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

Archive for May 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 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 :

3969 Post No. : 15053 Movie Count :

4130

Today’s song is from a film of the first decade of the Talkie, ” Yangrilla “-1938. The song is sung by Sarla. No information is available about this singer. The cast of the film was Enakshi Rama Rau, Nayampalli, David, Gyani, Saalu, Shareefa, S L Puri, Fatty Prasad and few others.

It is generally said that in the early era, most actors and actresses came from poor families and most artistes had no or had negligible education. While it is true to a great extent, it is not 100% true. It is not that even in this period, there were no educated persons in the film industry. Right from the beginning of the Silent era to Talkie film era up to the end of the 40s decade, there were actors, actresses, directors,producers and musicians who were quite educated. Some of them had even been trained in western countries.

Take the case of Himanshu Rai and Devika Rani and their team of writer like Niranjan Pal, from the silent era. They were all highly educated and from rich. cultured families. Niranjan Pal was the son of the Freedom fighter Bipin chnadra Pal. B.N.Sircar is another example. Director Nanubhai Vakil was actually an advocate with B.A. LL.B degree. Surendra was BA, LL.B. Motilal was a graduate, so were Ramchandra Thakur, Nandlal Jaswantlal, Jayant Desai, Jairaj, Umakant Desai. Ashok kumar, Dev Anand and his 2 brothers etc.

Among actresses, Leela Chitnis, Shanta Apte, Durga Khote, Renuka Devi were graduates. Vanmala was BA,BT. Kamini Kaushal was BA. The point here is, there were educated and people with respectable family background were also a part of film industry. But of course, initially their number was smaller compared to others who were either illiterate or less educated. For example, the beautiful Meena Shorey and Sitara Kanpuri could not even sign- leave alone reading and writing !. That is why, they were cheated in their contracts by Sohrab Modi and W.Z.Ahmed ( of Shalimar Pictures and husband of actress Neena).

In today’s film, Yangrilla-38, the Hero, Heroine and the Director were all highly educated. The Heroine, Enakshi Rama Rao was the daughter of an ICS officer of Madras Presidency. She came to England for her graduation. After graduation, she took part in some stage dramas, where she got introduced to Niranjan Pal and Himanshu Rai. When Himanshu Rai decided to make a silent film on Tajmahal story, he asked Niranjan Pal to write the film story. Sita Devi aka Renee Smith was selected for the Vamp’s role and Enakshi was selected for the main role of Selima ( who was later named Mumtaj Mahal by Prince Khurram- who was later known as Shahjehan.). The film was named Shiraz.

Enakshi is a very unusual name. Comparatively, Meenakshi is a well known name. Meenakshi means ” one with eyes like Fish “. Enakshi means ” one with the eyes of Doe or Deer”. In other words, Enakshi means Mrignayani. Except name of this actress, I have never ever come across this name (Enakshi) in my life elsewhere !

Her work in film Shiraz was applauded in England, Germany and India. When she returned to India, She met Bhavnani, who made a silent film Vasantsena-31, with her in the lead role. More than as an actress of Silent and Talkie films, Enakshi’s name was known in Elite circles for different achievements, after she stopped working in films.

Not many of us know that Meenakshi Bhavnani ( Enakshi Rama Rao before her marriage ) has done an enormous service to expose Indian dances and Designs to West. No lesser is her contribution to expose Kashmir Crafts and Designs ( Fabric , Wood and Papier Mache ) to west. An American Tourist told in Kerala recently about her detailed work on Kashmir Designs ( shawls , Jackets ).This side of Meenakshi’s personality and work is in addition to her contribution as a Dancer, photographer and actress .Two scholarly Books written by Meenakshi Bhavnani were also published. Both the books are preserved in American Museum of Natural History.These are ..

(1) Folk And Tribal Designs of India
(2) The Dance of India: The Origin and History Foundation, Art and Science of the Dance in India .

This exceptionally talented woman stayed in Kashmir for sometime in 1950 and met cross section of people connected with Arts and Crafts . She had been a visitor thereafter as well . She also visited Leh and kargil for her Book. During this period she also clicked some photographs in Kashmir portraying its rich culture and scenic beauty.She also shot a Documentary “ VALEY OF KASHMIR “ during this period..
Meenakshi was an active member of the Crafts Council of India, which was founded in 1964 to support artisans and keep their crafts relevant and marketable amid rapidly changing economies at home and abroad.
The Photographs clicked by her have also appeared in National Geographic Magazine especially her series.
And in her book on folk dances of India , Meenakshi covers all forms of Kashmirian folk dances .

Enakshi married film maker Mohan Bhavnani ( 1903-1962 ) who was trained in Germany and Hollywood. She was a dancer , Actor , Photographer and writer on Arts , Crafts and culture. From 1929 to 1938, She acted in six films as a leading lady . Out of these six films five ( Vasantsena-31 , Trapped-31 ,Jagaran-36 , Himalaya ki Beti-38 and Yangrilla-38 ) were directed by her husband Mohan Bhavnani . Only Shiraz ( 1929 Produced by Himanshu Roy ) was directed by Franz Osten .

Producer Director Mohan Bhavnani was a learned and illustrious person. This is what the Encyclopedia of Indian Cinema says about him-
Mohan Dayaram Bhavnani (1903-62)

Hindi director born in Hyderabad, Sindh. Studied at College of Technology, Manchester (1921-4), then studied film-making in Germany at UFA (1924). Contracted to Kohinoor (1925- 6) where his Sulochana films were the earliest efforts in the Indian cinema to create a Hollywood-type movie star, e.g. Cinema Ni Rani where she plays a famous actress with whom the painter hero falls in love, or Wildcat of Bombay where she played multiple roles. Joined Imperial (1927-9), where he made Khwab-e-Hasti, adapted from the novel Dreamland (later also adapted by N. Taurog’s Strike me Pink, 1936). Scripted by A.S. Desai, this film is not to be confused with Kashmiri’s play of the same title. Vasantsena was the first Kannada intertitled film. Became independent producer with Indian Art Prod. (1931-2). Returned to Germany to study sound film technique. Started Ajanta Cinetone (1933-4) and his own Bhavnani Prod. (1935-48). Sound de´but was a flop, but it introduced Durga Khote. Hired Premchand to script Mazdoor, representing the author’s only direct encounter with film, following it with the unemployment melodrama Jagran. Produced and directed the first full-length colour film shot on 16mm Kodachrome and blown up to 35mm, Ajit. Joined Films Division and became its first Chief Producer (1948-55). In 1958 Bhavnani followed up an invitation from Zhou En-Lai to make a documentary on China and travelled extensively throughout the country shooting with cameramen Kishore Rege and S.K. Kulkarni. His wife Enakshi Rama Rao, who acted in Vasantsena, had earlier played the lead in Shiraz (1928) and became a noted dancer and author of the book The Dance of India (1965).

FILMOGRAPHY: 1925: Cinema Ni Rani; Matri Prem; Veer Bala; Seth Sagalsha; 1 9 2 6 : Pagal Premi; Diwan Bhamasha; Mena Kumari; Ra Kawat; Samrat Shiladitya; Bhamto Bhoot; 1 9 2 7 : Naseeb Ni Lili; Daya Ni Devi; Trust Your Wife; Wildcat of Bombay; Gamdeni Gori; 1929: Hawai Swar; Khwab-e- Hasti; Mysore, Gem City of India (Doc); Khedda (Doc); 1 9 3 0 : Vasantsena (all St); 1 9 3 1 : Shakuntala; Farebi Jaal; Lafanga Langoor (Sh); 1 932: Veer Kunal; 1 933: Afzal; Rangila Rajput; 1 9 3 4 : Dard-e-Dil; Mazdoor; Sair-e-Paristan; 1935: Jung Bahadur; Navjeevan; Shadi Ki Raat; 1936: Dilawar; Garib Parwar; Jagran; Wrestling (Doc); 1 9 3 7 : Zambo the Ape Man; 1 9 3 8 : Double Cross; Himalay Ki Beti; Yangrilla; 1 9 3 9 : Zambo Ka Beta; 1940: Jhoothi Sharm; PremNagar?; 1945: Biswi Sadi; 1 946: Rang Bhoomi; 1 948: Ajit; 1 9 4 9 : Vale of Kashmir (Doc); 1 9 5 0 : The Private Life of a Silkworm (Doc); 1 9 5 1 : Lest We Forget (Doc); 1 9 5 2 : Kumaon Hills (Doc); 1 9 5 3 : Folk Dances of India (Doc); Republic Day Record (Doc); 1 9 5 5 : Republic Day 1955 (Doc); 1 956: Operation Khedda (Doc); 1 957: The Himalayan Tapestry (Doc ).

Like the Heroine, the name of the film was also strange. I tried very hard to find out what the word Yangrilla meant, but I could not get it. Finally, undaunted, I started going through the list of books on line. Lo and behold ! I bumped into a book with a title ” Rilla of the Inglewood ” written by Lucy Maud Montgomary, published in 1921. Some part of the book was available for reading online and while reading it, I found that ” Yangrilla ” in Swahili language meant a Hunter. Not going into the book and its boring story, I was glad that at last I decoded the word Yangrilla…a Hunter. Considering that the film ‘ Yangrilla’-38 was a Costume drama, I can guess that this film’s story must have been connected with hunting, Jungle and such other interesting and thrilling matters. Film Yangrilla-38 was financed by Ramnarayan Dubey, who in later years swallowed Bombay Talkies with its Land and started an Industrial complex on its land with about 250 to 300 manufacturing units. Recently his grandson was in news for announcing revival of Bombay Talkies !

The Hero of this film was Nayampalli. S.B. Nayampally (or Nayampalli) was working at the firm of Killick, Nixon and Company, in Bombay when he was discovered by film director P.Y. Altekar at a gym where Nayampally regularly exercised. Altekar felt that Nayampally very much resembled the famous French boxer Georges Carpenter and would be perfect for the stunt films that had become popular at the time. At Altekar’s urging, Nayampally joined Imperial Studios and was quickly cast in his first film, Wedding Night(1929), opposite the popular actress Jilloo. When he arrived at Imperial to begin his first day of filming he was amused to find that the building now used for the studio had formerly housed the school he’d attended as a child.“Wedding Night was a stunt film of the Robin Hood type,” Nayampally explained in a 1964 interview. “It had a little more of a plot to it than many films of the same class. My next film, Hell’s Paradise (1929), I remember for three reasons. One, it was based on a real-life episode involving an Indian prince and a foreign girl, described as an adventuress. Two, Mama Warerekar, the noted writer, did the story. Three, the film had a kissing scene, probably the first ever in an Indian film.”

Nayampalli was cast in Imperial’s Noorjehan (1931), which was initially to be a silent picture, but because of the success of their film Alam Ara (1931), which was India’s first talkie, the studio decided to make Noorjehan partly with sound. Nayampally was not originally cast in Noorjehan, but a chance meeting with the film’s director, Ezra Mir, got him the role of Prince Salim in the film.Nayampally then played Karna in Imperial’s next sound film, the mythological Draupadi (1931), but the actor considered his best mythological role to be that of the wily Shakuni in Mahatma Vidur (1943), a part that was appreciated by critics and the public, alike.

As sound films came in, silent actors were being discarded in favor of those with stage backgrounds and could not sing, so Nayampalli joined the Grant Anderson Theatrical Company which specialized in Shakespearean plays. After gaining some experience he tried to rejoin films, but without much luck. His previous roles had been leads, so he decided if he wanted to work regularly, maybe he should take a different approach and he offered himself up for character parts.His break came in the role of a hunchback in love with the heroine in Ezra Mir’s Zarina which starred Jal Merchant and Zubeida. The dentures he wore for the role were created specially by a dentist named Jimmy Gheista who had trained abroad with the dentist who had made similar dentures for Lon Chaney.

Nayampally had learned early on how to apply make-up for his roles and, in fact, he became so good at it he eventually came to specialize in horror make-up, which earned him the nickname “The Indian Lon Chaney.” Indeed, Chaney, Erich von Stroheim, Emil Jannings, and John Barrymore were the actors that Nayampally most tried to emulate. Boris Karloff was another of his role models. He was able to put his make-up expertise to good use for the film Sair-e-Paristan (1934), where he was a vampire-like devil, and in Zingaro(1935), in which he played a monster created by a mad scientist, and then as a the hairy “missing link” in Zambo (1937) and its sequel Zambo Ka Beta (1938). For Kalkoot (1935) he created a make-up to resemble the wrinkled effect that Karloff had used in The Mummy(1932).

Nayampally continued working in films throughout the 1940s and 50s, particularly in mythologicals and costume pictures including Raj Nartaki (1941), Nagad Narayan (1943), Vishwas 1943), Taramati(1945), Urvashi (1946), Jhansi-Ki-Rani (1953), Durgesh Nandini (1956), Basant Bahar (1956) and Shiv Parvati (1962) His last credited film appearance was in 1970’s Priya.

After the career in films ended, he started making Documentaries. He made about 35 documentaries. He won ‘Silver Dolphin’ award for his documentary in the International Film Festival at Teheran in 1970. He died on 7-5-1994, in Mumbai.

Pt. Badri Prasad was the Music Director of film Yangrilla-38. He used 6 different singers for 11 songs in the film. Besides issuing records for its songs, the producer also floated 2 records of ‘ Bhavnani Productions orchestra ‘.

The uploader of today’s song, our own Sadanand ji Kamath has certified this song to be ” rarest amongst the rare ” songs. With this song, film Yangrilla-38 makes its Debut on the Blog.


Song- Kaase main kahoon piya hiya ki baat(Yaangrilla)(1938) Singer- Sarla Devi, Lyrics- Unknown, MD- Pt. Badri Prasad

Lyrics

Kaase main kahoon
piya hiya ki baat
Kaase main kahoon
Kaase main kahoon
piya hiya ki baat
Kaase main kahoon
Kaase main kahoon
piya hiya ki baat
Kaase main kahoon
piya hiya ki
kaun sunega prem kahaani
kaun sunega prem kahaani
aur usey phir meri zabaani
aur usey phir meri zabaani
yah duniya to preet ki bairan hai
Kaase main kahoon
piya hiya ki baat
kaase main kahoon

is duniya ke rahne waale
is duniya ke rahne waale
kapti paapi man ke kaale
kapti paapi man ke kaale
paap(?) hi inka ghar(?) aur joban hai
Kaase main kahoon
piya hiya ki baat
kaase main kahoon
kaase main kahoon
kaase main kahoon


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 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 : 3968 Post No. : 15052

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 33
——————————————————————————————

30th May – ten years ago. The steady pace of six songs per day is quite natural, and consistent. The six movies that were represented that day are

  • Chaandni Chowk             1954
  • Aas Ka Panchhi               1961
  • Aadhi Raat Ke Baad         1965
  • Zanjeer                          1973
  • Hamshakal                      1974
  • Bhola Bhaalaa                 1978

The first four films on this list above are already fully represented on our blog. The reprisal song for today is from the 1978 film ‘Bhola Bhaala’. This film is directed by Satpal, under the banner of Venkteshewara Pictures, Bombay. The cast of actors is listed as Rajesh Khanna, Rekha, Maushumi Chatterjee, Joginder, Satyen Kappu, Sulochana, Pinchoo Kapoor, V Gopal, Sudhir Thakkar, Jankidas, Rajkumar, Devraj, Master Chiku, Shakti, Ashu, Deven Verma, Jagdeep, Sudhir, Ratnamala, Raj Mehra, and Aruna Irani.

The six songs in this film are all penned by Anand Bakshi. Music direction is by RD Burman. This is the third song of this film to appear on our blog.

On screen, this song is lip synced by Rajesh Khanna, disguised as a sanyaasi. Rekha also appears in this song, as the main dancer attraction. She is also wearing saffron clothes, but she is not lip syncing. Apparently, a certain rich man is making an offering of a costly chhatr (‘छत्र’), as he has been blessed with a son after a very long wait.

This song seems to be a song of deception, to steal that costly offering. I have not seen this film, and so I request other knowledgeable readers to please add more information about this film and this song situation.

Video

Audio

Song – Dheere Dheere Naach Ri Jogan (Bhola Bhaala) (1978) Singer – Kishore Kumar, Lyrics – Anand Bakshi, MD – RD Burman
Chorus

Lyrics (Provided by Avinash Scrapwala)

dheere dheere naach ri jogan
paayal thhak nahin jaaye
prabhu darshan ke samay kisi ki
palak jhapak nahin jaaye
prabhu darshan ke samay
kisi ki 
palak jhapak nahin jaaye

dheere dheere naach ri jogan
paayal thhak nahin jaaye
prabhu darshan ke samay kisi ki
palak jhapak nahin jaaye
prabhu darshan ke samay kisi ki
palak jhapak nahin jaaye

sab jaage hain
sab soye hain
sab jaage hain
sab soye hain
maaya ke jaal mein khoye hain
kaun hain saadhu oo
kaun hain daaku oo
kaun hain saadhu
kaun hain daaku
kisi pe shaq nahin jaa..aaye
teri paayal thhak nahin jaaye
prabhu darshan ke samay
kisi ki 
palak jhapak nahin jaa..aaye
prabhu darshan ke samay
kisi ki
palak jhapak nahin jaaye

teri paayal ki..ee
jhankaar kahe
teri paayal ki
jhankaar kahe
har ek bhagat taiyyaar rahe
aise samay mein..ae
dil koyi..ee
aise samay mein dil koyi
naadan dhadak nahin jaa..aaye
teri paayal thhak nahin jaaye
prabhu darshan ke samay kisi ki
palak jhapak nahin jaa..aaye
prabhu darshan ke samay kisi ki
palak jhapak nahin jaaye

[Dialogue: maharaj chhatra aa rahaa hain
pooja ki saamagri taiyyaar rakhiye!]

[shankar ji ki krupa se
baarah saal ke baad sethji ke ghar
ladka paida hua hai!]

[tabhi to chhatra chadhaa rahe hain
do laakh ka!]
[aayiye aayiye aayiye
aayiye aayiye!]

ab darshan honay waala hain
kuchh arpan honay waala hain
hoshiyaa..aar
ek ki baat kisi duje ke
kaanon tak nahin jaa..aaye
paayal thhak nahin jaaye
prabhu darshan ke samay kisi ki
palak jhapak nahin jaa..aaye
prabhu darshan ke samay kisi ki
palak jhapak nahin jaaye

dheere dheere naach ri jogan
paayal thhak nahin jaaye
prabhu darshan ke samay kisi ki 
palak jhapak nahin jaa..aaye
prabhu darshan ke samay kisi ki
palak jhapak nahin jaaye

———————————————————-
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————-
धीरे धीरे नाच री जोगन
पायल थक नहीं जा॰॰॰ए
धीरे धीरे नाच री जोगन
पायल थक नहीं जा॰॰॰ए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जा॰॰॰ए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जा॰॰॰ए

धीरे धीरे नाच री जोगन
पायल थक नहीं जा॰॰॰ए
धीरे धीरे नाच री जोगन
पायल थक नहीं जा॰॰॰ए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जा॰॰॰ए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जा॰॰॰ए

सब जागे हैं
सब सोये हैं
सब जागे हैं
सब सोये हैं
माया के जाल में खोये हैं
कौन हैं साधू॰॰ऊ
कौन हैं डाकू॰॰ऊ
कौन हैं साधू
कौन हैं डाकू
किसी पे शक नहीं जा॰॰॰ए
तेरी पायल थक नहीं जाए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जा॰॰॰ए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जाए

तेरी पायल की॰॰ई
झंकार कहे ए
तेरी पायल की
झंकार कहे
हर एक भगत तैयार रहे
ऐसे समय में
दिल कोई ई
ऐसे समय में
दिल कोई
नादान धड़क नहीं जा॰॰॰ए
तेरी पायल थक नहीं जाए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जा॰॰॰ए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जाए

[संवाद-
महाराज छत्र आ रहा हैं
पूजा की सामग्री तैयार रखिये,]

[शंकर जी की कृपा से
बारह साल के बाद सेठजी के घर
लड़का पैदा हुआ हैं,
तभी तो छत्र चढ़ा रहे हैं
दो लाख का !!]
[आईये आईये आईये
आईये आईये …!!! ]

अब दर्शन होने वाला हैं
कुछ अर्पण होने वाला हैं
होशियार
एक की बात किसी दूजे के
कानों तक नहीं जा॰॰॰ए ए
तेरी पायल थक नहीं जाए
प्रभु दर्शन के समय किसी कि
पलक झपक नहीं जा॰॰॰ए
प्रभु दर्शन के समय किसी कि
पलक झपक नहीं जाए

धीरे धीरे नाच री जोगन
पायल थक नहीं जाए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जा॰॰॰ए
प्रभु दर्शन के समय किसी की
पलक झपक नहीं जा॰॰॰ए



This article is written by Peevesie’s mom, 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 :

3968 Post No. : 15051 Movie Count :

4129

Hullo Atulwaasis

Today’s song is for all those who relish old songs. I am sure they will like it more because it is in black ‘n’ white. Now the majority of the blog’s followers will say – “oh, a song from the 40s,50s or 60s”. Next, I will say it is sung by Shekhar Ravijani AND Sneha Pant. I am sure the reaction to this would be “WHO?!!”. Finally, I will say that its written by Vishal Dadlani and music directors are Vishal (Dadlani) and Shekhar (Ravijani) and is from a movie released in 2006.

Now I have everyone’s attention, I think?

Let us first wish our dear Shri Paresh Rawal a very happy birthday. He turns 65 today. I am not sure when was the first time I saw him on screen but he has been an entertainer since 1984 in films and prior to that I am sure he must have done some theatre as he is an alumnus of the NM College in Mumbai which has an active drama group and has given the industry many a talented actors. Going by his filmography available online I seem to be following him from his first commercial movie “Arjun” which had him play villain along with Prem Chopra & Anupam Kher.

I seem to have seen most of the movies he was present in in the 80s and 90s (either in a movie hall or on television, but I have definitely seen “Naam”, “Samundar”, “Mirch Masala”, “Dacait”, “Marte Dam Tak”, etc. So many memories with each movie. He was main villain in “Roop Ki Rani Choron Ka Raja”, “King Uncle”, “Daud”; “Daud: and “King Uncle” adding a touch of comedy to his villainy and this mixture of comic- villainy was the mainstay of “Andaz Apna Apna”. He turned to full time comedy for the Priyadarshan directed 2000 release “Hera Pheri” along with Macho-men Akshay Kumar and Suneil Shetty. He won the Filmfare Best Comedian Award for playing Baburao Ganpatrao Apte. Since then we have seen him play various character roles which are not only villain or comedian or serious just give him a role and he will fit in. Recently I saw a 1993 movie on TV- “Sardar” – through the movie I forgot I was seeing Paresh Rawal playing the role. It felt as if India’s Iron Man himself was there on screen; no wonder the movie got him international acclaim.

I must confess that being a huge fan of his I can go on and on. So I am moving on to the song of the post. 2006 saw Paresh play Baburao all over again in the sequel to “Hera Pheri” -’’Phir Hera Pheri”. We also saw him in “Malamaal Weekly”, “36 China Town”, “Chup Chup Ke”, “Jaan Hoga Kya”, “Golmaal Fun Unlimited”, “Yun Hota toh Kya Hota”, “Bhagamk Bhaag”, “Familywala”.

“Golmaal Fun Unlimited” directed by Rohit Shetty saw Paresh play a blind man who is waiting for his grandson’s arrival from America along with his blind wife Sushmita Mukherjee. The gang of four naughty leading men end up landing in his home and then the laughter the movie generates just increases. Th movie was a surprise success at the box-office. Today’s song happens as the blind man relates how he fell in love with Mangala (Sushmita Mukherjee) and how he was shy to admit it. The song was picturised as a mixture of colour and black-n-white and was very cute visually with Sushmita trying to be coy like the heroines of the 60s and please don’t miss the lamb she is holding with Paresh Rawal trying to be Dev Anand, Dilip Kumar etc. 😉

So that then explains the opening to this post. Hope the followers of the blog like the song as much as I do.


Song-Kyun aage peechhe dolte ho bhanwron ki tarah (Golmaal Fun Unlimited)(2006) Singers-Sneha Pant, Shekhar, Lyrics-Vishal Dadlani, MD-Vishal Shekhar
Chorus

Lyrics

kyun aage peechhe dolte ho bhanwaron ki tarah
kyun dekhte ho mujhko yoon besabron ki tarah
kyun aage peechhe dolte ho bhanwaron ki tarah
kyun dekhte ho mujhko yoon besabron ki tarah
kya mere deewaane ho,
nahin nahin
kya koyi parwaane ho,
nahin nahin
kya mere deewaane ho
kya koyi parwaane ho
kaam kya hai mujhse
itna keh do ji zara
bol de pyaar hai
khamosh kyun hai khada
hum agar hote toh
bol diya hota

kyun aage peechhe dolte ho bhanwaron ki tarah
kyun dekhte ho mujhko yoon besabron ki tarah

khidki pe meri kyun rakhte ho ankhiyaan
karte ho kyun tum
meri hi batiyaan
karte ho kyun tum
meri hi batiyaan
khidki pe meri kyun rakhte ho ankhiyaan
karte ho kyun tum meri hi batiyaan
mere liye aate ho
nahin toh
geet gungunaate ho
na na
mere liye aate ho
geet gungunaate ho
baat kya hai dil mein tumhaare tumko hi pata
chhod de ye sharam
tu pas usko bula
ham agar hote toh
bula liya hota

kyun aage peechhe dolte ho bhanwron ki tarah
kyun dekhte ho mujhko yoon besabron ki tarah

haathon mein kyun hai ye sone ka kangnaa
tumko pehnaake le jaoonga anganaa
sajani banaoge,
haan ji haan ji haan
jaan bhi lutaoge,
arey haan ji haan ji haan
sajni banaaoge
jaan bhi lutaaoge
aaj ham kahte hain tumse pyaar ho gaya
haath yeh thamkar
kahaan pe tu hai chala
apna bhi shukriya
kar diya hota

hum aage peechhe dolte hai bhanwaron ki tarah
hum dekhte hain tumko yoon besabron ki tarah

kya mere deewane,
arey haan ji haan ji haan
kya koyi parwaane,
arey haan ji haan ji haan ji haan
kya mere deewaane ho,
kya mere parwaane ho
aaj ham kahte hain
tumse pyar ho gaya


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

Blog Day :

3968 Post No. : 15050 Movie Count :

4128

Today’s song is from film Ghar ki shobha-1944.

The history of Hindi Film Music (HFM) begins with the very first Talkie ” Alam Ara”-1931, in which there were 7 songs. Madan Theatres, Calcutta, Krishna Cinetone, Bombay and few other production houses were busy hectically in 1931, to release their First Talkie film, ahead of all others. Lucky Ardeshir Irani got the cake and released his film Alam Ara before all others and engraved his name in the history of Hindi and Indian talkies. Music and singing being an integral part of the Talkie films, many musicians were attracted to films. Stage and Drama musicians and some classical singers joined films and gave music in them. In those days, Film music was totally influenced by Gujarati, Parsee and Marathi stage and Drama music (Natya Sangeet). Probably no one ever imagined that there was a need for a different approach to Cine Music.

For the first 9-10 years of Hindi films, i.e. 1931 to almost 1940,there was virtually no change in the music pattern or the singing styles of songs in films. By the end of the 30s, playback technique was gaining a foothold. This system actually freed the Cinema from songs sung by film stars who were no singers at all ! Genuine, independent, non-star singers were now available to give playback. This was the case in the western India or Bombay made films. The Eastern centre of Hindi film making-Calcutta was strictly following Robindra Sangeet and Nazrul Geeti, adapted into Hindi film songs. They also used more pure Hindi words like Preet, Prem, Bandhan, Milan, Sangam, Vyatha etc to appeal to Hindi belt audience.

Beginning of the change came from the far off Lahore. Dalsukh Pancholi’s “Khazanchi”-41 introduced for the first time the Punjabi folk tunes music in the voice of a New singer SHAMSHAD BEGUM. The use of Dholak and Punjabi robust rhythm in songs was tried by the composer Master Ghulam Hyder. This path breaking,new type of Music was received by the audience with great joy and love, all over India. With this was ushered in the VIBRANT changes HFM was to undergo in the 5th decade,i.e. from 1941 to 1949.

This was also the time when the old batch of actors, singers and composers were slowly getting replaced by a newer crop of artistes. Phirozshah Mistry, Master Ali Baksh, Jaddanbai,Lallubhai Nayak, Pransukh Nayak, Brijlal Verma, Nagardas Nayak, Sunderdas Bhatiya, Govindrao Tembe, Keshvrao Bhole, Master Krishnarao Phulambrikar, master Mohammed, Jhande Khan, Rewashankar Marwadi, B S Hoogan, Meer Sahab, Damodar Sharma, Jhande Khan, Rewashankar Marwadi, S P Rane, Vithaldas Panchotiya, Annasaheb Mainkar, Dada Chandekar, Mushtaq Hussain, Master Chhaila etc were disappearing one by one.

A new set of composers and singers like Anil Biswas, Ashok Ghosh, C.Ramchandra, Ghulam Hyder, Sajjad Hussain, Naushad, K.Datta, Govind Ram, Pt. Amarnath, Husnalal Bhagatram, Khemchand Praksah,Khursheed Anwar, Nissar Bazmi, Vinod, A R Qureshi, Saraswati devi, Bulo c Rani, Gyan Dutt etc were taking over from the old guards.

These new entrants brought with them melodious tunes and music from Goa, UP, Rajasthan, Bengal, Maharashtra, Punjab, Kashmir etc and their experimentation truly enriched the HFM making it a genuinely All India music.

In the 40s, the HFM became absolutely VIBRANT. The new composers with new ideas and hard work tried to understand what the audience wanted. In other words,we can say that hitherto the film music was ” Sales Oriented ” (selling what you produce) till the 30s decade, but the 40’s music was ” Market oriented” (producing what the audience wants). Now, there was a fair and healthy competition and a wide variety in music. The composers too had new singers who were trained and had a singing voice and talent, unlike the earlier ‘Untrained forced singers’. Naushad Ali had once said,’’ The coming of Rafi and Lata liberated we composers from the painful task of making the ‘musically illiterate’ actors and actresses.” Thus Ashok kumar,Leela Chitnis and the likes of them were left alone to concentrate on their acting,while the trained singers sang for them.

New and exclusive playback singers like Amirbai, Zohrabai, Kalyanibai, Rajkumari Mohantara, Shamshad, lalita Deulkar, G M Durani, Rafi etc became popular. Actually, the lead actors now started deciding who should sing their songs. This paved the way for stars to become powerful in coming period.

Like Music, the type of cinema stories too started changing. The Fantasy, Stunt, Mythological, Historical, Religious and Costume dramas gave way to Love stories, Musicals. Family dramas, Comedy, Crime stories…so on and so forth. Overall, the cinema industry was going through a overhauling. However, the winds of Independence, after the world war put a brake to these changes. 1945 to 1950 was a period of turmoil and matters settled fully with the advent of the new decade of the 50’s.

In this change over, here was a film discussing the problems of a Happy Home. Ghar ki Shobha-1944 was a film which stressed the importance and need of the capable housewife who was an ” Adarsh” Bahu, Bibi, Mother and everything else the society needed !

The main players in this family drama were, Karan Dewan, Swarnalata, Jagdish Sethi, Dixit, Fazlu, Ramesh Saigal etc etc. The film was directed by Harshadrai Mehta- who became a well known director in Tamil films of Madras, later. Ramesh Saigal assisted him in direction. Harshadrai Sakerlal Mehta

was a Pioneer Hindi and Tamil director born in Mota, Bardoli Dist., Gujarat. Started as a painter, editor and cameraman at Kohinoor (1919), but made his début for Krishna Film (Ver Ni Vasulat). At Krishna he began his association with long-time partner and cameraman Luhar (e.g. Be Din Ni Badshahi, Amar Asha) making melodramas often starring the Anglo-Indian star Ermeline. Best-known film of this period is Janjirne Jankare, the much-acclaimed Rajput romance scripted and shot by Luhar. Made his most influential films with the famous Mehta- Luhar Prod. set up in 1931 with Bapubhai Desai and the informal support of the Sharda Studio. Made several Sharda-type stunt movies featuring e.g. Navinchandra. Moved to Coimbatore’s Premier Cinetone (1937) and made a number of Tamil films.

In Hindi films, there have been three actors who were very handsome and very lucky but zero in acting – Karan Dewan, Pradeep Kumar and Bharat Bhushan. They all appeared in leading roles opposite all leading actresses of their times. They had the best films, best songs and best roles. Karan Dewan had about 25 Silver Jubilees to his credit and was considered a lucky star. Bharat Bhushan had the most musical films to his credit like ‘Baiju Bawra’ (1952), ‘Shabaab’ (1954) and ‘Mirza Ghalib’ (1954) etc. Pradeep Kumar had ‘Anarkali’ (1953) and ‘Taj Mahal’ (1963).

All three had their brothers producing films for them. Gemini Dewan made films for Karan Dewan, R Chandra made films for Bharat Bhushan and Kalidas for Pradeep Kumar. Unfortunately, in later years, all three lost everything and died in poverty and neglectful anonymity. Karan Dewan was a manager with BR Chopra’s production company. When he died no one came for his funeral except for Chandrashekhar and Manmohan Krishan from the Cine Artist’s Association. Bharat Bhushan worked as a watchman in a film studio, in his last days. Even he died unsung and only the men from the Association were present at the cremation.

Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful.

Dewan Karan Chopra aka Karan Dewan ( 6-11-1917 to 2-8-1979 ) youngest of three brothers was born at Gujranwala, Punjab (now in Pakistan), British India. He studied in Lahore, where he became interested in Journalism and started editing a film magazine in Urdu, Jagat Lakshmi. One of the local distributors he met was Tarachand Barjatya, who was then the Manager of Chandanmal Inder Kumar’s distribution office at Lahore. Through his connection with Barjatya he landed in Calcutta, and in 1939, made his acting debut as Puran in the Punjabi feature film Puran Bhagat

Dewan started his film career with the role of Puran in Puran Bhagat in Punjabi in 1939 in Calcutta. It was produced by Raisaheb Sukhlal Karnani and directed by Roop K. Shorey’s father R. L. Shorey. His second film Mera Maahi (1941) was also a Punjabi film, directed by Shankar Mehta at Lahore and starring Ragini and Manorama. This was the movie in which he sang songs for the first time in the movies under the baton of legendary music director Shyam Sunder. Later, in Rattan, he sang for the first time in Hindi movies for Naushad. B R Chopra, then working as a film journalist in Lahore, helped Karan Dewan to get in touch with Devika Rani, who invited Dewan to come to Bombay. When this did not helpDewan get films, he taught “Urdu pronunciation to actors and actresses”.

In 1944, Karan Dewan acted in Rattan, a musical romantic drama, directed by M. Sadiq, which became one of the most popular films of that year. “A tremendous hit”, it paired Dewan with Swarnalata. His decisive film was Rattan (1944), which was produced by his brother Jaimini Diwan, and this movie had turned out to be the biggest hit of 1944. He also sang songs in this movie under music director Naushad, and his song “Jab Tum Hi Chale Pardes” became popular. He sang in films such as Piya Ghar Aaja (1947), Mitti Ke Khiloune (1948) and Lahore (1949). His other important films were Zeenat (1945), Lahore (1949), Dahej (1950), Bahar (1951) and Teen Batti Char Rasta (1953). Known as a “jubilee star”, about twenty of his films are stated to have been jubilee (twenty-five weeks or more) hits.

Dewan married co-actress Manju in 1944 following the release of Rattan, in which she had a character role. By 1966, he was working as a casting agent for the film unit of Maya (1966). He continued to work in the 1960s and 1970s playing supporting parts in films such as Apna Ghar (1960), Shaheed(1965), Jeene Ki Raah (1969) and Nadaan (1971), with the last film in which he was credited being Sohanlal Kanwar’s Atmaram (1979).

He worked in 73 films and sang 18 songs in 9 films. He worked with all leading actresses of his times,including Noorjehan and Nargis. At the end of his career, however, he was down financially and had to work as a Manager with B R Chopra’s company. When he died, except two workers of Cine artistes association, no one else from Film industry was present.

Ustad Alla Rakha aka A R Qureshi ( 29-4-1919 to 3-2-2000) gave music to this film. Having started only in 1943 with Mahasati Anusuya, film Ghar ki shobha-44 was his only the second film as an MD. So his music sounds fresh. After you hear today’s song, you will agree with me. He gave music to 40 films, composing 356 songs. He also sang 14 songs in 7 films.

In the cast of this film, there was one fading actor – Dixit, from the Dixit and Ghori pair of that era. The projected themselves on the lines of Laurel and Hardy…Hardy being our Dixit. Later, Yaqub and Gope triede to project their image as Laurel and Hardy and still later Johar and Majnu tried to copy Bob Hope and Bing Crosby of Hindi cinema ! Let’s take a look at Dixit and Ghory- a very popular comedy pair of early cinema.

Manohar Janardhan Dixit was born on 12-11-1906 at Sinner in Nashik district,Maharashtra (Bombay state at that time.) His comedy career started with silent film ‘Sparkling youth’-1930. His first day of work in a film was 14-11-1929. He did 3 more silent films with Navjivan Films and then joined Ranjit studio. Here he met his mate Nazir Ahmed Ghori,born on 11-8-1901 at Bombay.He was the senior of the two,having started in 1927. He worked till 1931 in silent films of various companies and then joined Ranjit studio in 1931 Here too he did 4 silent films.

He paired with Dixit first time in Char Chakram-1932,directed by Jayant Desai.The film was a terrific hit and the pair did many films together like, Bhutio mahal,Do badmash,Bhola shikar,Bhool bhulaiya,Vishwamohini,nadira etc. They worked together till 1947,doing solo films also in between. Unfortunately none of their films have survived and we know about their acting only through Photographs,interviews and articles. However Dixit’s solo films like Pehle aap-44,Jeevan yatra-46,Aap ki sewa mein-47 and Pugree-47 are still available.In film Pugree,his name was Ramu kaka and the very fat Dixit (222 pounds) carried the world’s smallest dog-Chikoo in the film.Later comedian Omprakash did this role in the remake of the film in Dil Daulat Duniya-1972.

Dixit acted in 66 Talkie films and 8 silent films in 17 years. He died on 29-6-1949 due to a massive heart attack. His partner Ghori migrated to Pakistan and did 8 films there till 1960, without much success. He died on 9-12-1977 at Karachi.

Today’s song is sung by Rajkumari. Note the type of music and tune. With this song, film Ghar ki Shobha-44 makes its Debut on the Blog.


Song-Main duniya ki raani (Ghar Ki Shobha)(1944) Singer- Rajkumari, Lyrics- Roopbani, MD- Alla Rakha Qureshi
unknown male voice

Lyrics

Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
firti hoon mauj manaati
firti hoon mauj manaati
chhed chhaad se dil behlaati
chhed chhaad se dil behlaati
karti hoon main manmaani
karti hoon main manmaani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani

main ?? kheloon
saagar se geet bakheroon(?)
main ?? kheloon
saagar se geet bakheroon(?)
aazaadi ki deewaani
aazaadi ki deewaani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani

meri laila jaisi aankhen
meri laila jaisi aankhen
sab majnu ban kar jhaanken
sab majnu ban kar jhaanken
zulfen to mast jawaani
zulfen to mast jawaani
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani

?? kar pankh hilaati
bhanwron ko paas bulaati
?? kar pankh hilaati
bhanwron ko paas bulaati
patthar dil kar doon paani
patthar dil kar doon paani
haay haay laila
Main duniya ki raani
laalalalaalaalala
duniya ki raani
Main duniya ki raani
laalalalaalaalala
duniya ki raani


This article is written by nahm, 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 : 3967 Post No. : 15049

dheeme dheeme gaaun
hmmm
dheere dheere gaaun
haule haule gaaun
tere liye piyaa………..

How sweet is Kavita Krishnamurthy sounding, never has she been sweeter than she is here. This has to be the best of Kavita and the best of A. R. Rehman too. I have been listening to this song since last few days and been enamoured by it. So much so that I have looked up the 2006 survey conducted by Outlook magazine to see if this song finds a place in it.

Usually I compliment a song by calling it a gem of a song. But for this one, I will be specific and call it a ‘diamond’ of a song. There is a street called ‘Khade Bazaar’ in Belgaum and we as children would loosely translate it to ‘Standing street’. Come to think of it, it must mean ‘Diamond market’ because ‘khada’ means stone in Marathi. ‘Khade’ is a word used for diamonds too.

When A. R. Rehman first arrived in the hindi film industry with ‘Roja” (1992), his type of music was a total revelation to the industry. The listeners jaded from the trash dished out in the name of music by MD’s in the 80’s were pleasantly surprised in the early part of 90’s. Melody was making a comeback and songs began to add to the appeal of films. The duo’s like Nadeem-Shravan, Anand-Milind and Jatin-Lalit were all contributed to this revival and had a lion’s share in the popular chartbusters of the 90’s. Some of these new generation MD’s were capable of rehashing two/three older songs and creating a new melody. But they created melodious songs, just not very original. A. R. Rehman was the only one creating original compositions and experimenting with instruments. All of them, between them managed to take the hindi film songs appeal to international audiences in to the next millenia too, the malady of plagiarism, notwithstanding. Some more plagiarism from the likes of Anu Malik, Pritam, etc add a bit more creativity from the southern music director like Ilyaraja and M M Kreem(atleast they sounded original to me), indian film music was a huge business internationally.

To add to the appeal of this music and to add to the commercial success among the subcontinent diaspora in UK and North America, the inclusion of fresh voices from across the border became an acceptable norm.

Coming back to Roja and A. R. Rehman. A. R. Rehman has started composing jingles of advertisements as a youngster. The songs of Roja were all masterpieces and it looked like he won’t be able to surpass it. But surpass he did with scores for films like Lagaan, Bombay, Guru, Taal, Delhi 6 to name a few. He is one of the achiever of modern day india in the creative field with an Oscar too and unsurpassed international recognition for his music.

The song presented is from the film ‘Zubeida’ written by Khalid Mehmood and directed by Shyam Benegal. One of the trio of films he made based on stories connected with his own real life. The central protagonist Zubieda played superbly by Karishma Kapoor is the daughter of a big filmmaker, but she is denied a film career. This is a period film situated in post partition period. She ends up with a broken marriage with a Pakistani and a son. She meets a price from ‘Rajasthan’ who plays polo matches in Mumbai, and the rest is history. There are a few goods reviews of the film on imdb site.

There was a surprise in store for me as I tried to find the song links of this film. I found one song audio link, with the cover of CD , which said Farrokh Rattonsey’s “Zubieda’. Again I go into flashback to 1990-91 when I had worked in the offices of the Rattonsey’s cleaving company at Santacruz (W) for a few months. They had film production company named Yelahanka Productions, and made two films that I remember, i.e. Khuddar and Kaash. They are old money of Mumbai, had businesses varying from Diamond cleaving to horse breeding. Their horses have made a name nationally and internationally from what I had gathered while working in their office, and have seen the news in later years too. They also used to publish india’s only/first magazine about race horses and breeding, named “Indian Thorough bred”. It used to be an annual or bi-annual issue. The office of ITB was situated in the same building as the cleaving company office.

Yes … and this diamond of a song. Music score for this film is among A. R Rehman’s best, but this particular number with the trademark longish mukhda and antara’s and amazing rendition by Kavita Krishnamurthy makes in the best song of the decade. Karishma Kapoor is singing this song as ‘Zubieda’ soon after marrying her price charming Manoj Bajpai. Really Karishma is more charming of the couple, with her 50’s style understated sophistication and looking far too innocent. The camera angles are not trying to make her look beautiful and just succeeding in making her look a young, bruised and innocent deer. The deer who is impoverish for love, happy and dances elegantly like a peacock.

Zubeida’s fear and insecurities are all expressed in the song. The subtlety in expressions is the hallmark, which makes this song stand apart from other songs of this genre. Kavita Krishnamurthy’s slight variations while repeating the mukhda each time and the gradual changes in rhythm are appealing to the finer senses. It is almost five and half minute long with only two stanzas. Something special which makes us wish that it will continue forever and not end.

The lyricist is Javed Akhtar and this song is sheer poetry visually also.


Song-Dheeme dheeme gaaun (Zubeida)(2001) Singer-Kavita Krishnamoorthy, Lyrics-Jawed Akhtar, MD-A R Rahman

Lyrics

dheeme dheeme gaaun
hmmm
dheere dheere gaaun
haule haule gaaun
tere liye piyaa

dheeme dheeme gaaun
hmmm
dheeme dheeme gaaun
dheere dheere gaaun
haule haule gaaun
tere liye piyaa
gun gun main gaati jaaun
chhun chhun paayal chhankaaun
sun sun kab se dohraaun
piyaa piyaa piyaa aa

gulshan mehke mehke
ye man behke behke
aur tan dehke dehke
kyun hai bataa piyaa
man ki jo haalat hai ye
tan ki jo rangat hai ye
teri muhobbat hai ye
piyaa
piyaa piyaa
gun gun main gaati jaaun
chhun chhun paayal chhankaaun
sun sun kab se dohraaun
piyaa
piyaa piyaa aa

piyaa piyaa
o o o o
zindagi mein tu aaya to
dhoop mein milaa saaya to
jaage naseeb mere
o o o o
anhonee ko thha honaa
dhool ban gayi hai sonaa
aa ke qareeb tere
o o o o
pyaar se mujh ko
tu ne chhuaa hai
roop sunehraa tab se huaa hai
rang aur kya
mujh mein piyaa
o o o o o o o o
teri nigaahon mein hoon
teri hi baahon mein hoon
khwaabon ki raahon mein hoon
piyaa
piyaa piyaa
gun gun main gaati jaaun
chhun chhun paayal chhankaaun
sun sun kab se dohraaun
piyaa piyaa piyaa aa

piyaa piyaa
o o o o
o o o o
main ne jo khushi paayee hai
jhoom ke jo rut aayi hai
badle na rut wo kabhi ee
o o o o
dil ko devtaa jo laage
sar jhukaa hai jis ke aage
toote na but wo kabhi
o o o o
kitni hai meetthhee
kitni suhaanee
tu ne sunaayee
hai jo kahaani
main jo kho gayee
nayee ho gayee
ho o o o
o o o o
aankhon mein taare chamke
raaton mein jugnu damke
mit gaye nishaan gham ke
piyaa
piyaa piyaa
gun gun main gaati jaaun
chhun chhun paayal chhankaaun
sun sun kab se dohraaun
piyaa piyaa piyaa aa

——————————–
Devnagri script lyrics (Provided by nahm)
——————————–
धीमे धीमे गाऊँ
हम्म म म
धीरे धीरे गाऊँ
हौले हौले गाऊँ
तेरे लिए पिया आ

धीमे धीमे गाऊँ
हम्म म म
धीमे धीमे गाऊँ
धीरे धीरे गाऊँ
हौले हौले गाऊँ
तेरे लिए पिया आ
गुन गुन मैं गाती जाऊं
छुन छुन पायल छंकाऊँ
सुन सुन कब से दोहराऊँ
पिया पिया पिया आ

गुलशन महके महके
ये मन बहके बहके ए
और तन दहके दहके
क्यूँ हैं बता पिया आ
मन की जो हालत है ये
तन की जो रंगत है ये
तेरी मोहब्बत है ये
पिया
पिया पिया आ
गुन गुन मैं गाती जाऊं
छुन छुन पायल छंकाऊँ
सुन सुन कब से दोहराऊँ
पिया पिया पिया आ

पिया पिया
ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ ओ ओ
ज़िंदगी में तू आया तो
धूप में मिला साया तो
जागे नसीब मेरे ए
ओ ओ ओ ओ ओ ओ
प्यार से मुझ को ओ ओ
तू ने छुआ है
रूप सुनहरा तब से हुआ है
रंग और क्या
मुझ में पिया
ओ ओ ओ
ओ ओ ओ ओ ओ
तेरी निगाहों में हूँ
तेरी ही बाहों में हूँ
ख्वाबों की राहों में हूँ
पिया
पिया पिया आ
गुन गुन मैं गाती जाऊं
छुन छुन पायल छंकाऊँ
सुन सुन कब से दोहराऊँ
पिया पिया पिया आ

पिया पिया
ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ ओ ओ
मैं ने जो खुशी पायी है
झूम के जो रूत आई है
बदले न रूत ये कभी ई
ओ ओ ओ ओ
दिल को देवता जो लागे
सार झुका है जिस के आगे
टूटे न बूत वो कभी
ओ ओ ओ ओ
कितनी है मीठी
कितनी सुहानी
तू ने सुनाई
है जो कहानी
मैं जो खो गाई
नई हो गई
ओ ओ ओ ओ ओ ओ ओ ओ
आँखों में तारे चमके
रातों में जुगनू दमके
मिट गए निशान ग़म के
पिया
पिया पिया आ
गुन गुन मैं गाती जाऊं
छुन छुन पायल छंकाऊँ
सुन सुन कब से दोहराऊँ
पिया पिया पिया आ


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

Blog Day :

3966 Post No. : 15047 Movie Count :

4127

Today’s song is from film Bachpan-1945.

In the history of Hindi movies, there have been three films that had the title viz “Bachpan”. The first was of course Bachpan-1945, today’s film under discussion. The next one was made in 1963, in which Salim Khan- father of Salman khan and a member of the famous writer jodi of Salim-Jawed, was the Hero – opposite Menaka Irani. She was the eldest sister of the famous child stars Honey and Daisy Irani. She was also the wife of stunt film actor and director Kamran Khan. Their children are Choreographer and director Farah Khan and Compere cum director Sajid Khan. Incidentally Mrs. P.N.Irani was the mother of these Irani sisters and also the one who took away all their earnings.

The third film was made in 1970, with Sanjeev kumar and Tanuja.

Film Bachpan-45 had a cast consisting of Baby Madhuri, Mazhar Khan, Baby Shakuntala, B.Nandrekar, Chandraprabha, comedian Dikshit, Gulab, Dalpat, Shashi kapoor(sr.) and others. There were two actresses with prefix Baby, but only one Baby Madhuri had the main child role throughout the film. The other Baby-Shakuntala had a role of an invalid child, stuck to the wheelchair only.

Baby Maduri,whose real name was Mah Laqa, was the daughter of M. Ali Baksh,M.D. and Iqbal begum,a cine artiste. In other words Baby Madhuri was the youngest sister of actress Meena Kumari and her sister actress Khurshid Jr. Born in a family of film people,Baby Madhuri was good at acting and singing. She was picked up by Director Nazir of Hind Pictures and took her for his film ‘ Sandesa ‘. ( He is the same Nazir,whose first wife was Sitara Devi. He was the maternal Uncle of K. Asif ( Mughal-e-Azam fame ) i.e. Mama. He later divorced Sitara devi ( actually,she had eloped with k.Asif ) and married Swarnalata and both migrated to Pakistan. Nazir’s studio was burnt during the communal riots in Bombay. Author Manto has detailed all this in his book. )

In Wadia’s film Vishwas-43, the talents of Baby Madhuri in acting and singing flowered and she was appreciated much. Then she acted and sang some songs in films like Anjaan,Jungle princess,Muqabala,Ekta(sindhi),Andhera,Mahatma Vidur,paraya Dhan,Bachpan,Nai maa etc etc.

She was also called as Madhu. She was married to actor Mehmood. She was very fond of new fashions and western clothes. Due to this, she became a cleptomaniac and was caught many times stealing things and shop lifting. She knew Riding,cycling and swimming too. She spoke good English,though not much educated.( Thanks to shri Harish Raghuwanshi ji for info on Baby Madhuri).

Now let us see about the other ‘Baby’ of this film. Right from beginning of the films,child artistes were required to do roles in the films. In the initial stages and also in later periods too, girls used to do Boys’roles ( but never heard of vice versa ! ). We have the famous examples of Honey and Daisy Irani sisters. Many child stars acted in films till they became older or were not suitable for child roles. One such example was Junior Mehmood. It was quite natural that most of them wanted to continue acting in films as an adult too and many tried to become hero/ heroines. Unfortunately, only some of them could shine as heroes or heroines, while most child stars failed as adult Hero/Heroines.

Successful child artistes are few like Meena Kumari, Madhubala,Nargis, Shashi kapoor, Sachin etc, but you can count them on fingers, whereas the list of unsuccessful child artistes who tried to become adult Hero/Heroines is quite long.

Unlike Baby Tabassum, who could not become a successful adult Heroine in good films, there was another ‘Baby’who became quite successful as an adult Heroine opposite well known actors under famous banners and left halfway due to her marriage. Her name is BABY SHAKUNTALA.

Baby Shakuntala was born in a middle class Maharshtrian family of Poona, on 17-11-1932. Those days Prabhat film company had moved to Poona. One of the Prabhat founder partners, Mr. V.G.Damle was their close relative. Along with other children, she too used to go to Prabhat premises for playing there She was 8 to 10 year old when V.Shantaram spotted her and offered a role in film, ‘Das Baje’-42 ( Daha Wajta, in Marathi). The hero’s younger brother’s role was changed to Hero’s sister’s role for accommodating her in the film.

It was a routine matter at Prabhat that for child roles in all films, the children of the partners of Prabhat( Shantaram,Damle,Kulkarni,Fatehlal and Dhaiber) or near relatives were taken. In film Sant Tukaram or other films of Prabhat, all child artistes were from within the Prabhat family only. Shakuntala was very good in studies.She used to get up at 4 am. do school studies, then do household chores, attend school and lastly attend shootings.

Das baje was a hit film. Then came ‘Ramshastri’-44 ( Bilingual-H/M ) meanwhile Shantaram and others left Prabhat and moved to Bombay. After that her work too shifted to Bombay. Due to these changes, she could study only upto Matriculation. But she was proficient in English, Marathi, Hindi/Urdu, Gujarati and Kannada. At the time of shooting for film ‘Shikayat’-48, actor Shyam made her his “Mooh Boli”sister and till he died in an accident he was very close to her.

In 1949, she was 17 year old and she became a heroine in film “Maya bazaar”-49 opposite Balakram. Then came a string of films. She worked with well known actors like Kishore kumar, Bharat Bhooshan,Karan Dewan,Amarnath,Anant Marathe,Master Bhagwan, Abhi bhattachrya etc. She was also luck to have worked under ace directors like V.Shantaram, Bimal Roy,Homi Wadia, kishore Sahu, Raja nene, Gajanan Jahagirdar,Shahid lateef etc. This enriched the depth of her acting.

Kishore Kumar was her Hero in films like, Chham Chhama Chham- 52, fareb-53 and Lehren-53. They had a good tuning like a naughty brother and sister. once kishore kumar surprised her by visiting her in her Kolhapur house ( after her marriage) and spent one day with her family. The famous kishore Kumar- Lata mangeshkar song “aa muhabbat ki basti basayenge hum” from film Fareb-53 was filmed on kishore and Shakuntala only.

Lot of marriage proposals started coming for her and she finally was married in 1954 to Sardar Nadgonde of Kolhapur, a Royal family. After marriage she left films, though she had good demand and became Mrs. Umadevi Nadgonde. She had a son and a daughter. She lived a contented life of 82 years and died recently on 18-1-2015, at Kolhapur.

She had acted in almost 40 Hindi films ( including bi-lingual) and 20 Marathi films from 1942 to 1954. She also acted in famous Marathi dramas on commercial stage. 14 of her films celebrated silver Jubilees. Some of her films were- Das baje-42, Ramshastri-44,Piya Milan-45, Taramati-45, Bachpan-45, Bachhon ka khel-46 ( with Meena kumari), Phir bhi apna hai-46Moti-47, Tohfa-47, Shikayat-48, Seeta Swayamvar-4, maya bazaar-49,, kamal ke Phool-50, Pardes-50,Malti madhav-51 Nanhe Munne-52, Chham chhama chham-52, fareb-53, Lehren-53, Jhamela-53, bhagyawaan-53, Biraj bahu-54, pooja-54, Bindiya-55 etc. ( Bio based on her interview in ” chanderi Aathavani ” by Sulabha Ternikar and material provided by shri Harish Raghuvanshi ji, with Thanks.)

Film India magazine was quite popular in the 40s and the 50s. In its June-1946 issue, the editor Baburao Patel has reviewed this film. As per his judgement, the film was no good. Its story (story, dialogues and songs by I.C.Kapoor) had no life and the director Homi Wadia had spoiled the film by his inept handling and direction. No wonder. Baburao patel rarely praised any film,director or an actor, so this review was on expected lines only.
The film was based onthe ” theme of innocence teaching bitter experience to look at life with a smiling understanding” according to Patel. The story of the film was…

Bhairav (Mazhar Khan) is fed up of life, because his son married outside their cast and all his society criticized him no end. He became very bitter in life and lived in a house on top of a mountain- away from society. He is feared by the villagers around. One of his relatives (Kanta Kumari) sends her niece Madhu (Baby Madhuri) to live with him. Over a period, due to the good and helping nature of optimistic smiling Madhu, Bhairav starts changing and becoming a normal person.

Suddenly, the aunt kidnaps Madhu and sells her as a companion to a rich invalid kamla(Baby Shakuntala). Here too, Madhu wins everyone’s hearts. Envied by this, the Governess (Gulab) of kamla kidnaps Madhu. Meanwhile, Bhairav is also searching Madhu. He rescues her, but the Police detain him and Madhu in the Police station. The village school Teacher Ramesh(B.Nandrekar) and his beloved(Chandraprabha) give positive evidence and Bhairav and Madhu are released. All ends well in the end.

The role of teacher Ramesh was done by B.Nandrekar. This name must be totally unknown to the new generation readers. B.Nandrekar or babasaheb Nandrekar was one of the very few really handsome actors Hindi films ever had. He was born in 1910, in Sangli district of Maharashtra, near Kolhapur. Being a Muslim, he could speak Urdu/Hindi fluently. He completed his schooling from Kolhapur and joined films. Vishnupant Damle (one of the founder partners of Prabhat Films) was making silent film ‘Maharathi Karna’ (1928) for Maharashtra Film Co. He offered Nandrekar a role. Then he worked in other films like ‘Baji Prabhu Deshpande’ (1929), ‘Lanka’ (1930), ‘Kismet’ (1931) and ‘Dushman Ki Raat’ (1931).
His first talkie film was ‘Kurukshetra’ (1933). Prabhat gave him a role in ‘Sant Tukaram’ (1936) (its Hindi version came in 1948). He worked in ‘Amar Jyoti’ (1936) and became quite popular as a hero, opposite Shanta Apte. He was hero in ‘Baghbaan’ (1938) opposite Sitara Devi.

In 1939, he became the first actor to go abroad to shoot scenes in film ‘Africa In Hind’ – ‘हिन्द में अफ्रीका’ (1939). The shooting was done in Africa. Thus this became the first ever Hindi film to shoot in foreign country, and NOT film ‘Naaz’ (1954), as is popularly believed and also as mentioned in HFGK. Nandrekar had become very popular. The chappals he used in film ‘Baghbaan’ became fashionable by the name ‘Nandrekar Chappals‘. This alone is enough to prove his popularity.

His law suit against Prabhat Film Company was a topic of discussion in the industry. There were differences between him and Prabhat over his contract with them. His lawyers were Mr. Jinnah and Mr. Setalwad, who won the case for him. He was also the first actor to work as a freelancer.

Nandrekar appeared in 23 Hindi films. His films were ‘Kurukshetra’ (1933), ‘Amar Jyoti’ (1936), ‘Jaadugarin’ (1937) (UR), ‘Baghbaan’ (1938), ‘Africa In Hind’ (1939), ‘Qaidi’ (1940), ‘Hindustan Hamara’ (1940), ‘Alakh Niranjan’ (1940), ‘Chitralekha’ (1941), ‘Mamaji’ (1942), ‘Duniya Tumhari Hai’ (1942), ‘Nai Kahaani’ (1943), ‘Andhi Duniya’ (1943), ‘Swarn Bhoomi’ (1944), ‘Lady Doctor’ (1944), ‘Ismat’ (1944), ‘Bachpan’ (1945), ‘Kamla’ (1946), ‘Jeevan Sikho’ (1946), ‘Parshuram’ (1947), ‘Meri Amaanat’ (1947), ‘Khandani’ (1947), ‘Sant Tukaram’ (1948) and last film ‘Bihari’ (1948).

He passed away in 1949. No definite information is available about his demise.

With today’s song, film Bachpan-1945 makes its debut on the Blog.


Song-Bole re panchhi bole (Bachpan)(1945) Singers-Unknown female voice, unknown male voice, Lyrics- I C Kapoor, MD- S N Tripathi
Both

Lyrics

Bole re panchhi bole
Bole re panchhi bole
kya bole
Bole re panchhi bole

ambuwa pe baithha shor machaaye
ambuwa pe baithha shor machaaye
suno jee
haan
chhota sa dil mera
chhota sa dil
chhota sa dil mera ghabra jaaye
dole re dil mera dole
dole re dil mera dole
bole re panchhi bole
kya bole
Bole re panchhi bole

teri jawaani meri jawaani
teri jawaani meri jawaani
kehta hai wo to yehi kahaani
kehta hai wo to yehi kahaani
????

hmm
dinon ke ?? soye
?? soye

bole re panchhi bole
kya bole
panchhi to hai naadaan saanwariya
panchhi to hai naadaan saanwariya
patton ke bhi hai jaan saanwariya
baat wo ho bole haule
baat wo ho bole haule
sono je
hmm
?? uski bala se
?? uski bala se
karta hai wo to baat hawa se
jee mein jo aaye wo bole
jee mein jo aaye wo bole

bole re panchhi bole
bole re panchhi bole


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 : 3965 Post No. : 15047

Songs Repeated in Hindi Films – 2
– – – – – – – – – – – – – – – – – –

One of the most iconic songs of Saigal Sb. A song that is a definitive representation of Hindi film music of the 1930s. That incomparable rendition by Saigal Sb under the music direction of RC Boral was recorded live for the film ‘Street Singer’ (1938). Recorded more than eight decades ago, this remains a signature piece for time immemorial. The vision of Saigal Sb, leaving his home, just carrying his harmonium with him, walking with a slow measured pace, and singing this thumri – it is one of the lasting images of Hindi cinema. That version of the thumri from the ‘Street Singer’ can be viewed here – “Baabul Mora, Naihar Chhuto Hi Jaaye“.

Anecdotes around that live recording and shooting tell of a microphone hidden in the harmonium, of the slow pace of walking so as to complete the singing and the visual shot keeping within the range of the camera. Playback singing had already been invented (1935) and was in progressive use in the industry. And yet, this song was recorded live. The performance can only be called – unprecedented, incomparable and peerless. Nothing more fascinates the diehard fans of Saigal Sb, than this one song by him. Many singers have sung this, but the Saigal version remains untouched, unsurpassed.

In the film, this song spans an extended sequence of scenes. And small parts of this song are also rendered by Kanan Devi. There is a sequence where Kanan Devi attempts to sing this song in the theatre. Later, Bhola (KLS) departs from their shared home, upset that Manju (Kanan Devi) is enamored by Amar Babu (Jagdish Sethi), and wants to move in with him. But after just one day away from Bhola, Manju returns home searching for him. And finds that he has left. She makes a phone call to Amar Babu, requesting him to bring his car. They start to drive towards the road that leads to Bhola and Manju’s home village. In the meantime, the scene shifts between Manju searching for Bhola, and Bhola walking away with the harmonium. The song is reprised here three or four times, sometimes just the mukhda, sometimes just the antaraa.

Amar Babu is driving the car with dismay in his heart. A windstorm arrives. There is lot of dust in the air, and visibility is not good. Manju alights from the car, and starts following the path on foot – the path that Bhola would have taken returning to his village. Tired and overcome by storm, Bhola falls down by the roadside. Manju sees someone lying on the road and rushes to him. The tryst happens again. Amar Babu watches them from a distance. And then with a wry smile on his face, he returns to his car, to start the lonely journey back to his home. Bhola and Manju start their foot journey back to their village. Once again the song is heard in the voice of Kanan Devi, as the visual shows the two mates, in a silhouette against a darkening sky. The hearts have met, they are returning home, and the lady’s voice is telling – “Le Babul Ghar Aapno, Main Chali Piya Ke Des. . .”.

Thirty five years later, in 1973, this classical thumri is now included in the film ‘Aavishkaar’, starring Sharmila Tagore and Rajesh Khanna. This time, the music composition is by Kanu Roy, who transformed it into a duet, with the participating voices of Jagjit Singh and Chitra Singh. This time, in the picturization, this is presented as a background song, as the visual action on screen is mostly silent – and yet very expressive.

‘Aavishkaar’ presents a scenario of a brief hiatus in the lives of two people very much in love. In love they are, and they get married, and they start to live together. Maybe, just love is never enough. What love is – it needs to be examined, re examined and re invented often. And then it becomes love, more love and more meaningful. Else, just the drudgery of the consistent proximity, which used to be like heaven to start with, turns into stagnant boredom. Expectations still riding high, the lull now breeds contempt – a contempt that is actually screaming for and seeking a rejuvenated level of understanding and sharing. That is what ‘Aavishkaar’ is about.

The film starts on a day when it is the wedding anniversary of the protagonist couple. Amar (Rajesh Khanna) is aware, but still, broodingly ignores. He works late in office, he goes to see a film with a female co-worker, giving the audience the impression that he is seeking extra marital happiness. On his way back at night, he finally musters enough thought and courage, and buys a bouquet of Rajnigandha flowers. Arriving home, a certain scene transpires before he enters the house, and on an impulse, he places the bouquet in a flower pot next to the door, and enters the house, pretending that he does not remember the anniversary. A long night passes. There are flashbacks, there are arguments, there is even physical violence – highlighting the drift that has occurred in the relationship. Basu Bhattacharya has handled the conflict and the interactions very deftly. In my mind, this is the best handling of the situation of a very loving relationship gone sour. Many other films come to mind – ‘Arth’, ‘Dooriyaan’, ‘Anubhav’, ‘Aandhi’, ‘Grih Pravesh’, ‘Aap Ki Kasam’, the comical ‘Pati, Patni Aur Who’, ‘Abhimaan’ . . . and more. In ‘Aavishkaar’, the director portrays the conflict, the pain, and the reconciliation, at a very psychological level.

So, after a distraught and a tension filled hostile night, mostly sleepless and lot of exchanges and memories, the new day dawns. The rigmarole of the daily routine beckons. Mansi (Sharmila Tagore) gets up early and opens the front door to pick up the milk delivery. And then she sees. . . the bouquet standing in the flower pot. She picks it up. And the voice of Jagjit Singh drifts in from the background. She finds Amar standing behind her. . . and there is an embrace. A lot changed and a lot settled in that night of strife.

The two stanzas play out slowly. The first one as the couple are embracing and then they move back into the home. The second stanza is an external shot, mixing flashback again possibly, as we see the couple on the beach, in a mood of frolic, as the singer croons yet once again to say. . . “Le Babul Ghar Aapno, Main Chali Piya Ke Des. . .”.

The two instances that we are so familiar with, of the use of this song in Hindi films, both seem to have happy conclusion. But that was not the original thought when Wajid Ali Shah wrote and composed this thumri, way back in 1856. The British had played a game of deception with the Nawab of Awadh. In a bloodless coup, Wajid Ali Shah was dethroned and sent to Calcutta, and the British annexed Lucknow and the kingdom of Awadh. The Nawab was completely heartbroken, on leaving his beloved city, and his cultural roots. That is the time when this timeless poem was conceived.

Yes, the interpretations works both ways. There is this indication of a newlywed bride, going to her new matrimonial home. There is sadness on leaving the parent’s home, but there is also an eagerness and joyful elation of being with the one, with whom a new bond of love will be explored. And, there is the gloomy and poignant interpretation. Looking at the sad dilemma that was faced by Wajid Ali Shah – he was sentenced to leave behind his beloved city, his happy pastimes, and the people who made up his life that far. The discussions in literature talk about the passing passage of life into afterlife. That too, is a leaving behind of the home that one thinks to be their own, and then embark on a journey to meet the Maker. This jusxtaposition is captured so beautifully and so splendidly in this brief two verse thumri – “Main Chali Piya Ke Des. . .”.

In the context of this series, I bring on this song today to highlight another dimension of reuse that we see so often in Hindi films – the reuse of traditional poetry and folk music. This particular thumri is so simply a dear favorite of singers, that gathering the number of different renditions by different artists would be a big exercise in itself. Just to give you an idea, this thumri has been sung by the following singers – the list goes all the way from Bade Ghulam Ali Khan to Alisha Chinoy. The names, in no particular order are – Ustad Faiyaz Khan, Gauhar Jaan, Ustad Bade Ghulam Ali Khan, Siddheswari Devi, Begum Akhtar, Rasoolan Bai, Naina Devi, Kesarbai Kerkar, Ustad Mushtaq Hussain Khan, Malka Jaan, KL Saigal, Jagmohan Sursagar, Kannan Devi, Ustad Khadim Husain Khan, Girija Devi, Shobha Gurtu, Pandit Bhimsen Joshi, Pandit Jitendra Abhisheki, Kishori Amonkar, Jagjit Singh and Chitra Singh, Jagjit Singh (solo), Rajan-Sajan Mishra, Alisha Chinoy, Mahendra Chopra. . . and I am sure, many more artists of repute.

If I talk about Hindi films, then besides the two instances already covered in the write up above, this thumri appears in two more films. In 1954, Manna Dey has sung this for the film ‘Mahatama Kabir’ – a really wonderful rendition. Then later in 1964, Lata Mangeshkar has sung this for the Bhojpuri film ‘Naihar Chhutal Jaaye’.
[Ed Note: Dear Arun ji adds two more instances of this song being used in Hindi films, both from early 1930s. This song has been rendered by Durga Khote in the 1931 film ‘Trapped’ aka ‘Farebi Jaal’. Then again in 1934, this thumri appears in the list of songs for the film ‘Naachwaali’ – no information available regarding singer or music director.]

Such reuse that involves traditional poetry and folk songs, is really very simple, because this material is beyond the intellectual property disputes. For that matter, we have seen many such other creations being used in films across the decades. On the devotional side, the poems of Meerabai, Kabir Das, and Soordas are very popular and are used quite freely by the producers. Then we have the adabi poets, once again a traditional treasure that does not have any copyright issues attached. Ghazals of Ghalib are quite popular and have been used in many films across the decades. As I scanned the songs in HFGK I find that the ghazal “Dil e Nadaan Tujhe Hua Kya Hai” appears in 9 films from 1931 to 1980. The ghazal “Nuktacheen Hai Gham e Dil” appears in four films, “Ye Na Thee Hamaari Qismat” appears three times, “Phir Mujhe Deeda e Tar Yaad Aaya” also appears in three films, and so on.

Checking for Meerabai’s bhajans, one finds the popular ones like “Mere To Girdhar Gopal”, “Main To Gidhar Ke Ghar Jaaun”, “Tum Jo Todo Piya” etc., being used in many films. Not a precise search, but my estimate is that Meerabai’s bhajans appear in Hindi films more than 100 times. The search cannot be precise because there are many instances where the traditional bhajans or ghazals have been used without giving credit to the original poet. Additional note – Amir Khusro’s poetry appears in Hindi films no less than 10 times, of which at least 4 are occurrences of “Kaahe Ko Byaahi Bides. . .”.

The more difficult proposition would be to trace the folk songs reuse across Hindi films. With so much variations, and without acknowledgement to the original folk source, it is difficult to make an estimate of folk music reuse in films. But I will surely add that this segment would be more voluminous than the bhajans and ghazals. The song, or variations thereof, of “Jhumka Gira Re. . .” has been used in no less than four films.

Coming to the film ‘Aavishkaar’. The film is produced under the banner of Aarohi Film Makers and is directed by Basu Bhattacharya. The songs of this film are written by Gyandev Agnihotri and Kapil Kumar. And yes, this traditional thumri originally created by Wajid Ali Shah. The cast of actors is listed as Rajesh Khanna, Sharmila Tagore, Deena Gandhi, Denis Klement, Satyendra Kappu, Monika Jasnani, Devendra Khandelwal, Margaret, Mahesh Sharma, and Minna Johar etc.

Interesting side note – this film is the 2nd in the now famous trilogy by Basu Bhattacharya, on the topic of marital discord, the first one being ‘Anubahv’ (1971) and the 3rd being ‘Grih Pravesh’ (1977).

More interesting side notes. As we talk about reuse, I must mention the other interesting reuse in this film. Probably this is the only film where we can hear Sharmila Tagore singing. At one place in the film, the iconic Manna Dey song “Hansne Ki Chaah Ne. . .” is being sung by Sharmila. Then, at another place in the film, the song from ‘Teesri Kasam’ (1966) – “Duniya Banaane Waale, Kya Tere Mann Mein Samaai” is playing on the radio, and we can also hear Sharmila singing along with it.

So much for today. In the next episode, we shall explore another very interesting aspect of re-use of songs.

Song – Baabul Mora, Naihar Chhuto Hi Jaaye  (Aavishkaar) (1973) Singers – Jagjit Singh, Chitra Singh, Lyrics – Traditional, MD – Kanu Roy
Jagjit Singh + Chitra Singh

Lyrics

baabul mora. . .
naihar chhuto hi jaaye

baabul mora. . .
baabul mora. . .
naihar chhuto hi jaaye

chaar kahaar mil mori
doliyaan sajaaye re
mora apna begaana
chhuto jaaye. . .
naihar chhuto hi jaaye

[dialogue – Rajesh Khanna, Sharmila]

angnaa to parbat bhaya
deori bhai bides
le babul ghar aapno
main chali piya ke des
main chali piya ke des
main chali piya ke des

baabul mora. . .
naihar chhuto hi jaaye

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

बाबुल मोरा॰ ॰ ॰
नईहर छूटो ही जाये

बाबुल मोरा॰ ॰ ॰
बाबुल मोरा॰ ॰ ॰
नईहर छूटो ही जाये

चार कहार मिल मोरी
डोलियाँ सजाये रे
मोरा अपना बेगाना
छूटो जाये॰ ॰ ॰
नईहर छूटो ही जाये

[संवाद – राजेश खन्ना, शर्मिला टागोर]

अंगना तो परबत भया॰ ॰ ॰
डेयोड़ी भई बिदेस
ले बाबुल घर आपनो
मैं चली पिया के देस
मैं चली पिया के देस
मैं चली पिया के देस

बाबुल मोरा॰ ॰ ॰
नईहर छूटो ही जाये

 


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 :

3964 Post No. : 15046 Movie Count :

4126

 

Today’s song is from an obscure film ‘Ye hai Zindagi’ from 1947.

Very few people must have heard about this film. That is probably because, it was made in 1947- the year of India’s Partition. As the year 1947 began, news was circulating about the partition. Like many other industries, film industry was also worried. There was an air of uncertainty. Who will stay and who will migrate was hotly debated in the privacy of homes, studios and clubs. People looked at each others with suspicion. Muslims were worried about their safety in India, in spite of the assurances by Gandhi and Nehru.

Crores of rupees were invested in films. After the second world war started in 1939, lot of black money was generated and much of it came into film industry. Investors, financiers and producers were worried about half made films. Everybody seemed to be in a hurry to finish his assignment on hand. Due to this, the quantity of films increased, sadly at the cost of quality. 1947 saw a record number of films made in 1947- 181 Hindi films, the highest ever since films were made. It took another 40 years to break this record in 1988, when 185 films were made.

Almost 75 to 80 % films of 1947 were obscure and forgotten within a short time.Films like ‘Aisa Kyun’, ‘Atom Bomb’, ‘Barrister’, ‘Beete Di’n, ‘Chalte Chalte’, ‘Chandrahaas’, ‘Dehati’, ‘Daulat Ke Liye’, ‘Extra Girl’, ‘Farz’, ‘Gaurav’, ‘Gudiya’, ‘Heera’, ‘Janata’, ‘Jhalak’, ‘Khandaani’, ‘Lalat’, ‘Manmaani’, ‘Mere Bhagwan’, ‘Mohan’, ‘Nai Baat’, ‘Pehla Pyar’, ‘Paro’, ‘Riwaaz’, ‘Shabari’, ‘Shahkaar’, ‘Tohfa’, ‘Toote Dil’, ‘Veerangana are some of the films made in 1947. How many of us even know about them? Actually, some of these were films in which well known and major stars of the times had acted. For example, ‘Mohan’ had Dev Anand as hero, ‘Lalat’ was the debut film of Usha Kiran (as Usha Marathe), Prem Adib and Vanmala had acted in ‘Chandrahaas’ etc.

Not that ALL films were bad. Certainly some famous and excellent films providing some milestones of Hindi cinema  were also made in 1947, like ‘Aapki Sewa Mein’ (first Hindi playback song of Lata Mangeshkar), ‘Bela’ (all 10 songs by Zohrabai Ambalawali), ‘Dard’ (Debut song of Uma Devi), ‘Elaan’ (a bold Muslim social film by Mehboob Khan), ‘Jugnu’ (the only film of Dilip kumar and Noorjehan), ‘Meera’ ( all 18 songs by MS Subbulaxmi), ‘Mirza Sahibaan’ (last film of Noorjehan in India), ‘Neel Kamal’ (debut of Raj kapoor and Madhubala as lead pair), ‘Parwana’ (last film of KL Saigal), ‘Shaadi Se Pehle’ (first duet of Rafi and Lata) and ‘Shehnai’ (epoch making music by C Ramchandra).

Nevertheless partition did have an impact on the film industry, due to the migration of artistes from both countries. LAHORE, an important city in the undivided Punjab in the pre-independence days was one of the major film making centres in India. Talented actors and musicians from all Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artiste’s dream to go to Bombay and shine there.

Film ‘Ye Hai Zindagi’ (1947) was made in Lahore by Narang Productions – owned by SD Narang, actor, producer, director, studio owner, writer and lyricist too. The life story of Narang is simply fascinating. To know that such a highly qualified and educated person worked in films is in itself unbelievable. Here is his life story.

Here is a story which is stunning and unbelievable ! A young man was born on 18-6-1918, at Lyallpur, Punjab. He studied hard and got high education. First he did B.Sc., then completed M.B.B.S. and became a medical doctor. Later he submitted a thesis and got his Ph.D. All this from Lahore Medical College. He also wrote some research papers and 2 books. With this sparkling education, he could have had a luxurious living, but he chose to join the uncertain film world. True to his wont, he succeeded here too and became a hero, producer, director, studio owner, a lyricist and a writer.

Yes, in the early era of the late 30s,when educated people were a rarity, this highly qualified young man came into films. His name was SATYA DEV NARANG or simply, SD Narang (18-6-1918 to 25-1-1986 ). Here are some highlights of his life, adapted from site sdnarangsfan.com,

  1. During his life, from 1918 to 1986, he had served the Indian Film Industry, at three capitals of this industry, Lahore (1936 to 1946), Kolkatta (1947 to 1951) and Bombay (1952 to 1980), as hero, producer, director, writer and studio owner.
  2. He had the distinction of being the highest educated man in the film industry. He was B.Sc., M.B.B.S and Ph. D from Lahore Medical College.
  3. He had the credit of being the debut making leading man of ‘Khazaanchi’ which was the first Indian film to celebrate the Platinum Jubilee.
  4. He was the youngest leading man in Lahore, who played the lead in ‘Khazaanchi’, ‘Raavi Paar’, ‘Zamindar’, ‘Patwaari’, ‘Gawaandi’, ‘Thekedar’, ‘Sahara’, ‘Ye Hai Zindagi’ (his first venture as producer-director) and ‘Kamini’.
  5. In Kolkotta he produced ‘Chittagong Armoury Raid’, which was India’s ‘First Revolutionary Film’. He also produced ‘Nai Bhabhi’, ‘Ek Raat’,  ‘Aprajitha’, and ‘Chiner Putuland’, and also played the leading roles in these films. Apart from his own movies, he played the lead in ‘Iran Ki Ek Raat’ and ‘Kajari’, which were produced by outside producers.
  6. After partition, he had to leave Lahore, like a refugee, leaving all his assets and immovable property behind him. With his hard work and experience once again he was able to establish himself as the hero, producer, director, writer and studio owner at Delhi. But the studio proved disaster in disguise for him. Being a soft hearted person, he was giving credit to the producers, who used to shoot their films in his studio. They duped him and he had to suffer heavy losses. With this bitter experience he left the city  and entered the City of Dreams and the capital of entertainment, Bombay, in 1952.
  7. Being a passionate movie maker, SD Narang was able to get himself settled in Bombay, within a very short span of time. He had already dedicated himself for the service of silver screen. Once again he arose alive from his own ashes, like a phoenix.
  8. He made his presence felt in a big way in the big City of Bombay.
    He produced and directed many films with big stars. In ‘Tanhaai’ and ‘Darbaan’ he played the leading role himself. Some of the important films produced by him in Mumbai include, ‘Arab Ka Saudagar’, ‘Yahudi Ki Ladki’, ‘Dilli Ka Thug’, ‘Sagaai’, ‘Babul Ki Kaliyan’, ‘Do Thug’, ‘Ram Kasam’, ‘College Girl’, ‘Do Ustad’, ‘Kismatwala’ and ‘Nishaanebaaz’. He had also produced ‘Shehnai’, which was India’s first Air-Force film.
  9. He was also the producer of ‘Bombay Ka Chor’, which was India’s first ‘Holiday-on-Ice’ movie.
  10. He has also the credit of producing India’s first under-water movie, ‘Anmol Moti’ – a Jeetendra and Rekha starrer.
  11. The movie maker with Midas touch, Dr. SD Narang, had spent his 50 golden years of his cinematic profession, in the service of Silver Screen (1936-86).
  12. Before venturing into film industry as the leading man, SD Narang, had an aptitude for research and while studying in Lahore Medical College, he did research on ‘Binocular Theory Of Vision’, which was published in his college Magazine. He bagged the Ph. D and became the Doctor of Philosophy, though he was already a Doctor of Medicine.
  13. Apart from being the author of a novel ‘Hippy Aur Yogi and ‘Human Psychology, he had written a most praiseworthy book, ‘An Introduction To The Theory Of Bio-Economics’. It was actually a new approach to diagnosis and cure of inflation and poverty. If applied this theory on  present global financial crisis, it can change face of fiscal fate of the world.
  14. In 1960 he got married to  actress of his time Smriti Biswas, with whom he had played the lead in many films. After her marriage she stopped to sign new films, and decided to play the roles of faithful wife and caring mother. She preferred to prepare food for his beloved sons Rajiv Narang and Satyajeet Narang.

The cast of this film consisted of M Ismail, Kalavati, Begum Parveen, Roofi, Abu Shah, MA Mirza, Bina, Ibrahim, Narang and others. Most of these migrated to Pakistan. The hero of the film was M Ismail.

M.Ismail was born in 1902 in a jeweller family of Lahore.  He was a very good designer and calligrapher.

M. Ismail was a resident of the Inner Bhati Gate in Lahore. Well built and fair complexioned, Ismail had blue eyes, and was quite attractive. Mian Abdul Rasheed Kardar (the famous AR Kardar), also belonged to the same area in Lahore. M Ismail used to work as a golden calligrapher, while Kardar was involved in sketching and illustration.

They went to Bombay in 1927, and according to Ismail, he and Kardar played the role of Kaedoo and side hero respectively, in Imperial Company’s ‘Heer Ranjha’. But conditions weren’t helpful, and the two young men had to return to Lahore. Fortunately, for them, during 1928, Premier Film Company started a film called ‘Daughters Of Today’. Both Kardar and Ismail were inducted into the cast, but the film remained incomplete.

Later, Kardar learned production and became well known as a brilliant technician. Kardar established his own film making firm in 1930, called United Players Corporation, and cast Ismail in his early silent movies like ‘Mysterious Eagle’ aka ‘Husn Ka Daku’, which also had Kardar in a central role. Others in the cast were Gulzar Begum, Ghulam Qadir, Ahmed Deen and an American actress, Aeris Crawford. Ismail also acted in Kardar’s film, ‘Safdar Jang’, and both these early silent films were very successful. This led Kardar to cast him in ‘Shepherd King’ (‘Gadarya’) and ‘Golden Dagger’ (‘Sunehri Khanjar’). In those days, every film used to have an English title and an Urdu one.

After ‘Alam Ara’ (1931) opened the way for talkies, Ismail became even more popular. In Kardar’s ‘Hoor e Punjab’, an adaptation of Heer Ranjha, Ismail again played the role of Kaedoo, the intriguing ice uncle of Heer, which he repeated yet again later, in film ‘Heer Siyal’, with his characteristic style. His other films in India include ‘Alif Laila’, ‘Dekha Jaega’, ‘Mast Faqeer’, ‘Raja Gopi Chand’, ‘Prem Pujari’, ‘Watan Parast’, ‘Sohni Mahiwal’, ‘Laila Majnoon’, ‘Zamindar’ and others.

In 1948, M Ismail came to Pakistan, and immediately got offers from seniors like Nazir, whose films, ‘Pherey’, ‘Laarey’, ‘Anokhi Dastaan’ and ‘Shehri Babu’ included him in their cast. His first film here was ‘Hichkole’ (1949). Observing his work, another promising and experienced director, Anwar Kamal Pasha offered him some good roles. His films – ‘Ghulam’, ‘Gumnaam’, ‘Qatil’, ‘Inteqam’ and others were the earliest hits of Pakistan. Luqman also cast him in ‘Patan’, and ‘Mehbooba’ was another one that was appreciated.

Similarly Nazeer Ajmeri’s ‘Qismat’ and ‘Paigham’, Munshi Dil’s ‘Hasrat’ and ‘Ishq e Laila’ and SM Dar’s ‘Saltanat’ and ‘Dulla Bhatti’ were also amongst his famous movies. His other films were ‘Darwaaza’, ‘Subah Kaheen Sham Kaheen’, ‘Patey Khan’, ‘Piya Milan Kee Aas’, ‘Jameela’, ‘Bada Aadmi’, ‘Zehr e Ishq’ and many others.  M Ismail was a charming person, with a rural simplicity and a very forgiving disposition. Endearingly called Bhaiyya jee in the industry, M Ismail’s roles of good hearted, forgetful, careless and sometimes cynical man were the best that he did. But, in many films, he performed a perfect villainish role, including the earlier mentioned, ‘Hoor e Punjab’, which had a historic role of Kaedoo. This one was only bettered later, by that most sterling artiste, Ajmal, who made Kaedoo legendary with his gestures in Khwaja Khurshid Anwar’s ‘Heer Ranjha’.

In ‘Yamla Jat’ and ‘Khazaanchi’, in India, he did very fine title roles, while K Asif’s ‘Phool’ portrayed him as an old hakeem from Turkey, which he did to perfection. As a villain in Indian film, ‘Wamiq Azra’, he presented an individual style, with his full facial expressions. By full facial expressions means  that most artistes use the eyes and the forehead, but M Ismail, with a tremendous mobility of his motor mouth, his sagging cheeks and his prominent and protruding jowls, used a tremendous expanse of his face, which aided him in doing old men’s roles very early in his career.

In those days, there was much importance of finding a characteristic face for films and not handsome or beautiful faces, which is the trend today. That was the reason that more such fine artistes were available to the screen. In Nazeer Ajmeri’s ‘Qismat’, he played a unique role of a man, who is too forgetful to even remember his own name. It was a most hilarious performance from a truly talented actor of his times. M Ismail got a Presidential Award for this role in ‘Qismat’.

His last film in Pakistan was ‘Maan Jawaani Da’ (1976) – released after his death. He died on 22-11-1975 at Lahore.

The music was composed by Baba GA Chishti, who too migrated to Pakistan. Unlike many others, he became a successful composer in Pakistan. He spent his last years as a Faqir.

Today’s song is sung by an unknown female voice and chorus. The lyricist is also not known. Actually there were 3 Lyricists in this film, namely Arsh Lakhnavi, GA Chishti and Pandit Madhur. However, HFGK does not provide any information on singer or the Lyricist.

(I am thankful to Narang’s site, Cineplot, Film Directory-1946, and my notes for information used herein.)

Song – Mann Mandir Mein Aa Ja Sajanva Aa Ja (Ye Hai Zindagi) (1947) Singer – Unattributed, Lyrics – Unattributed, MD – GA Chishti
Chorus

Lyrics

mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja

tere bina mann doley
haan doley
tere bina mann doley
bhed na kholey
kachhu na boley
aaa aaa aaa
tere bina mann doley
bhed na kholey
kachhu na boley
mann ki dheer bandha ja
sajanva aa ja
haaaaaan aaaaaaaa
mann ki dheer bandha ja
sajanva aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja

kyon tu ne mukh moda
haan moda
kyon tu ne mukh moda
mera dil toda
saath kyon chhoda
haaaaaan aaaaaaaa
kyon tu ne mukh moda
mera dil toda
saath kyon chhoda
itni baat bataa jaa
sajanva aa ja
haaaaaan aaaaaaaa
itni baat bataa jaa
sajanva aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja

joban par din aaye
haan aaye
joban par din aaye
jiya ghabraaye
aap na aaye
haaaaaan aaaaaaaa
joban par din aaye
jiya ghabraaye
aap na aaye
aa ja mere raja
sajanva aa ja
haaaaaan aaaaaaaa
aa ja mere raja
sajanva aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja

mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja

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

मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा

तेरे बिना मन डोले
हाँ डोले
तेरे बिना मन डोले
भेद ना खोले
कछु ना बोले
आ आ आ
तेरे बिना मन डोले
भेद ना खोले
कछु ना बोले
मन की धीर बंधा जा
सजनवा आ जा
हाँ आ
मन की धीर बंधा जा
सजनवा आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा

क्यों तूने मुख मोड़ा
हाँ मोड़ा
क्यों तूने मुख मोड़ा
मेरा दिल तोड़ा
साथ क्यों छोड़ा
हाँ आ
क्यों तूने मुख मोड़ा
मेरा दिल तोड़ा
साथ क्यों छोड़ा
इतनी बात बता जा
सजनवा आ जा
हाँ आ
इतनी बात बता जा
सजनवा आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा

जोबन पर दिन आए
हाँ आए
जोबन पर दिन आए
जिया घबराए
आप ना आए
हाँ आ
जोबन पर दिन आए
जिया घबराए
आप ना आए
आ जा मेरे राजा
सजनवा आ जा
हाँ आ
आ जा मेरे राजा
सजनवा आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा

मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा


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 : 3964 Post No. : 15045

“Do Roti”(1957) was produced and directed by Ismail Memon for Ismail Films, Bombay. This movie had Nirupa Roy and Balraj Sahni in lead roles, along with Johny Walker, Nazeer Hussain, Mishra, Manju, Minu Mumtaz, Nana Palsikar, Kanhaiya Lal, Mehmood, Shakuntala devi, Arvind Kumar, Kamal Mohan, Sagar, Nalini Chonkar, Kusum, Chetan Kumar, Mumtaz, G Kallan, Mohan Sandow, Aziz Siddiqui, Omkar, Baby Sultana, Master Raju etc in it.

The movie had eight songs in it. Six songs have been covered in the past.

Here is the seventh song from “Do Roti”(1957) to appear in the blog. This song is sung by Lata. Khumar Barabankwi is the lyricist. Music is composed by Roshan.

This song is picturised as a joie de vivre song on Nirupa Roy.

Audio

Video

Song-Gham ki huyi haar lo jeet gaya pyaar(Do Roti)(1957) Singer-Lata, Lyrics-Khumar Barabankwi, MD-Roshan

Lyrics

gham ki hui haar
lo jeet gaya pyaar
gham ki hui haar
lo jeet gaya pyaar
naache jiya jhoom jhoom ke
haaye jhoom jhoom ke
gham ki hui haar
lo jeet gaya pyaar

roothhe huye maan gaye
dil ki lagi pehchaan gaye
roothhe huye maan gaye
dil ki lagi pehchaan gaye
ho dil ki lagi pehchaan gaye
nazren huin chaar
lo teer huye paar
nazren huin chaar
lo teer huye paar
naache jiya jhoom jhoom ke
haaye jhoom jhoom ke
gham ki hui haar
lo jeet gaya pyaar

main hoon kahin
dil hai kahin
aaj mujhe kuchh hosh nahin
main hoon kahin
dil hai kahin
aaj mujhe kuchh hosh nahin
ho aaj mujhe kuchh hosh nahin
chha gaya khumaar
lo aa gayi bahaar
chha gaya khumaar
lo aa gayi bahaar
naache jiya jhoom jhoom ke
haaye jhoom jhoom ke
gham ki hui haar
lo jeet gaya pyaar

nazren milin waar huye
kitne haseen iqraar huye
nazren milin waar huye
kitne haseen iqraar huye
ho kitne haseen iqraar huye
man ke baje taar
lo jaag uthha pyaar
man ke baje taar
lo jaag uthha pyaar
naache jiya jhoom jhoom ke
haaye jhoom jhoom ke
gham ki hui haar
lo jeet gaya pyaar
gham ki hui haar
lo jeet gaya pyaar
naache jiya jhoom jhoom ke
haaye jhoom jhoom ke
gham ki hui haar
lo jeet gaya pyaar
gham ki hui haar
lo jeet gaya pyaar
naache jiya jhoom jhoom ke
haaye jhoom jhoom ke
gham ki hui haar
lo jeet gaya pyaar


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 : 3963 Post No. : 15044

Songs Repeated in Hindi Films – 1
– – – – – – – – – – – – – – – – – –

Reading the title of the post, you must be wondering – “ये क्या हो रहा है?” (“What is this going on?”). This song – who says this song is not yet posted. Goodness, this film is yippeee’d long back. So why are we re-posting this song? Sudhir seems to have taken up certain vice (or vices) with unlikeable after effects. 😀 😀

Well, no and yes. No – I have not taken up any such vices 🙂 that may impair my abilities to make decisions about posting songs. And yes – this song, from film ‘Madhumati’ of 1958, is already posted here on our blog. The film ‘Madhumati’ made its debut here on 1st May, 2009. The eleven songs of this film made their appearances over the subsequent four plus years, and film was yippeee’d on 4th Jul, 2013. This song originally appeared on 3rd May, 2009. ‘Madhumati’ is a done deal.

Of course your question still remains – “ये क्या हो रहा है?”. The answer to that follows.

I will try to make the long story short. Beginning of this month, Bakshi ji and I were in Bombay, to attend the annual two day seminar titled ‘Cine Music Beyond Entertainment’, which is arranged by our friend Shri Kushal Gopalka, every year. In one of the post session discussions, I came to know about a very interesting anecdote. The session was on the life and work of music director Vasant Desai.

The anecdote is about the 1971 film ‘Guddi’. The Geet Kosh lists three songs for this film,

The first two songs are penned by Gulzar. The third is a traditional bhajan, written by Meerabai, one of the greatest saints of the Bhakti Movement in India, which originated in India in the eighth century AD. Meerabai, who belonged to the royal family of Mewar (in Rajasthan) spent her time here on this sub continent, in the fifteenth century AD. Music for these three songs is composed by Vasant Desai. All three songs are in the voice of Vani Jairam. When the film released in theaters, it had only these three songs in it.

Now, one of the supervisory activities that the producer and distributor staff undertake, especially in the first one or two weeks of the film exhibition, is that they go to select cinema halls where the film is being shown. They will be present in the hall as the film is being shown, and they will also mingle with the crowd during intermission and at the end of the film. The objective is to pick up and gather live feedback about the film from the audience. It helps them to make some choices and educated decisions about the future exhibition plans.

One thing that happened during this exercise was that the team gathered feedback that sounded negative. One part was the use of only one playback voice, and that too a very fresh debut. Plus the overall summary of live audience feedback sounded disheartening and negative. Immediate discussions happened involving Hrishikesh Mukherji, the producers (Rupam Chitra) and the distributors. One recommendation that came out of these discussions was to somehow modify the mix of songs in the film. It was felt that the bhajan song (of Meerabai) should go. What should replace it? How to create a new song for the film at a short notice? Please note that this description of events is for the very first one or two days after the release of the film.

One of the recommendations from the distributors was to include another song, preferably by Lata Mangeshkar. After quick discussions, it was decided to re-use the song of ‘Madhumati’. I really wonder how fast the decision and action taken process worked. Approvals were sought and taken – Bimal Roy’s estate, Salil Chowdhury et al. The team was reassembled, and the song was picturised. Apparently, the Meera bhajan was in the same setting in the film. At the party, Jaya Bhaduri is performing the Bhajan by Meerabai – “Hari Bin Kaise Jiyun Ri” – an expression of her waiting for Samit to come to the party. This song from ‘Madhumati’ fitted the emotional-expression criteria to the T.

The song was picturzed, it was edited into the film, replacing the bhajan, the censor certificate for revision to the film was applied for and taken. Multiple copies of the revised reel of the film was quickly processed and produced on emergency basis, and distributed to the theatres for immediate change to the film being shown. How fast this whole process worked – one may gauge the speed and success of this whole exercise from the fact that the revision appeared in the theatres before the first week of exhibition was complete, i.e. within the first 5 or 6 days only.

Now, interestingly, Vasant Desai was away from Bombay at that time. Important point to note is that this whole decision making and replacement process happened without the involvement of Vasant Desai, the music director.

Possibly many of our learned friends in this musical bandwagon may already be aware of this. I was not, so this was a startling discovery for me. I must add hurriedly that yes, I have seen this films, possibly more than once, but somehow I do not carry any memory of this song being present in this film.

The booklets of the film do not contain this song. And hence, the Geet Kosh also does not list this song. This song does not appear on the EPs/LPs of this film. This song has no other status in relation to this film, except that yes, it is included in the film. The credits at the beginning of the film remain unchanged. Vani Jairam is the only playback voice, and Vasant Desai is the sole music director. And so, the video of this song is the only evidence that this song is present in the film.

A very, very interesting episode. For me, it brought into very sharp focus, an idea that songs from earlier films are at times, re-used in later films. Before this discussion happened in Bombay, I was aware of one or two such instances. They were just interesting trivia in the mind. After this discussion highlighted this activity so sharply, an idea started to form in my mind. I started to search for more such instances. I searched through my own memory, I researched the remarks and footnotes in the Geet Kosh, and I discussed this with friends and collectors in our group and in my circle, trying to gather more information about such re-use of songs. And when I am able to gather a sizeable list, the thought came to the mind – this is a new series to discuss this very interesting facet of the Hindi film music.

As I am gathering information about such instances, I also became aware af the various modes of re-use. Yes, the re-use happens not only just ‘as is’, but there even are further variations on how this re-use may occur. As we proceed with the series, I will be highlighting and discussing these different re-use ‘styles’. It does make for a very interesting discussion.

And so, here is the first offering of this series. The song from ‘Madhumati’ of 1958 is re-used – as is, ditto, no change – 13 years later in ‘Guddi’ of 1971. Ah, I must correct myself. One change does happen. The original song in ‘Madhumati’ has three stanzas. The re-use version in ‘Guddi’ has only two stanzas. The first stanza of the ‘Madhumati’ version is left out.

This is the very first re-use ‘style’ – the song has been directly used and copied as is. No alterations, no additions, no other changes. Just get approvals, and simply insert the earlier song, as it fits into the storyline. This is the simplest form of re-use. I will be presenting more such instances moving forward.

So view this associated video clip, and listen to the original recording of this song, now being lip synced by Jaya Bhaduri. The scenario is so utterly different. The original setting in ‘Madhumati’ is mountains, forests, river and waterfall. The entire natural surroundings seem to be participating in the earlier picturization of the song. In this later ‘Guddi’ incarnation, this is just a song being sung at a party. The performer, very naturally, is just standing still, as the audience simply watches and waits for the song as it progresses. Absolutely minimal activity and movement in this scene.

Besides Jaya, we can also see Sumita Sanyal, Utpal Dutt and Vijay Sharma in the clip, as family members watching the impromptu performance. Samit Bhanj, for whose benefit and in whose wait, this song is being performed, is seen arriving at the party, just as the song gets started, and he thoughtfully waits just outside the entrance to the room, listening to the song being performed. Amongst the guests at the party, there are many familiar faces – of junior artists that are part of such scenes in films. But their names remain obscure.

Before I close this write-up, another very interesting aside. The film ‘Guddi’ has already been yippeee’d on our blog, as of 20th March, 2013. That is, as per the Geet Kosh list of songs. But now, we have one more additional song from this film. A repeat, but nonetheless another song that is part of this film, performed by the actor(s) in this film. Another cateogry called for – ‘yippeee+‘ – finding more songs in a film that are officially listed for the film. 😀 😀 I am sure there are more than one such instances earlier also, when songs for certain films have been posted that do not appear in the official list of songs.

So. . . starting this interesting journey of repeat songs in Hindi films. I hope this thread will interest you.

Song – Aaja Re Pardesi Main To Kab Se Khadi Is Paar  (Guddi) (1971) Singers – Lata Mangeshkar, Lyrics – Shailendra, MD – Salil Chaudhry

Lyrics

aa jaa re. . . ae ae ae
pardesi

main to kab se khadi is paar
ye ankhiyaan thak gayin panth nihaar
aa jaa re. . . ae ae ae
pardesi
main to kab se khadi is paar
ye ankhiyaan thak gayin panth nihaar
aa jaa re. . .  pardesi

tum sang janam janam ke phere
bhool gaye kyun saajan mere
tum sang janam janam ke phere
bhool gaye kyun saajan mere
tadpat hoon main saanjh sawere oo oo
aa jaa re main to kab se khadi is paar
ye ankhiyaan thak gayin panth nihaar
aa jaa re. . . ae ae ae
pardesi

main nadiya phir bhi main pyaasi
bhed ye gehra baat zara si
main nadiya phir bhi main pyaasi
bhed ye gehra baat zara si
bin tere har saans udaasi oo oo
aa jaa re main to kab se khadi is paar
ye ankhiyaan thak gayin panth nihaar
aa jaa re. . . ae ae ae
pardesi

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

आ जा रे॰ ॰ ॰ ए ए ए
परदेसी

मैं तो कब से खड़ी इस पार
ये अखियाँ थक गईं पंथ निहार
आ जा रे॰ ॰ ॰ ए ए ए
परदेसी
मैं तो कब से खड़ी इस पार
ये अखियाँ थक गईं पंथ निहार
आ जा रे॰ ॰ ॰ ए ए ए
परदेसी

तुम संग जनम जनम के फेरे
भूल गए क्यों साजन मेरे
तुम संग जनम जनम के फेरे
भूल गए क्यों साजन मेरे
तड़पत हूँ मैं साँझ सवेरे ओ ओ
आ जा रे मैं तो कब से खड़ी इस पार
ये अखियाँ थक गईं पंथ निहार
आ जा रे॰ ॰ ॰ ए ए ए
परदेसी

मैं नदिया फिर भी मैं प्यासी
भेद ये गहरा बात ज़रा सी
मैं नदिया फिर भी मैं प्यासी
भेद ये गहरा बात ज़रा सी
बिन तेरे हर सांस उदासी
आ जा रे मैं तो कब से खड़ी इस पार
ये अखियाँ थक गईं पंथ निहार
आ जा रे॰ ॰ ॰ ए ए ए
परदेसी


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

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