Advertisements

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

Jhanan jhanan mori baaje paayaliyaa

Posted on: April 9, 2019


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 :

3917 Post No. : 14980 Movie Count :

4096

Today’s song is from film Poornima-38.

The film was made by Prakash Pictures- a joint venture of brothers, Shankar and Vijay Bhatt. The film was directed by Balwant Bhatt- not related to them but elder brother of another director Nanabhai Bhatt. In those days Marathi and Gujarati people were found in large numbers in the film industry. The simple reason was that Bombay was in Bombay Presidency and both Bombay(Maharashtra) and Gujarat were its part. Secondly, two two major requirements of films, namely Finance and Actors were available in abundance here. Gujarati people controlled the finance and Marathi people looked after the acting side.

However, for acting and for other branches of film making people from all over India flocked to Bombay, but money investment was done by the locals. If you see the cast of any film made in the early era, you would find names of Muslim girls in abundance. For example, just see the cast of today’s film only. It consists of Sardar Akhtar ( Sardar is a proper name and not a title), Shirin Bano, putli bai,Noorjehan, Tarabai, Nirasha etc. There was a reason for this too.

As the Talkie films started, the number of Anglo Indian Girls rapidly went down as most of them did not know Hindi nor could they sing.Only a few hard working Anglo Indian girls survived and progressed from silent to Talkie films,like Savita Devi (Iris Gasper)-who learnt Hindi/Urdu and singing,with efforts, Sulochana (Ruby Myers),Indira Devi(Effie Hippolet),Lalita Devi(Bonnie Bird),Pramila(Esher Abrahams),Seeta Devi(Renee Smith),Madhuri(Beryl Classen),Manorama(Winnie Stewart) etc. Since singing was an important requisite,the field was now open to singing girls from Kothas,Tawayafs and professional singers.Reasonably good looks and singing ability was what made them actresses. These girls,who came from Kothas and professional singer families used the suffix ” Bai” to their names to differentiate their specialty. Thus you had Jaddan bai,Amir bai,Johrabai,Rattan bai etc etc.

Many young singing girls found Cinema as a place where they could get (catch ? ) a good Husband from a better family background,earning respectability(forget religion). Many starlets married Producers,directors,Actors,Singers and Composers,left acting and settled as respectable Housewife. Some girls got Husbands from Nawabs and the Royalties,as they were patrons of Arts. Many examples from early era can be cited in this connection like Gulab bai alias kamla devi married S.Fatelal-Dir. in Prabhat Films.

Jaddanbai married a Medical student and a Jahagirdar-Uttamchand. Fatima bai(mother of Alam Ara fame Zubeida) married nawab of Sachin,Guajarat
Sultana married Yusuf laljee,Businessman and chief od Bombay Municiple corpn. Actress Sarojini(Roshan) married Nanubhai Vakil-producer/Dir (Their daughter was actress AZRA)

Actress Indurani (Ishrat)-sister of Sarojini- married Ramniklal Shah-Prod/Director
Actress Shirin bai married Nanabhai Bhatt (Their sons are Mahesh Bhatt and Mukesh Bhatt)
Actress Zubeida of Alam Ara married Raja Dhanrajgir of Hyderabad-deccan.
The other actress Zubeida (on whose life, film Zubeida was made) married Maharaja Hanwant Singh of Jodhpur etc.

This trend continued in the industry even after things changed and educated and respected family people entered the industry. Now,one could see marriages were taking place between people of film industry itself like Rattanbai and Director Hafiz,Jyoti and Durrani, Nalini Jaywant and Virendra Desai, Noorjahan-Shaukat hussain rizvi, Meenakumari, Sardar Akhtar, Snehprabha Pradhan, Anil Biswas, Lalita Deulkar etc.

In recent era instances were Waheeda Rehman, Kishore kumar, Asha Bhosle, Hemant kumar, Manik verma, Premlata, Geeta Dutt, Rishi kapoor, Rajesh khanna, Amitabh Bachhan and Abhishek Bachhan etc.

In the cast you find a name Shirin Bano. Yes, she too is one of the above listed artistes who joined films to get a suitable husband and lead a respectable and comfortable life. Shirin, Shirin Bai or Shirin Bano was from a Tawayaf mother from Lucknow. Her father was a Tamil Brahmin- Ram Seshadri Aiyar, who worked as an Accountant with Kikubhai Desai ( father of Manmohan Desai) in his Distribution department.They were 5 sisters and 1 brother. Shirin joined films at an early age. Her first film was Maharani-34 same year she worked in Vehmi duniya, Sewa sadan and Bala Joban. In 1935 her films were Shamsher e Arab, Pardesi Sainya and Bambai ki Sethani. In 36, she worked in Top ka gola, Snehlata, Passing show and Azad veer. Khwab ki duniya, His Highness and Challenge from 37, State Express and Purnima in 38, Leather face and Hero No.1 from 1939. Total 18 films only.

Her youngest sister Meher Bano also joined films with the name Purnima ( she also married a Producer Director Bhagwandas Varma). Shirin married Producer Director Nanabhai Bhatt, who already had a wife and 9 children. They had 2 sons- Mahesh Bhatt and Mukesh Bhatt.

The Heroine of this film was Sardar Akhtar. The life story of Sardar Akhtar- Heroine of this film- is very interesting. Sardar Akhtar was a Punjabi Muslim born in Lahore in 1915. Her mother was a famous singer on the infamous Hira Mandi Road of Lahore. Akhtar learned singing from her mother and also other ustads. Her younger sister Bahar Akhtar was beautiful and a good singer. These sisters were famous as Daaro and Baharo in Lahore. Bahar was hired by United Players Corpn. of Lahore , as a Heroine in their film ” Qatil Katar “. Producer A R Kardar was also its Hero. They fell in love. Bahar was under strict surveilance by her mother, but with the help of a friend, Kardar abducted her and they were married. When this news reached her mother, Akhtar and her mother made a Police complaint against kardar. Kardar and his unit members were arrested and kept in a lock up for few days for abducting a Minor girl. They were released when Bahar herself gave a statement in their favour. Kardar destroyed the negatives of his film to prevent Bahar from further acting in films.

After this episode Akhtar started working in dramas. She went to Calcutta and did a small role in film Dhoop Chaaon-35. From there she came to Bombay and joined Saroj Movietone. She did films like Eid ka chaand,Roop Basant and Naqsh e Sulemani and earned a good name. She acted in films of Minerva and Wadia-mostly stunt action films. Mehboob khan gave her a big role in film Aurat-40 and her image changed. She also did Mehboob’s film Roti, during which they got married on 25-4-1942. They did not have any issues but they adopted Saajid khan, child star of film Son of India-62. After Mehboob’s death in 1964 May, Akhtar lived alone, occasionally visiting Sajid khan, who had settled in USA.

Sardar Akhtar did 44 films. Her last film was Raahat-45. However, she did small roles in films Hulchal-71 and Bandhe Haath-74. Sardar Akhtar sang 92 songs in 27 films. Considering that she was not a regular or playback singer, her 92 songs were highly creditable. Not even 50% of her songs came on gramophone records. During one of her US visits, Sardar Akhtar died there on 2-10-1984. She was a devotee of sufi saint Ashraf khan, her co-star of many films including Roti-42.

The film had 15 songs sung by Sardar Akhtar, Shirin Bano, Ranjit and Shankar Rao Vyas himself. He was the film’s Music Director. This was his first film with Prakash Pictures. He went on working with them in many more films.

Prof. Shankarrao Vyas (1898-1956) was born in Kolhapur on 23-1-1898. His father Ganeshpant was a well known Keertankar and Puranik! So, he was brought up in the religious and musical environment. Unfortunately, Ganeshpant died when Shankar was seven years old. His paternal uncle brought him up for few years. His maternal uncle (Mama) noticed his inclination towards music and enrolled him in the ‘gurukul’ of Maharaj (Pandit) Vishnu Digambar Paluskar.

In those days, students had to sign a bond with the Gandharva Mahavidyalaya. Training period would last 8-10 years and the student would become all-rounder in every field related to music. Thus, Shankar Rao spent nine years in this gurukul, earned ‘Sangeet Pravin’ degree and gold medal for overall development. With the suggestion of guruji, he worked in Lahore vidyalaya for few years.
In 1931, he moved to Ahmadabad for establishing branch of Gandharva Mahavidyalaya. He was an expert not only in vocal music, but could play and repair many instruments including sitar, jaltarang and mendolin. He would conduct orchestra consisting of Indian and western instruments. He was also a very good composer and wrote several bandishes. He was the key person in planning music section of national (Rashtriya) schools: an idea originated by Gandhiji in Ahmadabad.

In 1935, he left Ahmadabad and settled in Bombay. He founded school for music education at Dadar, just outside the western railway station. ‘Vyas Sangeet Vidyalaya’. It is still functioning at this place. His brother Narayanrao Vyas and brother in law Vasantrao Rajopadhye also joined him in this noble cause. Around 1930/31, HMV Company invited both Vyas brothers for recordings and they cut over 200 songs (100 discs) until about 1938. He also cut few orchestral records under ‘Vyas Brothers’ banner playing pure classical ragas. These records were best sellers and company had printed their photographs on record catalogues.

This period was also the beginning of talkie films. Shankar Rao composed music for Hindi (35), Marathi (5), and Gujrathi (3) films from 1937-1955. His first film as a composer was ‘ His Highness’ -37 and the last was ‘ Baal Ramayan’ -released in 56. He also composed background music for fifteen films. Most of his films were based on religious or mythological themes. He also taught music to non-singing actors such as Sardar Akhtar and Shirin Bano. His most famous musical films were – Narsi Bhagat (1940), Bharat Bhet (1941), Ram Rajya (1943, in Hindi and Marathi). Saraswati Rane sung ‘Beena madhur madhur kachu bol’ in raga Bhimpalas in Hindi film ‘Ram Rajya’ and this song became popular throughout India. This was the only film that Gandhji watched in cinema hall and was much impressed with the music. Songs from Marathi version of ‘Ram Rajya’ viz. ‘Sujanho parisa ramkatha’ and ‘Ladkya raanila lagale dohale’ are shown on TV even today.

He was very busy in many fields as a composer, Principal of his music school, author of articles and bandishes, President of Gandharva Mahavidyalaya and founder editor of ‘Sangeet Kala Vihar’ magazine (founded in 1947) of Vidyalaya that is published even today. He passed away at Ahmadabad on 17-12- 1956. He has sung couple of abhangs of Saint Tukaram. These are available on HMV records. Record P 13454 published in 1931 has a sweet abhang – ‘Roopi guntale lochan, charani sthiravale mana’.

Film Poornima-38 was based on the popular famous novel Purnima-in Gujarati- by writer Ramanlal Vasantlal Desai. Let us now enjoy the first song of this film here. The film makes its debut on the Blog.


Song-Jhanan Jhanan mori baaje paayaliya (Poornima)(1938) Singer-Sardar Akhtar, Lyrics-Sampatlal Shrivastav Anuj, MD- Shankar Rao Vyas

Lyrics

Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori baaje paayaliya
baaje paayaliya
jaage saheliyaan
baaje paayaliya
jaage saheliyaan
Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori baaje paayaliya
baaje paayaliya
jaage saheliyaan
baaje paayaliya
jaage saheliyaan
Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori

saas nanadiya mori akeli
saas nanadiya mori akeli
piya milan kaise jaaoon akeli
piya milan kaise jaaoon akeli
daiyya dewarwa paas bithhaawe
daiyya dewarwa paas bithhaawe
Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori baaje paayaliya
baaje paayaliya
jaage saheliyaan
baaje paayaliya
jaage saheliyaan
Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori

jata joot ??
pati shesh chandr ??
lalaat ??
maal gale shesh ??
parvati pati shiva har har
parvati pati shiva har har
parvati pati shiva har har

Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori baaje paayaliya
saas nanadiya mori akeli
saas nanadiya mori akeli
piya milan kaise jaaun akeli
piya milan kaise jaaun akeli
daiyya dewarwa paas bithhaawe
daiyya dewarwa paas bithhaawe
Jhanan Jhanan mori baaje paayaliya
Jhanan Jhanan mori baaje

Advertisements

4 Responses to "Jhanan jhanan mori baaje paayaliyaa"

Your article mentions Sardar Akhtar as having acted in ROTI (1942). What role was this? Sitara Devi and Begum Akhtar were the main actresses in the film.

Like

Mehboob had decided to marry Sardar Akhtar, but he was afraid of his elder brother M.R.Khan’s reaction since Sardar Akhtar hailed from Heera Mandi. So, during the shooting of Roti, he asked her to come to the sets. To justify her presence, she was given a small, uncredited, insignificant role, which she enacted. Then during the Lunch break they both went out and got married.
Thus , for namesake she acted in Roti but it was not publicised. I have no information what the role actually was.
-AD

Like

Arunji,
This is an excellent article. Congratulations. Narayanrao Vyas’s son Vidyadhar Vas, too, is also an eminent singer of Gwalior gharana. CR (Chintaman Raghunath) Vyas during his days was a doyen of this gharana. I don’t remember his exact relationship with Shankar Rao/Narayan Rao Vyas.
AK

Like

AK ji,
Thanks for your comments and appreciation.
Narayanrao and Shankar rao were brothers, but, as far as I know, C R Vyas was in no way related to them.
-AD

Like

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Advertisements

Important Announcement

(© 2008 - 2019) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

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

Total number of songs posts discussed

15212

Number of movies covered in the blog

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

Total visits so far

  • 12,221,953 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,759 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Archives

Stumble

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Advertisements
%d bloggers like this: