum mujhe
chhedta hai akele mein mausam mujhe
raat sapne dikhaaye
bhor kaanon mein gaaye
thhandi thhandi hawa mora ghoonghat uthhaaye
mose chanchal
o mose chanchal
mose chanchal jawaani sambhaali nahin jaaye

naachti hain chaman mein hawaayen nayin
seekh lin aaj dil ne aaj adaayen nayi
koi hilmil ke gaaye
koi painge badhaaye
koi majboot baahon mein jhoola jhulaaye
mose chanchal
o mose chanchal
mose chanchal jawaani sambhaali nahin jaaye

more nainon se masti barasne lagi
ujli ujli si ye maang dasne lagi
koi chunri audhaaye koi jhumar pahnaye
koi ujli si maang mein sindoor lagaaye
mose chanchal
o mose chanchal
mose chanchal jawaani sambhali naheeen jaaaaye


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3831 Post No. : 14839

Today’s song is from a film Jagriti-1949. This film was made by Veerendra Chitra. The director was Manohar Ghatwai. Music was by K. Narayan Rao and the Lyricist was Indeevar. The cast of the film was Ravikant, Mohana Cabral, Omkar Devaskar, Lalita Rao, Leela, Jal khambata, chemist etc etc.

From the list of 7000 odd actors who worked in Hindi films, during the period 1931 to 2000, if you divide them into grade A, B and C class artistes, you will find that about 350 (5%) actors may come in A grade-i.e. Hero/Heroines- about 1000 (15%) may come in B grade- support actors/ character artistes- and the balalnce 5600 (80%) may fall in C grade- smaller roles. It is true that not all those who join films will shine but the small time actors, who thronged the film cities like Bombay had their own dreams.Most had their dreams shattered and they had to settle for whatever was served to them.

The Mayanagari, sometimes showed its Maya. It picked up unsuspecting souls and bestowed upon them the fame and a name as Leading actors, singers, Directors ,Lyricists or whatever in films. Thus, a scholarly young man, standing in a bus queue in Madras is picked up and made a Hero of more than 40 films as ” Ranjan”. It also made an onlooker of shooting from the crowds of a studio, the famous and rich Hero of more than 50 films as ” Motilal”. An ordinary Motor Mechanic becomes a well known film Director in various languages and is called ” Sarvottam Badami’. A poor motor mechanic working is a garage becomes All India famous poet-Lyricist and Producer Director called ” Gulzar.” The same Maya made a casual singer in Hindu Colony,Dadar in Bombay a famous playback singer of repute, when her singing is heard by a passing Music Director Hanuman prasad, just by chance. She was known as ” Geeta Dutt”. There are many such examples.

There are many such number of ” Accidental Stars’, but the same Maya also scuttled the Golden chances of capable aspiring small timers to become big stars. Atleast two glaring examples are known. one is very well known to many, but the other is hardly known to anyone. Mehboob Khan was almost selected as Hero of India’s First Talkie film ” Aalam Ara”-31. Even suitable costumes for him were also made ready, but then Maya played the trick and his name was pushed back, in favour of the more famous Master Vithal, to cover up the possible risk of the failure of the First talkie, which was an experiment. Nevertheless Mehboob Khan became a significantly notable producer, director and studio owner of India.

The other case how Maya scuttled the chances of fame, name and career of a small time actor who was on the verge of becoming a big star, is not known to most people. Now, take a look at the cast of today’s film ‘ Jagriti’-49, as mentioned above, in the first paragraph of this post. Do you find a name Omkar Devaskar ? Well, this is his story….

Omkar Devaskar was born in 1911 in MP (Central provinces then). After his schooling, he ran away to Bombay to seek employment and got a job as an ‘ Assistant’ in Imperial Film company. His job was to do any work given to him. The salary was Rs.20 pm. When he saw the film shootings, he had an urge to act in films. One day, he asked Ardeshir sheth about it and he started getting uncredited small roles in silent films.

Imperial company decided to make a Talkie First time in India,mainly because of Dadasaheb Torne (Ramchandra Gopal Torne). It was he who prompted Irani to be the first in India to make a Talkie. Torne was his Manager for both Jyoti studio and Imperial Film Company. Torne was also an agent for Cinema Equipment imported from England and Germany. Torne imported Sound recording equipment and the company sent a German Engineer to explain and teach the technique to Indian technicians.

They first wanted to test the sound recording machine by recording and filming a song. Who would sing ? No one was ready to become the sacrificial goat. Irani saw Omkar and asked him to sing before the machine. A terrified Omkar lamely protested, but he had no choice. Ultimately he was ‘ made up’ and the recording and filming started. Omkar sang a Thumri, ‘ Pyare Rasia Bihari’. Everybody present, including Irani, were stunned with the sweet voice and the ease of his singing style. It came off extremely well. About 500 feet film was shot flawlessly. Irani was so much impressed, that he toyed with the idea of giving Omkar the first song in film Aalam Ara. Maya swiftly went to into action. Unfortunately the recording was not saved, otherwise it would have been the first film song to be filmed and Omkar the First ever singer actor to do so. But Alas ! This is called the stroke of misfortune ! Destiny had slated this honour for W.M.Khan.

Missing this chance, anyway, Omkar became an actor and singer. His first talkie film was Imperial’s ” Sati Anusuya “-33. He a sang 3 songs in film ” Noor E Imaan “-33, besides acting in it. Omkar acted in about 30 films in all. His last film was perhaps, Rangeeli-52. He sang 14 songs in 6 films. His last song came in today’s film Jagriti-49. Omkar was a regular actor in many Marathi films too.

Today’s song is sung by Freni Shroff and Yeshwant Bhatt. No information whatsoever is found about this singer Freni. A cursory look at HFGK indicates that possibly she sang only in this film.

YASHWANT BHATT was son of shri Nageshwar Bhatt. He was born at Madhavpur in Gujarat. Since his father was a singer of Haveli Sangeet, Yashwant started singing quite early. His first guru was Kashigar and later on it was Padubhai who actually developed Yashwant as a singer. He always gave credit to his guru Padubhai. Yashwant’s voice was very soft and sweet. It was ideal for singing emotional songs and Bhajans. He was an extremely good natured and helpful person. Soon his name became known for his sweet Bhajans.

He was ambitious to become a Play back singer in Hindi films. He came to Bombay at the age of 20 years. First he got opportunity to sing in chorus in the Circo production film songs. In 1941,he sang Bhajans on Mumbai Radio. Side by side he sang in Hindi films. In all he sang about 25 songs in 13 Hindi films. The films were Khooni Laash-43, Katil-44, Black and white-44, Royal Mail-46, Dhokhebaaz-46, Namak-47, Kismetwali-47, White face-48, Billi-49, Jiyo Raja-49, Jagriti-49, Veer Ghatotkach-49 and Actor -51.

Out of these 13 films, 9 films had music by K. Narayan Rao. Yashwant was his pet singer. Narayan Rao was mainly a composer for C grade and stunt films. His films never became famous, consequently Yashwant too was neglected and never came into limelight. Actually, with other composers, Yashwant had done duets with Naseem, Uma Devi, Sulochana Kadam, Kusum Mantri, Husn Bano, Leela Mehta, Sheela, Rohini Rai, Putlibai, Freni Shroff etc, but in spite of his sweet voice and good singing, he remained neglected by major composers. As a result he could not achieve much success in Hindi films.

This was compensated to a great extent by his Bhajan singing. He lost his father and had to return to Madhavpur. One Mr. Gijubhai was Assistant station Director of Rajkot Radio station. He invited Yashwant to sing bhajans on Rajkot radio. Soon his Bhajans became a rage and he became a very popular Prabhatiya singer. He mainly sang poems of Ganga Sati,Paan bhai and Narsi Mehta etc. He spent a long time singing bhajans. He was made an A class singer on Radio. His name was taken along with famous singers of Gujarat ,like Mohanlal Rayani, Kannubhai Barot, Dula Bhagat etc etc. Due to his good nature he got many friends here. One of them was Ratubhai Adani.

He also sang some songs in Gujarati films. Due to his hectic schedules, he neglected his health and contracted T.B. But he continued his work. when his condition became bad his friend Shri Ratubhai Adani admitted him to Keshod T.B.Hospital.

Yashwant Bhatt died of severe T.B. The news of his death on 27-10-1977 was a shock to his friends, relatives and Bhajan lovers of Gujarat.

His younger brother Harish Bhatt, who was an ardent fan of Saigal also tried to sing in Hindi films. I could trace only one of his songs in the film Kinara-1949. Yashwant Bhatt’s children also carried forward his singing legacy.

There were 9 songs in film Jagriti-49. One song is already discussed. There were all unknown singers like Omkar Devaskar, Lalita Rao, Sanjeevani Pai and Freni Shroff. only Yeshwant Bhatt was a known name. The song is better than average.

( I have used information from Music beyond boundaries by Ashok Ranade and Marathi Cinema in Retrospect by Sanjit Narwekar, MuVyz,HFGK and my own notes, for this write up.)


Song- Nayi nayi pehchaan re (Jaagriti)(1949) Singers- Freni Shroff, Yeshwant Bhatt, Lyrics-Indeewar, MD-K Narayan Rao
Both

Lyrics

ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan

jaan liya aankhon ne tumko
o o
o o o o
jaan liya aankhon ne tumko
dil hai abhi anjaaan
dil hai abhi anjaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan

sama gaye nainon mein naina aa
nigaahon se mil gayin nigaahen aen
sama gaye nainon mein naina aa
nigaahon se mil gayin nigaahen
jaise milti hain do nadiya
jaise milti hain do nadiya
jaise milti hain do raahen
jaise milti hain do raahen

aen aen
aane lage armaan dilon mein
ban kar ke mehmaan
ee ee ee
nayi nayi pehchaan re ae
nayi nayi pehchaan

prem ke path mein bichhe huye hain aen
phool kahin pe
kahin pe kaanten ae

prem ke path pe bichhe huye hain
phool kahi pe
kahin pe kaante

dhoondh lo aisa jiwan sathi
dhoondh lo aisa

jiwan sathi
jo dukh kaate sukh ko baante
jo dukh kaate sukh ko baante

haan aan aan
preet nibhaana bada kathhin hai
hota na aasaan
ee ee ee
nayi nayi pehchaan re
nayi nayi pehchaan


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3831 Post No. : 14838

Today, January 13th 2019 is the 92nd birth anniversary of one of the prominent Hindi film producers-directors who debuted in early 1950s as a director. In the 1960s, he mostly produced and directed romantic and musical films. In the 1970s and thereafter, he produced and directed films with emotional contents. He is Shakti Samanta, a self-made man after struggling for almost a decade to get a firm foothold in Hindi film industry. He had made immense contributions to Hindi film industry.

Shakti Samanta (13/01/1926 – 09/04/2009) was born in Burdwan (now Bardhaman in West Bengal). His father was an engineer who died in an accident while Shakti Samanta was a child. So, he was sent to his uncle’s place in Dehradun where he did the schooling. After completion of his intermediate, he came back to Calcutta (Kolkata) and completed his graduation in 1944.

Shakti Samanta went back to his uncle’s place to help him in his business. During his school days, he had become a fan of films produced by New Theatres and Bombay Talkies for their emotional and romantic contents respectively. So he had a fascination for becoming an singer-actor in Hindi films. Obviously, he spent more time in acting in local drama theatres than in the business work for which he was reprimanded by his uncle. Sometime in early 1947, he decided to leave his uncle’s house for Bombay (Mumbai) to pursue his wish to become a singer-actor. He took a job of a teacher in a Urdu school in Dapoli, about 200 kms from Mumbai to sustain himself while he scouted for acting roles in Mumbai.

Since it was a Muslim-run school, every Friday, Shakti Samanta would visit Mumbai to take a round of studios and return to Dapoli by late evening. There were many Bengalis in the Bombay Talkies which enabled him at least to gain entry into Bombay Talkies studio. Eventually, he got a free-lance job without pay but with free food at the canteen of the Bombay Talkies. Since he was proficient in Hindi and Urdu in addition to Bengali, he got work of translating the scripts written in Bengali into Hindi for director, Phani Majumdar for which he was paid.

One day, he met S D Burman who was composing music for ‘Do Bhai’ (1947), to get a playback singing work. S D Burman told him that though his voice was good, it was not good enough for the playback singing. So he advised Shakti Samanta to look for work in some other departments though he offered to take him for chorus singing. With this, it was the end of his dream of becoming a singer but the acting bug in him remained.

It was Ashok Kumar who told him to forget about becoming an actor and instead concentrate on film direction. In Bombay Talkies, he became the First Assistant to Director, Phani Majumdar. At that time, Guru Dutt was the First Assistant to Director, Gyan Mukherjee. When Phani Majumdar had no assignment, Shakti Samanta used to work as Second Assistant to Gyan Mukherjee. On the other hand, when Gyan Mukherjee had no assignments, Guru Dutt used to work as Second Assistant to Phani Majumdar. So in 1947, Guru Dutt and Shakti Samanta were familiar with each other. While Guru Dutt could get his first directorial assignment for ‘Baazi’ (1951), it was a long wait for Shakti Samanta to make a debut as a director in 1955.

Post-partition, after the initial hiccups due to migration of film artists and technicians, Shakti Samanta got some assignments like assistant to the director Satish Nigam in ‘Sunhere Din’ (1948) and to Phani Majumdar in ‘Tamasha’ (1952) and ‘Dhobi Doctor’ (1954). He wrote script and dialogues for Bombay Talkies ‘Baadbaan’ (1954).

Shakti Samanta’s debut film as a director was ‘Bahu’ (1955) which he got by a sheer luck. The film was produced by Bikram Pahwa which was to be directed by the writer, Vijendra Gaud. However, he had already signed his first directorial venture, ‘Kasturi’ (1954) and Shakti Samanta was his Assistant Director for this film. Vijendra Gurd was under contract not to take up direction in any other film until ‘Kasturi’ 1954) was released. Shakti Samanta got the opportunity to direct his debut film ‘Bahu’ (1955) as director. The film did not do well on the box office.

During the making of the ‘Bahu’ (1955), Shakti Samanta was signed to direct A. A. Nadiadwala’s film ‘Inspector’ (1956) in which his mentor, Ashok Kumar was paired with Geeta Bali. The film became a hit and with this film, Shakti Samanta was tagged as a successful director for the crime thrillers. After directing ‘Hill Station’ 1957 and ‘Sheroo’ (1957), Shakri Samanta floated his own banner, Shakti Films in 1957.

The first film under his banner, Shakti Films was ‘Howrah Bridge’ (1958) in which his mentor, Ashok Kumar was paired with Madhubala. The film was also a crime thriller and became hugely successful in terms of box office. This gave him enough money to produce and direct a film in the genre of social drama, ‘Insaan Jaag Utha’ (1959). The film did the average business despite some excellent song compositions by S D Burman.

Shakti Samanta directed next two successful thrillers, ‘Jalli Notes’ (1960) and ‘Singapore’ 1960) for other producers. His association with Shammi Kapoor and Jaikishan of Shankar-Jaikishan started with the film ‘Singapore’ (1960) and thereafter they became close friends. The trios were known as Shammi, Shakki and Jackie.

With ‘Naughty Boy’ (1962), Shakti Samanta entered into his first romantic comedy genre with Kishore Kumar and Madhubala in the lead roles. When about 10 reels of film were shot, Madhubala fell ill. She was taken to London for treatment. Since there was some uncertainty in her resuming shooting, Shakti Samanta replaced her with Kalpana. All shots of Madhubala were reshot with Kalpana. The film took a long time to complete as Kishore Kumar also got busy with taking care of Madhubala. To make the matter worst, S D Burman, the film’s music director, also fell ill. As a result, except for one song, rest of the songs of the film were recorded by R D Burman and Jaidev.

The delay in the completion of the film put Shakti Samanta in financial difficulties. He approached his good friend, Shammi Kapoor for finance who advised him to produce a new film in which he would act and partly finance the film. So ‘China Town’ (1962) was conceived. The film was released in August 1962 and became a box office hit. With money flowing in from the success of ‘China Town’ (1962), Shakti Samanta completed ‘Naughty Boy’ (1962) and got released in November 1962. The film failed at the box office.

After the debacle of ‘Naughty Boy’ (1962), Shakti Samanta seems to have shifted the focus on producing and directing the genre of romantic and musical films. He had with him now Shammi Kapoor and Jaikishan to support such a genre of films. The film ‘Kashmir Ki Kali’ (1964) was conceptualized with his two friends in mind. He had roped in a new comer, Sharmila Tagore whose parents were the family friend of Shakti Samanta, to act opposite Shammi Kapoor. It was a foregone conclusion that Shankar-Jaikishan would be the music director.

When O P Nayyar came to know about the new film, he requested Shakti Samanta to at least listen to his tunes before deciding on the music director. He also invited Shammi Kapoor for a musical sitting. Both were so much impressed with some 40 odds tunes O P Nayyar churned out, that both Shakti Samanta and Shammi Kapoor decided to take O P Nayyar as music director for ‘Kashmir Ki Kali’ (1964) and selected 12 tunes out of which 9 tunes were used in the film and remaining 3 tunes were used in ‘Saawan KI Ghata’ (1966). The film was a blockbuster on the box office chart.

Shakti Samanta had lined up 3 films with Shammi Kapoor and Jaikishan combination. The first film, ‘Evening In Paris’ (1967) was a high budget film which were partly shot abroad. The film became successful at the box office. The second film ‘Pagla Kahin Ka’ (1970) was directed by Shakti Samanta for Ajit Chakravarty. The film was an average success. The third film, ‘Jaane Anjaane’ (1971) was in the planning stage when Shakti Samanta felt that Shammi Kapoor needed to reduce his weight before he started shooting for the film. He gave Shammi Kapoor six months’ time to reduce his weight. In the interregnum, Shakti Samanta decided to produce and direct a low budget social film ‘Aradhana’ (1969) which was his favourite genre inspired from the films of New Theatre. The saga of making of ‘Aradhana’ (1969) is interesting one.

Sometime in early 1960s, Sachin Bhowmik, the story, screen-play and dialogue writer had read out the story of Aradhana to Shakti Samanta. While he liked the story very much, he did not venture to make a film on the story as he felt that it would be difficult to get the lead actors to the roles envisaged in the story. This was also the views of Hrishikesh Mukherjee when Sachin Bhowmik had read out the story to him also. Since Shakti Samanta had now time to make a low budget film, he recalled the story of Aradhana and decided to make a low budget film.

Sharmila Tagore who was introduced in Hindi films by Shakti Samanta and Rajesh Khanna who was the discovery of United Producers-Filmfare Talent Contest (1965) in which Shakti Samanta was one of the judges, were taken for the lead roles. Sharmila Tagore was apprehensive of doing the mother’s role in her early filmy career. Rajesh Khanna had felt that his role had considerably lesser length than that of Sharmila Tagore whose presence in the film was from first to last frames. Shakti Samanta had to do a hard work to convince both the actors to remove their apprehensions as the roles were challenging from the acting point of view.

Since the story of the film was akin to the Bengali type of stories with emotional contents, Shakti Samanta was keen on S D Burman to take up the music direction of the film. However, here also he had to convince S D Burman to take up the music direction for the film. S D Burman rued that Shakti Samanta had so far engaged him as a music director only for his low budget films.

Just a day before ‘Aradhana’ (1969) was to start shooting, Surinder Kapoor, the producer of ‘Ek Shriman Ek Shrimati’ (1969) starring Shashi Kapoor and Babita invited Shakti Samanta to see rushes of the final climax of his film. He was shocked to see that the climax was the same as that was written for Aradhana. This was possible because both films were written by Sachin Bhowmick. The next day, Shakti Samanta had made up his mind to scrap Aradhana and asked Gulshan Nanda to work on his story, ‘Kati Patang’. But Gulshan Nanda along with another writer, Madhusudan Kalelkar convinced him that instead of scrapping the film, let there be some changes the second half of the story. Both of them reworked the second half of Aradhana in the next few hours and saved the film being scrapped.

When everything was set to start the shooting ‘Aradhana’, film distributors were not happy with casting the lead roles. They were of the view that the audience would not accept Sharmila Tagare in the role of mother who had so far done the glamorous roles. They also felt risky to give a new comer Rajesh Khanna the double role in the film. Again, Shakti Samanta was required to convince them that the lead actors would justify their roles.

‘Aradhana’ (1969) was completed in less than 6 months and was released sometime in October 1969. I had watched this film during the first week of its release as tickets were easily available. However, the box office collections of the film picked up from the second week onward mainly through words of mouth publicity. The film became the top grosser among the Hindi films released in 1969. The box office success of this film and later of ‘Bandhan’ (1969) and ‘Do Raaste’ (1970) made Rajesh Khanna a super star. In a print media interview, Shakti Samanta had acknowledged that from the gramophone record sales of ‘Aradhana’ only, he produced next five films. The records were dubbed and released in 5 languages, and were hits in every language.

With the success of ‘Aradhana’, Shakti Samanta ventured into producing more of social genre of films like ‘Kati Patang’ (1971), ‘Amar Prem’ (1972), ‘Anuraag’ (1972) which were also successful at the box office. However, after mid-1970, except for ‘Great Gambler’ (1979), Shakti Samanta could not get as much success at the box office as he got for his films in early 1970s. Just to balance the box office earnings, Shakti Samanta started producing bilingual films which were made in Hindi as well as in Bengali. He produced and directed the first bilingual film, ‘Amanush’ (1975) followed by ‘Anand Asharam’ (1979), ‘Barsaat Ki Ek Raat’ (1981), ‘Aar Paar’ (1985) etc.

In the 1990s, Shakti Samanta’s films could not match with the changing taste of the film audience. ‘Geetanjali’ (1993) was his last film as a director which failed at he box office. During this period, he had also become busy with his role as Chairman of the Film Censor Board for 7 years (1991-98) and as a Chairman of Satyajit Ray Film and Television Institute, Kolkata for 2 years. Hence, some of the films produced under the banner of Shakti Films were directed by his son, Ashim Samanta.

During his 5 decades of long filmy career, Shakti Samanta directed 37 films and produced 43 films under his banner, Shakti Films. He also co-produced and directed an Indo-Bangla Desh Bengali film in 1984 which became a super hit. He set up Aradhana Sound Service, the digital audio post-production facilities films. He received Filmfare Award for ‘Aradhana’ (1969), ‘Anuraag’ (1972) and ‘Amaanush’ (1975) under ‘Best Films’ category.

Shakti Samanta breathed his last on April 9, 2009 after a brief illness due to stroke.

For the occasion, I have selected a song from one of the films from Shakti Samanta’s struggling years to establish himself in the Hindi film industry. The song is ‘ye maara wo maara koi jeeta koi haara’ from ‘Hill Station’ (1957). The song is sung by Geeta Dutt on the lyrics of S H Bihari which is set to music by Hemant Kumar. From the lyrics and the tone of the song, it appears to be a club song probably picturised on Sheila Vaz.

——————————————————————————————————————-
Note: The information on Shakti Samanta with some associated anecdotes have been sourced from many interviews he gave both to the print media as well as to the electronic media, mostly during the 1990s. Some information has also been sourced from the interview Ashim Samanta gave for a FM Radio Channel in 2016.


Song-Ye maara wo maara (Hill Station)(1957) Singer-Geeta Dutt, Lyrics-S H Bihari, MD-Hemant Kumar

Lyrics

ye maara
wo maara

ye maara
wo maara
koi jeeta aur koi haara
haar jeet kaa khel ye dekho
kitna hai pyaara
ye maara

teri zindagi mein
aise mauke suhaane naa aayenge
teri zindagi mein
aise mauke suhaane naa aayenge
tere yahi patte
tera bigda muqaddar banaayenge
yahi chamkega teri naseeb ka taara
haar jeet ka khel ye dekho
kitna hai pyaara
o maara
ye maara wo maara
koi jeeta aur koi haara
haar jeet ka khel ye dekho
kitna hai pyaara
ye maara

dekh o matwaale
aaj se apna daaman bachaaye jaa
dekh o matwaale
aaj se apna daaman bachaaye jaa
sun ae bhole bhaale
kabhi kismat se dhokha bhi khaaye jaa
rona hansna to jeevan ka khel hai saara
haar jeet ka khel ye dekho
kitna hai pyaara
ho maara
ye maara wo maara
koi jeeta aur koi haara
haar jeet ka khel ye dekho
kitna hai pyaara
ho maara
ye maara
wo maara
koi jeeta aur koi haara
haar jeet ka khel ye dekho
kitna hai pyaara
ye maara


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 : 3830 Post No. : 14837

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 31
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘व’ – वो तो चुटकी में दिल लेके चलते हुये ॰ ॰ ॰

– – – –

याद ना जाये, बीते दिनों की. . .

So difficult it is to forget, the days that have gone by. Yes, you voice remains with us to be heard, just as a consolation.

– – – –

In a departure from the pattern in this series so far, today I am presenting an all male duet. As I was searching for a song starting with ‘व’, I came across this very interesting song from the 1950 film ‘Shaadi Ki Raat’. This one is a male-male duet in which Rafi Sb’s voice is accompanied by that of Raja Gul. And this made me think. I checked back on the songs posted so far in this series, only to find that I have only been posting male-female duets. Then, as I scanned the list of songs, I came across so many male-male duets. And I was asking myself – does that mean another series? I don’t know. Let’s wait and see.

This film has 12 songs listed as per HFGK, eight of which are penned by Sarshaar Sailaani, with other songwriters identified as Firoz, Surjeet and Nazim Panipati having contributed one song each. One song is unattributed as far as songwriter is concerned. Music is by Pt Gobind Ram. Two songs of this film are already showcased on our blog. Today’s song is from the pen of Sarshaar Sailaani.

The film is a social drama produced under the banner of Prakash Pictures and is directed by Yashwant Pethkar. List of actors is given as Geeta Bali, Rehman, Vijaylakshmi, Leela Mishra, Jankidas, Ansari, Shanta Kunwar, Baby Durga, Anwari Bai, and Arun. Given this list of actors, it may be surmised that this song would have been picturized on Rehman and another male actor. Names that figure are Jankidas, Ansari (could that be NA Ansari??), and Arun (possibly Arun Ahuja??), but I am not ready to hazard a guess. I would request other knowledgeable readers and friends to please add more information about this song and the film, if available.

The song tells of a young heart, that has recently been stolen by a femme fatale. The pilferage seemed to have happened in a jiffy, and the aggrieved party, whose heart is stolen, was just left surprised. A fun song in which one friend is describing this episode to another, and the other also joins in and tries to give some worldly advise. But alas, the laments of woe do not cease as the robbed victim continues to bemoan

wo to chutki mein dil le ke chalte huye
reh gaye hum yahan haath malte huye

Song – Wo To Chutki Mein Dil Le Ke Chalte Huye  (Shaadi Ki Raat) (1950) Singer – Mohammed Rafi, Raja Gul, Lyrics – Sarshaar Sailaani, MD – Pt Gobind Ram
Mohammed Rafi + Raja Gul

Lyrics 

wo to chutki mein dil le ke chalte huye
haaye chalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye

wo to chutki..ee mein dil le ke
chalte huye..ae
aur reh gaye hum yahaan
reh gaye
hum yahan
haath malte huye
haath malte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye

wo hamen
aur hum
un ko takte rahe
aankh milti rahi dil dhadakte rahe
aankh milti rahi dil dhadakte rahe
aur paanv sambhale na
paa..aanv
sambhale na zaalim phisalte huye
haan phisalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye

ik balaa ho gai
dillagi aap ki
aur baaz aaya main
tauba
tauba mere baap ki..ee..ee
aur raat kat’ti hai
kat’ti hai naa
arey par kaise
kaise
raat kat’ti hai karwat badalte huye
haan badalte huye
raat kat’ti hai karwat badalte huye..ae..ae
haaye raat kat’ti hai karwat badalte huye
lekin wo to
o wo to chutki mein dil le ke chalte huye
haaye chalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye

dekho bhai
jaate jaate
mohabbat ka rang jaayega
aate aate
tabiyat ko chain aayega
aur bhai der lagti hai
haan
der lagti hai dil ko sambhalte huye
haan sambhalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye

haa..aaye
kyon kya hua
haa..aan
ishq ne jis musibat mein daala hamen
us musibat se padta na paala hamen
arre bhai soch lete
kya soch lete
soch lete jo ghar se nikalte huye
haan nikalte huye
soch lete jo ghar se nikalte huye
haan nikalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye. . .

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

वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये

वो तो चुटकी॰॰ई में दिल लेके
चलते हुये॰॰ए
और रह गए हम यहाँ
रह गए
हम यहाँ
हाथ मलते हुये
हाथ मलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये

वो हमें
और हम
उनको ताकते रहे
आँख मिलती रही दिल धड़कते रहे
आँख मिलती रही दिल धड़कते रहे
और पाँव संभले ना
पा॰॰आँव
संभले ना
ज़ालिम फिसलते हुये
हाँ फिसलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये

इक बला हो गई
दिल्लगी आपकी
और बाज़ आया मैं
तौबा
तौबा मेरे बाप की॰॰ई॰॰ई
और रात कटती है
कटती है ना
अरे पर कैसे
कैसे
रात कटती है करवट बदलते हुये
हाँ बदलते हुये
लेकिन वो तो
ओ वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये

देखो भाई
जाते जाते
मोहब्बत का रंग जाएगा
आते आते
तबीयत को चैन आएगा
और भाई देर लगती है
हाँ
देर लगती है दिल को संभलते हुये
हाँ संभलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये

हाए॰॰
क्यों क्या हुआ
हाँ॰॰
इश्क़ ने जिस मुसीबत में डाला हमें
उस मुसीबत से पड़ता ना पाला हमें
अरे भाई सोच लेते
क्या सोच लेते
सोच लेते जो घर से निकलते हुये
हाँ निकलते हुये
सोच लेते जो घर से निकलते हुये
हाँ निकलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये॰ ॰


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3830 Post No. : 14836

“Safar”(1946) was directed by B Mitra for Filmistan Limited, Bombay. This “social” movie had Shobha, Kanu Roy, V H Desai, S L Puri, Rajendra, Chandrika, Harun, Mumtaz Banu, Satyanarayan etc in it.

The movie had ten songs in it. Seven of these songs have been covered in the past.

Today is the 101st birth anniversary of C Ramchandra (12 january 1918- 5 January 1982)
Here is the eighth song from “Safar”(1946) to appear in the blog. This song is sung by Shamshad Begam and C Ramchandra. Gopal Singh Nepali is the lyricist. Music is composed by C Ramchandra.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.

I have not been able to get a few words righ in the lyrics of the song. I request our readers with keener ears tohelp fill in the blanks/ suggest corrections as applicable.


Song-Kabhi chupke se ratiyaa mein aaiho raaja jee (Safar)(1946) Singers- Shamshad Begam, C Ramchandra, Lyrics-G S Nepali, MD- C Ramchandra

kabhi chupke se aaiho
kabhi chupke se aaiho
kabhi chupke se ratiyaa mein aaiho raaja jee
kabhi chupke se ratiyaa mein aaiho raaja jee
aaiho raaja jee
phir na jaiho raaja jee
aaiho raaja jee
phir na jaiho raaja jee
kabhi chupke se ratiyaa mein aaiho raaja jee

baadal aayen ghir ghir jaayen
wo din mein bijli kadkaayen
baadal aayen ghir ghir jaayen
wo din mein bijli kadkaayen
raaja mere mauj udaayen
ham to ro ro bain ganwaayen
din bhar na chain paayen
aise kab tak karejwa dukhaiho raaja jee
aise kab tak karejwa dukhaiho raaja jee

oonchi ataari meri
sooni phulwaari meri
duniya hai nyaari meri
aaja ?? teri
raaja kariyo na deri
oonchi ataari meri
sooni phulwaari meri
duniya hai nyaari meri
aaja ?? teri
raaja kariyo na deri
aaiho aaiho
?? raaja jee
aaiho aaiho
?? raaja jee

chaandni raat mein
sirhaane chaand ho

chaandni raat mein
sirhaane chaand ho
phoolon ki sej pe
tu mere saathh ho
galey mein haathh ho
aankhon aankhon mein baat ho

zara dheere se batti bujhaiho raaja jee
zara dheere se batti bujhaiho raaja jee


This article is written by Avinash Scrapwala, 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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3829 Post No. : 14835 Movie Count :

4057

# The Special Voices of the Decade (1971-1980) – 6 # Yesudas #
———————————————–———————————–——————

I recall listening to a song frequently on radio when I was around seventh or eight years old. The voice was very attractive and it had something special which captivated my young mind then.
There was one Mr. Abu who held from Kerala and was my Father’s friend (may be because of their drinking habits 🙂 residing in the same colony). He used to praise this new Singer a lot and liked his songs very much. My Father had even started learning ‘Malayalam’ from him and he had started learning how to write ‘Malayalam’ words too 🙂 in register.

As years passed and we were getting more and more memorable songs from this Singer though the quantity was not that much as compared to the other established singers in HFM.

Still, the songs coming from his voice were gaining popularity as well as it were creating a special place in the hearts of people, as the movies he was singing in were also coming from directors from special genre who were making off-beat movies then in the era already dominated by multi-starrer movies.

Nevertheless, the songs were adding to the list of ‘all time memorable songs’ and ‘nostalgia’ for peoples like me …

Today this singer turns to seventy-nine. He was born on in kerala.

I will not go into his biography in details because it has been covered in two of earlier posts on the blog.

Instead I will give below the name of the movies he sings in from 1971 since his debut in an ‘un-released’ Hindi movie, but compiled up to 1980 only, since I have the Geet Kosh for this period available with me.

Though our today’s Singer keep singing till recently in Hindi movies. But if we come to his statistics Hindi movies, we will not be able to judge his extra-ordinary talent and the ‘divine’ presence he has left by singing nearly fifty thousand songs in many national and international languages in his career spanning fifty years!!

He has been honoured with many national awards in singing as well as been conferred upon with our national civilian awards too and the list of awards is so BIG that one can only imagine his extra ordinary contribution to music as well as the society in turn…

I think, one who has grown up in the years of seventies can never ever forget this voice and those beautiful lovely songs …

Let us now start my journey through his songs …

Or let me remind you of this non-filmy song first … ‘teesta nadi si tu chanchalaa, main bhi hoon bachpan se manchalaa’

Our today’s singer is the male voice in this song (though the other voice i.e. the female voice too is ‘nostalgic’ for me … 

‘Gori teraa gaaon badaa pyaara’ – it was ruling the charts in 1976 and even after forty two years it is the same, even the new generation likes it when they get to listened to it..
But my favorite at that time was the other one from the same movie ‘Aaj se pehle ae aaj se jyadaa’ .

‘Jaaneman jaaneman tere do nayan’ from ‘Chhotisi Baat-1975’ had already stolen people’s hearts and their eyes open to read and learn more about this male voice in this song …

Two years later he was in a rebellious still melodious mood when he sings ‘Kitaabon mein chhaptein hain chaahat ke kisse’

Then who will ever forget ‘sunayna sunayna’ .

The same year he was praising his beloved with ‘chaand jaise mukhde pe’.

However, the one close to my heart and growing every time for all these years is ‘tere bina soona more man ka mandir aa re aa re aa’

A year before in 1978 his ‘dil ke tukde tukde kar ke muskuraa ke chal diye’, was also keep us mesmerised (but I was not liking much then, till I became a fully grown up adult 🙂 )

And as the years passed this list also keep adding on and on …

‘ka karu sajni ee’
‘kahaan se aaye badraa’
‘madhuban Khushboo deta hai’
‘maana ho tum behad haseen’

From the early eighties I like;

‘beeti huyi raat ki sunaati hai kahaani’

‘dheere dheere subah huyi’

I can keep listing many many of his favourites of mine but I have to stop …
And as I was browsing his filmography, I was reminded of this lovely number … just to refresh the memories of yours too;

‘jeewan path pe ek rath ke do pahiye ban chalte jaayen’

I cannot stop without mentioning these two;

‘Shyaam rang ranga re’
And
‘Shadaj ne paaya ye vardaan’

(in HFGK Vol V I could not find the name of this UR movie ‘Tansen’ or maybe I have missed it…)

Then I remember I had specially brought his ‘non-filmy’ album ‘Sitaaron mein tu hi’ in 2000-2001 (when I was in Bareilly. I do not have cassette with me to mention more about it here)

But I have to stop here and presenting this article in this series a little differently I will leave you with the list of movies he sung from 1971 to 1980;

Year Movie Director Music Director Solo Duet/or with two or more Singers Total Songs
UR 1971 Jai Jawaan Jai Kisaan (1971) A.A.Raj 1 0 1
UR 1977 Aanand Mahal (1977) Basu Bhattacharya Salil Chaudhary 4 1 5
UR (1971-1980) Bin Baap Ka Beta (1971-80) Mukul Dutt Basu-Manohari 0 1 1
1975 Baaghi Lutera A.C.Trilokchander M.S.Vishwanathan-M.Rangarao 0 1 1
1975 Chhoti Si Baat Basu Chatterjee Salil Chaudhary 0 1 1
1976 Chitchor Basu Chatterjee Ravindra Jain 2 2 4
1976 Jesus P.A.Thomas M.S.Vishwanathan, Joseph Krishna, Yesudas * * 0
1976 Mazdoor Zindaabaad Naresh Kumar Usha Khanna 1 0 1
1977 Aalaap Hrishikesh Mukherjee Jaidev 3 1 4
1977 Aanand Aashram Shakti Samant Shyamal Mitra 0 1 1
1977 Agar Ismail Shroff Sonik-Omi 0 1 1
1977 Alibaabaa Marjinaa Kedar Kapoor Usha Khanna 1 0 1
1977 Charandaas B.S.Thapa Rajesh Roshan 0 1 1
1977 Darindaa Kaushal Bharati Kalyanji-Anandji 0 1 1
1977 Do Chehre Kewal Mishra Sonik-Omi 1 0 1
1977 Dulhan Wahi Jo Piyaa Man Bhaaye Lekh Tandon Ravindra Jain 0 1 1
1977 Jaadoo Tonaa Ravikant Nagaich Hemant Bhonsle 1 2 3
1977 Meethhee Meethhee Baatein K.Balachander Chakravarti 0 2 2
1977 Safed Haathi Tapan Sinha Ravindra Jain 2 0 2
1977 Safed Jhoothh Basu Chatterjee Shyamal Mitra 2 0 2
1977 Swaami Basu Chatterjee Rajesh Roshan 1 1 2
1978 Aankhin Dekhi Rajinder Singh Bedi J.Kaushik 1 0 1
1978 College Girl Shantilal Soni Bappi Lahiri 0 1 1
1978 Daadaa Jugal Kishore Usha Khanna 1 0 1
1978 Do Ladke Dono Kadke Basu Chatterjee Hemant Kumar 1 1 2
1978 Hamaaraa Sansaar T.Prakash Rao Ravindra Jain 1 0 1
1978 Hazaar Haath Rajdeep Sharda 0 1 1
1978 Maa Baap Kishore Vyas Avinash Vyas * * 0
1978 Meraa Rakshak R.Tyagraj Ravindra Jain 0 2 2
1978 Saajan Binaa Suhaagan Sawan Kumar Usha Khanna 1 1 2
1978 Shikshaa S.Ramnathan Bappi Lahiri 1 0 1
1978 Solvaan Saawan Bharati Raja Jaidev 0 2 2
1978 Sone Ka Dil Lohe Ke Haath Naresh Kumar Usha Khanna 1 0 1
1978 Toote Khilaune Ketan Anand Bappi Lahiri 1 0 1
1978 Trishool Yash Chopra Khayyam 0 3 3
1979 Gopaal Krishna Vijay Sharma Ravindra Jain 0 1 1
1979 Grih Pravesh Basu Bhattacharya Kanu Roy 1 0 1
1979 Jeenaa Yahaan Basu Chatterjee Salil Chaudhary 0 1 1
1979 Lahu Ke Do Rang Mahesh Bhatt Bappi Lahiri 1 0 1
1979 Naiyaa Prashant Nanda Ravindra Jain 2 1 3
1979 Raadhaa Aur Seetaa Vijay Kapoor Ravindra Jain 0 1 1
1979 Saawan Ko Aane Do Kanak Mishra Rajkamal 6 1 7
1979 Sunayanaa Hiren Naag Ravindra Jain 2 0 2
1980 Apne Paraaye Basu Chatterjee Bappi Lahiri 1 1 2
1980 Ek Baar Kaho Lekh Tandon Bappi Lahiri 1 0 1
1980 Kaaran B.R.Ishaara Usha Khanna 1 0 1
1980 Khwaab Shakti Samant Ravindra Jain 1 1 2
1980 Maan Abhimaan Hiren Naag Ravindra Jain 2 0 2
1980 Paayal Ki Jhankaar Satyen Bose Rajkamal 0 1 1
1980 Pratishodh I.V.Sasi Ravindra Jain 1 0 1
1980 Qismat Bhishm Kohli Bappi Lahiri 1 0 1
1980 Saajan Mere Main Saajan Ki Hiren Naag Ravindra Jain 0 1 1
Total no of movies – 1971 to 1980 – 52 nos TOTAL 84

(** details not available about number of songs of each Singer)

Other than this he has sung in many languages (national and international) and that way the ‘madhuban’ of his ‘gaayaki’ will always be remain blossomed all over and let the ‘Madhuban’ of his songs and those unforgettable memories be with us forever till we are here and for the coming generations too- unki gaayki ka ye Madhur-sumadhur-mehakta huaa madhuban hamesha geeton se chhalakta rahega’

Kattassery Joseph Yesudas” or Yesudas as we fondly know him …
(born on 10th January’ 1940)

Bas naam hi kaafi hai!!! Is naam ke ‘parimandal’ mein hi ‘swarg’ hai …

“Pyaare panchhi baahon mein
Gaati koyal raahon mein
Dharti pe yahi to khushi hai
Apni duniya mein aansoo bhi nahin hai”

***

‘Safed Jhoothh’ was directed by Basu Chatterjee for ‘Matrichhaaya, Bombay’. (this was the first movie by ‘Matrichhaaya’). Basu Chatterjee also wrote the Screenplay and dialogues of this movie.
It was presented by Raj Rajpal. It was produced by Asim Kumar.

It had Ashok Kumar, Vinod Mehra, Mitthu Mukherji, Deven Verma, Vidya Sinha, Manik Dutt, Abu Shivani, Amol Sen, Khalid Roy, Devraj Sinha, Prabir Roy, Somnath Pardesi, Pradeep Mukherji, Milan Mukherji, Vinay Chhibbar, Arup Ganguly, Umesh Kaalbag and many others.

This movie introduced new discovery Renuka.
Pradeep Kumar and Amol Palekar makes a guest appearance in this movie.

Story of this movie was written by Samresh Basu. Editing of this movie was done by V.N. Mayekar.

Music of this film was composed by Shyamal Mitra. And all the four songs in this movie were penned by lyricist Yogesh.
Asha Bhonsle, Shyamal Mitra and Yesudas had given their voices to the songs in this movie.

Today’s song is sung by Yesudas and the movie ‘Safed Jhoothh’ is making a debut on this blog with this lovely song …

This movie was passed by Censor Board on 07.06.1977.

Let us enjoy this song wishing Yesudas ji a very very happy birthday (albeit a day later) and a healthy and peaceful life ahead …

Lyrics for this song were sent by Peevesie’s Mom ji and I remember many times in her comments she mentions that ‘how the die-hard fans’ can forget an anniversary of their beloved actor/actress or Singer, so … yes Yesudas fans can never forget this nostalgic gem 😊

Thank you, Peevesie’s Mom ji!!!

Going by the association of Yesudas with the movies of Basu Chatterjee, I think, this song perfectly fits for this presentation here …

(And I must thank both of our editors who patiently waited for my sending of this article to them. It took time for me to compile the filmography going through each page of HFGK except the appendices and corrigendum. I cannot claim that the list given by me is exhaustive and corrections/suggestions are most welcome.

‘Zid na karo’ aisa khayaal to aaya, but since I had planned that for this article on Yesudas ji I will at least try to give the filmography of his songs from 1971 to 1980, so I have tried my best…)

(note – I have noted the lyrics as per the movie version + audio version)

Audio

Video


Song-Neele ambar ke taley (Safed Jhhooothh)(1977)Singer-Yesudas, Lyrics-Yogesh, MD-Shyamal Mitra

Lyrics(Provided by Peevesie’s Mom)

Neele ambar ke taley ae
Do yahaan saathi miley ae
Chhalke chhalke armaan dil ke
Lekar basaane ghar chaley
Neele ambar ke taley ae
Do yahaan saathi miley ae
Chhalke chhalke armaan dil ke
Lekar basaane ae ghar chaley
Neele ambar ke taley

Har ghadi din rainaa aa aa
Chain ab aaye naa
Man kahe mera saathi ee ee
Ab kahin jaaye naa
Ye milan mein khoyi
Ab naa shaam dhaley ae ae ae ae
Neele ambar ke taley ae
do yahaan saathhi miley
Chhalke chhalke armaan dil ke
Lekar basaane ae ghar chaley
Neele ambar ke taley

Zindagi mein aise ae ae ae
Din kabhi aate hain
Rasmon ke bandhan mein ae ae
Meet bandh jaate hain
Phir mehak uthhte hain
Tan ke phool khile ae ae ae
Neele ambar ke taley ae
Do yahaan saathi miley ae
Chhalke chhalke armaan dil ke
Lekar basaane ae ghar chaley
Neele ambar ke taley

———————————–
Devnagri Script lyrics(Provided by Avinash Scrapwala)
———————————–
नीले अम्बर के तले ए
दो यहाँ साथी मिले ए
छलके छलके अरमान दिल के
लेकर बसाने घर चले
नीले अम्बर के तले ए
दो यहाँ साथी मिले ए
छलके छलके अरमान दिल के
लेकर बसाने घर चले
नीले अम्बर के तले

हर घडी दिन रैना आ आ
चैन अब आये ना
मन कहे मेरा साथी ई ई
अब कहीं जाए ना
ये मिलन में खोयी ई
अब ना शाम ढले ए ए ए
नीले अम्बर के तले ए
दो यहाँ साथी मिले ए
छलके छलके अरमान दिल के
लेकर बसाने घर चले
नीले अम्बर के तले

ज़िन्दगी में ऐसे ए ए ए
दिन कभी आते हैं
रस्मों के बंधन में ए ए
मीत बंध जाते हैं
फिर महक उठते हैं
तन के फूल खिले ए ए ए
नीले अम्बर के तले ए
दो यहाँ साथी मिले ए
छलके छलके अरमान दिल के
लेकर बसाने घर चले
नीले अम्बर के तले ए


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3829 Post No. : 14834

Today’s song is from the film Nai Duniya-42. The film was made by Circo productions of Chimanlal Trivedi and was directed by A R Kardar, with music by Naushad Ali.

Naushad was my favourite composer. Having come up from scratch to the zenith of popularity and fame, he had put in lot of hard work in early days of his career. Naushad may or may not be the best Composer the HFM ever had, but he certainly was a good example of Rags to Riches story of Filmy Duniya. He rose from the footpath and became one of the most successful composers ever in Hindi Films. Added to this was his good nature, Lucknowi Tahzib and hard work. This made him a man with least enemies ( competitors-yes, but enemies-No ) and on whose name alone films were sold during his peak period.

Naushad was the only composer on whom 6 Documentaries were made. A student Ms.Mala Sinha secured her Ph.D., making Naushad as a subject of her research. Starting with Rs.40 a month, Naushad was the First to demand and get Rs.ONE LAKH per film and was also the first composer to build his own Bungalow in a posh locality of Bombay with a Music room for doing rehearsals.

When he was on the Top, a trailer of film “Dastaan”-1950 featured Naushad on the screen showing crowds shouting ” 40 karod mein ek hi Naushad “. Such was his saleability that A R Kardar, who had always used Naushad for his own gains, was forced to make Naushad his partner in producing films under their banner ” Musical Pictures .

Naushad was undoubtedly the most successful composer HFM ever had. Out of the 65 films that he did in Hindi, 50% had celebrated jubilees. This is a record unmatched so far. His tally was 3 Diamond Jubilees ( Rattan, Baiju Bawra and Mughal-e-Azam ), 6 Golden Jubilees ( Mela, Andaz, Deedar, Aan, Mother India and Gunga Jamuna ) and 23 Silver Jubilees (Station master, Sharda, Namaste, Sanjog, Pehle aap, Kanoon, Keemat, Sanyasi, Anmol Ghadi, Shahjehan, Natak, Dard, Anokhi Ada, Dillagi, Dulari, Babul, Dastaan, Jadoo, Diwana, Udan Khatola, Kohinoor, Mere Mehboob and Ram aur Shyam ).

Naushad was the First winner of Filmfare Award in 1954 for a song in Baiju Bawra. The Award Ceremony was held in Broadway Theatre, Bombay. Ironically, it was bang opposite this Theatre that Naushad had spent his struggling days and Nights on the Footpath ! Naushad recieved several cherished Awards like Dadasaheb Phalke Award, Padma Bhushan, Lata Mangeshkar award, Maharashtra Bhooshan award, Sahitya and Natak Academy award, Saraswati Award, the IFJ and BFJ awards and scores of other awards.

His first 4 films ( Premnagar-40, Kanchan-41, Mala-41 and Darshan-41), however, were with unimpressive music. From the film Sharda-42, his Luck started changing and then there was no looking back at all for the next 25 successive years. This is exceptional talent and unbelievable Luck.

I see 2 reasons which made him successful. One was his hard work. He never ever compromised on rehearsals and however big the singer was (read Lata) he/she had to come to his Music room for rehearsals on a song for at least 7 to 8 days. He never recorded a song unless he was satisfied fully. Secondly, Naushad had tremendous faith and liking for Indian Classical music, which he used extensively in his songs. Almost all his songs had a classical base and he proved that classical music can be made entertaining for the masses, who could not make a difference between 2 Ragas, but would like his simple and hummable tunes. Very rarely his songs were difficult to hum or sing in the bathroom. He always selected singers based on their suitability for the songs.

After a draught of success, Naushad entered the year 1942. Nai Duniya was his 5th and final film before he began his Success Marathon of jubilees. Out of the 3 films in 1942, his other two films Sharda and Station Master celebrated Silver jubilees. It was only this film-Nai Duniya-which did not celebrate a Jubilee, but this film was no less important and it was a Milestone in the history of HFM.

It was in this film that noted actress singer Suraiyya sang her First recorded film song,as Baby Suraiya ( Boot karoon main polish). I have been seeing that there is a lot of confusion about the Debut song of Suraiya as a playback artiste.

Some people claim that the song ‘ Boot karun mai polish’ from film Nai Duniya-1942 is her first song as a Playback singer and some people claim that the song ‘ Panchhi jaa peechhe raha hai bachpan mera’ from film Sharda-1942 is her debut song as a playback singer.
Naushad himself,in one of the interviews , had said that the Nai Duniya song was her first recorded song as a playback singer.
However, Naushad saab is only partly correct. No doubt this song was recorded earlier ( No. N-26055) and the Sharda song was recorded later (No. N-26099).

Both the films were censored in 1942 only. However film Sharda was released first on 23-1-1943 at Minerva Talkies in Bombay, whereas Nai Duniya was released only on 24-4-1944 at Majestic Talkies in Bombay.

Therefore, the Debut song of Suraiya, as a Playback singer is undoubtedly the Sharda song,namely ‘ Panchhi jaa,peechhe raha”.
Only when a song is released on screen , it is called a Debut song, irrespective of when it was recorded.
The dictionary meaning of “to Debut” is- to perform in public for the first time. Since Sharda song was shown to public first, it becomes Suraiya’s Debut song as a Playback singer.

The song from Nai Duniya-“Boot karoon main polish” at best can be called as “the first recorded song for playback”. The Debut song ‘Panchhi jaa peechhe raha’ was posted by Atul ji on 21-2-2011 here.
( Release dates received with thanks from shri Harish Raghuwanshi ji)

This was also the first movie in which Kardar and Naushad came together. Kardar,in fact, was so much impressed with Naushad’s work style, that he decided to employ Naushad, in Kardar Productions ( which he was about to start soon), as a paid composer for Rs. 500 pm. Naushad,on his part, was very happy that he got into a job, which would ensure a sure income every month.

Later this pair gave film after films successfully. Naushad worked with Kardar for 14 films, excluding films made under the banner of Musical Pictures-in which Naushad was an equal partner with Kardar. Nai Duniya was a Circo production ( Cine Industries Recording Company, owned by Chimanlal Trivedi) and Kardar was only a Film Director for this company. Soon this Circo came up for sale. Kardar bought it to start his production company. He also established a studio in the premises. Kardar made a contract with Naushad for 5 years,but he was allowed to work outside,though the first priority would be Kardar films. Even otherwise also,Naushad restricted his films to 2 to 3 per year,as his style of working needed a long time for rehearsals.

Naushad became a household name all over India after Rattan-44 However he worked in 4 films that year (Rattan,Geet,Jeevan and Pehle Aap.) Similarly in 1949 also he did 4 films (Dillagi, Andaz,Chandni Raat and Dulari). He did only one film each in a few years like for instance- in 1940-Premnagar, 45-Sanyasi, 53-Udan Khatola, 57-Mother India, 58-Sohni Mahiwal, 61-Ganga Jamuna, 62-Son of India, 63-Mere Mehboob , 64- Leader and in 70- Ganwaar.

Nai Duniya-42 was the First ever film produced by Naushad. Later,of course, he made few more films,though he was never at ease as a Producer. For Nai Duniya-42, singer G M Durrani was his chief Musical Assistant. The film cast was Shobhana Samarth,Mazhar Khan, Jairaj, Wasti, Azurie, Jeevan, Ram Awtar etc. Not many readers may know much about old actor Mazhar Khan ( there was another Mazhar Khan in 70s/80s). He was one of the most versatile actors who shifted from Hero’s roles to character roles easily. In Hindi films, the name Khan has always been present in plenty. From Wazir Mohd.Khan of Alam Ara-1931 to Shahrukh Khan of today, there were more than 50 Khans acting in Hindi films.

Mazhar Khan was born in 1907 in the princely state of Dhar in M.P. After Matriculation, he joined Police force due to his build and height, but soon he was fed up and resigned. He straightaway headed for Bombay looking for work in films. Director Durga Prasad Mishra took him in Imperial studio and he did about 19 Silent films starting with Challenge-1929. When Talkie films started, he went to Calcutta, joined New Theatres and worked with K L Saigal in ‘Subah ka Sitara’-1932. For East India Film co.,he did ‘ Ek din ka Baadshah-33’and Raat ka raja-34 in which he did 8 roles in the film. After a few more films, he returned to Bombay and worked in Ranjit and Minerva Movitone films. His career best role came in 1941 in Shantaram’s Padosi, in which he did the famous role of Hindu Friend Thakur, while Gajanan Jagirdar did the role of his Muslim friend. In the prevailing tense communal atmosphere in the country those days,this film was hailed as a milestone depicting life long friendship of a Hindu and a Muslim.

In 1942, he turned Director and did Meri Duniya-42, Yaad-42, Badi Baat-44, Pehli Nazar-45, Dil ki Duniya-49 etc. His noteworthy films were Noorjehan-32, Bharosa-40, Padosi-41 and Ulzan-42. This role was that of a Blind singer-like K C Dey. His last film was Usha Kiran-52. He died on 24-9-1950, before its release.

When you hear today’s song, first time after 1940,you will find that there is melody and Taal in this song. As if there was a transformation, from 1942 onwards, Naushad’s music underwent a sea change. No wonder,in those days people found these songs had easy tunes and a certain melody in them. Naushad’s journey towards success and popularity began with 1942 films.

Film Nai Duniya had 11 songs. 8 songs are already discussed here. Today’s song is the 9th song. This film had 3 songs exclusively by chorus. This was something most unlike Naushad’s style seen in later years. Naushad would have songs sung by 2-3 or even 4 singers( as in Mother India-57) at a time ,but at no time were there any chorus songs in his films exclusively. May be in this film he tried to emulate Anil Biswas who had a penchant for chorus songs in his films. In one of my earlier posts, I have discussed about the chorus songs of Anil Biswas. After this film,something happened to Naushad and suddenly from his next film Sharda-42, he started giving Hit films. These are some of the unexplained wonders of Hindi films. Here is the song….


Song-Bolo chhoom chhananan chhananan chhai (Nai Duniya)(1942) Singer-Male Voice 1, Male Voice 2, Male Voice 3, Male Voice 4, Male Voice 5, Lyrics-A Shah Aziz, MD-Naushad
Chorus

Lyrics

bolo chhoom chhananananana chhai
bolo chhoom chhananananana chhai
chhachhachhai chhachhachhai chhachhachhai
chhachhachhai chhachhachhai chhachhachhai
chhai
hamen bhaabhi ji aa ko mil gayi chhachhachhai
hamen bhaabhi ji aa ko mil gayi chhachhachhai
bolo chhoom chhananananana chhai
bolo chhoom chhananananana chhai

ab aayegi roz mithhaai re sajanwa
aayegi roz mithhaai
hum khaayenge prem se bhaai
hum khaayenge prem se bhaai
kaho maine ye kaisi baat kahi
kaho maine ye kaisi baat kahi
o bolo chhoom chhananananana chhai
chhachhachhai chhachhachhai chhachhachhai
chhai
hamen bhaabhi ji aa ko mil gayi chhachhachhai
bolo chhoom chhananananana chhai

bhabhi apni chhe sudar naari
ji waa waah
bhabhi apni chhe sundar naari
teri soorat chhe ghani pyaari
teri soorat chhe ghani pyaari
ta’ta thai ta’ta thhai ta’ta’ta’ta’ta’ta’thai
ta’ta thai ta’ta thhai ta’ta’ta’ta’ta’ta’thai
bolo chhoom chhananananana chhai
chhachhachhai chhachhachhai chhachhachhai
chhai
hamen bhaabhi ji aa ko mil gayi
bolo chhoom chhananananana chhai

jab petha patise aayenga
o dear jab petha patise aayenga
well hum bhi to khoob khaayenga
well hum bhi to khoob khaayenga
haa haha haaha haha hahahai
haa haha haaha haha hahahai
bolo chhoom chhananananana chhai
chhachhachhai chhachhachhai chhachhachhai
chhai
hamen bhaabhi ji aa ko mil gayi
bolo chhoom chhananananana chhai

garma garam jalebiyaan makhaane ni je bindiye
garam jalebiyaan makhaane
asi khaawaange hun rabb jaane
asi khaawaange hun rabb jaane
agey mildi si saanu roti bai
agey mildi si saanu roti bai
bolo chhoom chhananananana chhai
chhachhachhai chhachhachhai chhachhachhai
chhai
hamen bhaabhi ji aa ko mil gayi
bolo chhoom chhananananana chhai

o bhai achha achha hai ye mera baani bakhaana
bhai achha achha hai ye mera baani
bhabhi mila hai ati lasaani
bhabhi mila hai ati lasaani
puiyo puiyo
khaana puiyo
khaana puiyo
khaana pui
puiyo puiyo
khaana puiyo
khaana puiyo
khaana pui
bolo chhoom chhanananana chhai
chhachhachhai chhachhachhai chhachhachhai
chhai
hamen bhaabhi ji aa ko mil gayi chhachhachhai
hamen bhaabhi ji aa ko mil gayi chhachhachhai
bolo chhoom chhananananana chhai
bolo chhoom chhananananana chhaee..ee. . .

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

बोलो छूम छ न न न न न छई
बोलो छूम छ न न न न न छई
छ छ छई छ छ छई छ छ छई
छ छ छई छ छ छई छ छ छई
छई
हमें भाभी जी आ को मिल गई छ छ छई
हमें भाभी जी आ को मिल गई छ छ छई
बोलो छूम छ न न न न न छई
बोलो छूम छ न न न न न छई

अब आएगी रोज़ मिठाई रे सजनवा
आएगी रोज़ मिठाई
हम खाएँगे प्रेम से भाई
हम खाएँगे प्रेम से भाई
कहो मैंने ये कैसी बात कही
कहो मैंने ये कैसी बात कही
ओ बोलो छूम छ न न न न न छई
छ छ छई छ छ छई छ छ छई
छई
हमें भाभी जी आ को मिल गई छ छ छई
बोलो छूम छ न न न न न छई

भाभी अपनी छे सुंदर नारी जी वाह वाह
भाभी अपनी छे सुंदर नारी
तेरी सूरत छे घणी प्यारी
तेरी सूरत छे घणी प्यारी
त त थई त त थई त त त त त त थई
त त थई त त थई त त त त त त थई
बोलो छूम छ न न न न न छई
छ छ छई छ छ छई छ छ छई
छई
हमें भाभी जी आ को मिल गई छ छ छई
बोलो छूम छ न न न न न छई

जब पेठा पतीसे आएंगा
ओ डीयर जब पेठा पतीसे आएंगा
वैल हम भी तो खूब खाएंगा
वैल हम भी तो खूब खाएंगा
हा ह ह हा ह ह ह ह ह हई
हा ह ह हा ह ह ह ह ह हई
बोलो छूम छ न न न न न छई
छ छ छई छ छ छई छ छ छई
छई
हमें भाभी जी आ को मिल गई छ छ छई
बोलो छूम छ न न न न न छई

गरमा गरम जलेबियाँ मखाने नि जे बिंदिए
गरम जलेबियाँ मखाने
असी खवाङ्गे हूण रब्ब जाने
असी खवाङ्गे हूण रब्ब जाने
अग्गे मिल्दी सी सानु रोटी बई
अग्गे मिल्दी सी सानु रोटी बई
बोलो छूम छ न न न न न छई
छ छ छई छ छ छई छ छ छई
छई
हमें भाभी जी आ को मिल गई छ छ छई
बोलो छूम छ न न न न न छई

आ भाई अच्छा अच्छा है ये मेरा बाणी बखाना
भाई अच्छा अच्छा है ये मेरा बाणी
भाभी मिला है अति लासानी
भाभी मिला है अति लासानी
पुईओ पुईओ
खाना पुईओ
खाना पुईओ
खाना पुई
पुईओ पुईओ
खाना पुईओ
खाना पुईओ
खाना पुई
बोलो छूम छ न न न न न छई
छ छ छई छ छ छई छ छ छई
छई
हमें भाभी जी आ को मिल गई छ छ छई
हमें भाभी जी आ को मिल गई छ छ छई
बोलो छूम छ न न न न न छई
बोलो छूम छ न न न न न छई॰॰ई॰ ॰ ॰



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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3828 Post No. : 14833

Today’s song is from film Hum kisi se kam nahin-77, made under the banner of Nasir Hussain films.

This is the 3rd consecutive song from the 70s that I am discussing. Do not wonder whether I have shifted sides- from writing on films of 30s and 40s to the 70s. Possibly, for the time being, this is the last one from this period. Actually, I have nothing against the musical or film aspect of the period 70s and beyond. It is only that, mostly they are not of my likings. Of course, I have always said that , ” Everything that was made before 70s was not all good, as much as everything made after 70s was not bad either.”

Good or bad depends upon the personal perceptions, because these are opinions. If you measure them on a scale- like say-durability, then it is measurable and no one can deny the durability quotient of old songs vis-a- vis songs after 70s. A lot can be said on this issue, but not today and not here. Anyway, to each his own !

Why do people like a movie ? If the correct answer was known to anybody, he would be a Trillionnaire in no time ! However, when this question is asked to a common man on the street, the answers one would get would be 1. Story is good. 2. Acting is good. 3. Music is good. 4. I like this Hero/Heroine and many such explanations. My observation is that Music and Songs is one major reason for a movie to be popular and successful. There are many examples like Albela-51, Baiju Bawra-52, Anarkali-53, almost all films of Saigal, most Noorjehan and Suraiya films and most films made by Producer, Director and Writer Nasir Hussain.

Nasir Hussain probably had received from God, the formula for successful films-for a short term use. Out of his 13 films, first 10 were hit films- primarily due to Romance and excellent music. It is said that being a script and story writer himself he used one story for all his films-with some variations, of course- and the time he changed the story his films became a flop. Shammi kapoor, whose sinking career took up turn because of the Nasir Hussain film ” Tumsa nahin dekha”-57, had once said, ” we have heard stories of Marwadis coming here with just one Lota and building empires. Here was a man who used one story for his films for 30 years and succeeded !”

Mohammed Nasir Hussain Khan aka Nasir Hussain was born on 2-2-1931 ( wiki says it is 16-11-1926) in Bhopal.His family was related to Maulana Abul Kalam Azaad. While studying in Lucknow University, he wrote several dramas for A.I.R., Lucknow. He even got First prize for 2 consecutive years in the University writing competition .( one of these stories were used to make film ‘ Baharon ke Sapne’). In 1948, he came to Bombay and joined Filmistan.

His first story was for film Shabnam-49, jointly with Qamar Jalalabadi. Independently he wrote story/screenplay/dialogues for Shabistan-51, Anarkali-53, Shart-54, Munimji-55 and Paying Guest-57. Then he wrote Tumsa Nahin Dekha and insisted to direct the film himself. Tolaram Jalan, the owner of Filmistan was not ready to give it to a New director, but when NH threatened to quit, he relented unwillingly but cut the film’s budget. Nasir took Shammi Kapoor ( who had given 9 flops in a row) and new comer Ameeta and made the low budget film Tumsa Nahin Dekha-57.

When Tolaram Jalan saw the film, he was not happy at all,but the film celebrated Jubilees in 30 cities in India. Nasir Hussain got Rs. 10000/- for the story and his salary for 8 months, Rs.8000/- a total of Rs 18000 for this successful film ! When his mentor Shashdhar Mukherjee left Filmistan, to start his own ‘ Filmalaya Studios’, Nasir also left. For this new company. he made Dil Deke Dekho- 59, introducing Asha parekh as New Heroine. The film was a Hit , but he got only Rs. 25000- . Nasir decided that only his own company can give him more money.

With just Rs. 10,000/- in pocket he established his own Nasir Hussain Films Ltd. and made ‘ Jab pyar kisise hota hai-61. Another Hit. Then he made Phir wohi dil laya hoon-63, Teesri manzil-66. Baharon ke sapne-67, Pyar ka Mausam-69, Carvan-71, Yadon ki baraat-73 and Hum kisise kam nahin-77.

For film Teesri manzil-66, the film started with Dev Anand as the Hero. After 2 reels’ shooting, Dev had some differences and he left the film. Shammi Kapoor was roped in. The film was directed by Vijay Anand and for the first time R D Burman was taken for providing Music. Later on Nasir Hussain, Majrooh Sultanpuri and RD Burman collaborated for another 5 films.R D Burman continued till 1985, doing in all 9 films for Nasir Hussain.

After his films in 1981,84 and 85 flopped serially, Nasir Hussain stopped direction and wrote screen play and dialogues for Qayamat se Qayamat taq-88 and Jo Jeeta Wohi Sikandar-92. His nephew Amir Khan was launched in these films. Nasir Hussain died on 13-3-2002 after a Heart attack.

Actors Asha Parekh, Rajendra Nath , Sidhu, Malika and Krishan Mehta owe their career to Nasir Hussain. Shammi Kapoor ,a struggling actor was given a new identity by him & thanks to him, Shammi Kapoor reached at the pinnacle of popularity. Even Amita became a hit property overnight by the success of Tum Sa Nahin Dekha,

While he encouraged new comers, he did not forget the veteran actors ,who had passed their prime . Late B M Vyas ,who was getting roles only in period/religious/Arabian Night movies was chosen by Nasir Hussain for an important role in main stream movie Tum Sa Nahin Dekha. Old timer Wasti ,who regaled the audiences with his natural acting in Sanjog , Rattan, Pugree made in forties and many Punjabi & Hindi movies later on , was passing through a bad phase . Nasir honored him by offering the roles of substance in Dil Deke Dekho,Jab Pyar Kisi Se Hota Hai & Phir Wohi Dil Laya Hoon. He rekindled the fond memories of the forties ,when he signed actors of proven caliber like Rajinder Singh, Mubarak, Kanu Roy, Raj Mehra ,Mumtaz Ali , Surendra Nath & many more . Here I’ll specifically mention the name of Nasir Khan & Bharat Bhushan ,who were passing through the most difficult phase of their lives . The benign film maker Nasir took them in his movies Yaadon Ki Baraat & Pyar Ka Mausam respectively ,just to assure them that they have not been forgotten and the industry recognizes their contribution . It is my strong belief that it was the blessings of those grateful old timer actors ,which made Nasir Hussain so prosperous and successful.

Nasir Hussain had that typical story formula in most of his films of “overhearing” ! In Tumsa Nahi Dekha, Pran overhears about Shammi Kapoor arriving & after stealing Shammi Kapoor’s recommendation letter, introduces himself as Shankar (Shammi Kapoor) . In Dil Deke Dekho, JPKSHH & Pyar Ka Mausam, the heroes concerned, overhear the heroine speaking about a comedian’s arriving (mostly as a marriage candidate) & after packing the comedian back,the hero banks on the name of the comedian. In Teesri Manzil, Shammi Kapoor overhears Asha Parekh speak, that she has come there to take revenge on himself (Rocky) and implies to Asha & her friends that he is different person named Anil Kumar Sona .
Even though with this common formula in most of his films , all his movies did well at the theatre on the basis of good songs & music !

There was a letter from a reader, in Filmfare, which stated thus, ” It is not at all important to pay attention to that so-called Hindi movie critic group who always referred and called Nasir Hussain as man of the movie with Escapism themes all the time to make his movie at box office hit. Working men need to have some kind of entertainment after spending hours and hours in heaps of works and concerned chores. Naturally there grows the tendency to escape from daily reality by engaging in daydreaming, fantasy….and there comes Nasir Hussain with this magical stick plus his established style of screenplay writing and later directing evergreen chocolate hero viz. Dev Anand…rebellious Shammi Kapoor…smiling Joy Mukherjee….charming Shashi Kapoor….handsome Jeetendra….and there was all time beautiful dancing lady ever present in her gorgeous smile…Asha Parekh who worked with these heroes with her fresh enthusiasm. What else an ordinary cine goer wish to have while spending his money for a ticket at window ? Apart from main hero and heroine there were devoted character actors playing various parts . ”

The Hero of the film Hum kisise kam nahin-77 was Rishi Kapoor, born on 4-9-1952. His first entry through Mera Naam Joker-70 fetched him a Film fare award. His debut as a Hero in Bobby-73 also brought him an award from filmfare. He is one actor who is popular even after he retired from films-not fully though. A film The Body-2019, was just released last week, directed by Jitu Joseph.His son Ranbir Kapoor is carrying the Kapoor mantle very ably.

Rishi Kapoor aka Chintoo has some different records on his name. He is the only actor having had 45 different heroines with whom he was cast. He also worked with 20 New entrant Heroines in their Debut films. He was Hero to seniors like Shabana Azmi, Rekha, Rakhee and Hema ( she was launched by his father), then with Madhuri, Shridevi, Tina Munim and Raveena Tandon. He worked with Simi Garewal in film Karz-1980, after his first film Mera Naam Joker-70. Some of his New heroines were Dimple, Kajal Kiran, Bhavna Bhatt, Ashwini Bhave, Radhika, Farah, Vinita, Zeba, Divya, Naseem, Rukhsaar etc etc. He acted in 162 films and also directed 1 film-Aa ab laut chale-99. He lent his voice in 7 songs in 6 films.

Today’s song is a copy of the famous Abba song ” Mama Mia”. So be it, seeing the youthful Rishi and Kajal Kiran singing and dancing is a real treat, in this video. Enjoy….
( For this article I have used information from Yadon ki Baraat by S Kanekar, The Hindu, wiki, MuVyz, HFGK, article by M N Sardana ji in woh din yaad karo and my notes)


Song- Mil gaya hum ko saathi mil gaya (Ham Kisi Se Kam Nahin)(1977) Singers- Asha Bhonsle, Kishore Kumar, Lyrics- Majrooh Sultanpuri, MD- R D Burman
Chorus

Lyrics

mil gaya
hum ko saathi mil gaya
hum se gar koi jal gaya
wu wu
jalne de
wu wu
jalne de
chal gaya
pyaar ka jaadu chal gaya
hum se gar koi jal gaya
wu wu
jalne de
wu wu
jalne de

tere liye
zamaana tere liye
aur tu mere liye
tere liye
zamaana tere liye
aur tu mere liye

mil gaya
humko saathi mil gaya
hum se gar koi jal gaya

wu wu
jalne de
wu wu
jalne de

tere liye
zamaana tere liye
aur tu mere liye

tere liye
zamaana tere liye
aur tu mere liye

haa

ae haa

hey

ae haa

haa

turuturututu
ha
turuturututu
ha
turuturututu
ha
turuturututu

wow beauty


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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.

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14800 song posts by now.

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