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

Archive for August 2019


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4061 Post No. : 15194 Movie Count :

4174

Today’s song is from film Abla-41.This highly obscure film was directed by actor Director R.N.Vaidya (9 silent and 16 Talkie films as a director). The film was made under the banner of Bharat Photophones Ltd. Bombay. The music was composed by one Khurshid khan. This seems to be the only film for which he composed music. All the 6 songs were written by Pt. Gyan Chandra, who wrote mainly for Wadia films and other C grade action films. The cast of film Abla-41 was Heeralal,Shyam Narayan,Dar Kashmiri, Akbar khan, Ghulam Mohd., Sunder, Raja Babu, Chandrika, Suryakumari, Dev kumari, Sheela, Guljar etc.etc.

Funny cast this ! There is a Suryakumari and a Chandrika and there is a Dev Kumari also!There is a Raja, Akbar and Ghulam also ! And there is a Sunder and Guljar also !! What a collection !! Apart from the humour, names of Surya kumari, Chandrika, Dev kumari and Shyam Narayan are names which I have heard first time.

About Dar Kashmiri.Most sites and Blogs list Dar kashmiri as another initial name for actor Jeevan. Even Surjit Singh ji, in his short articles on years from 1931 to 1947, on his site, claims that Jeevan was called Dar Kashmiri in his initial career (see article on 1934 on his site). The reality, however, is different. Dar Kashmiri was a Pseudo-name used for Om Prakash Dar- a Kashmiri actor, who was the elder brother of actor Jeevan and who came to work in Hindi films much earlier than Jeevan had.

Om Prakash Dar was born into a large family, he had 23 siblings. His grandfather was the Governor of Gilgit in Gilgit-Baltistan. He lost his father when the youngest- Jeevan- was 3 years old and his mother died at childbirth. Being the eldest,he came to Bombay in search of jobs and entered films. Instead of his original long name,he was called Dar Kashmiri.

Actually, When Jeevan came to Bombay in search of film roles, Om Prakash Dar aka Dar kashmiri, his elder brother, was already working in films. Jeevan appeared first time in Fashionable India-35. Since his name was Onkar Nath, he was billed as O.K.Dar (and not Dar kashmiri-please note).
His elder brother Dar Kashmiri worked in films like –
Noor Mahal-34, Watan parast-34, yaad rahe-40, Abla-41, Saugandh-42, Angoori-43, Naya Tarana-43, Room No.9-46, Hua savera-48, Kundan-55 and Ayodhyapati-56. and many other films. Every film, he was billed as Dar kashmiri only.
Jeevan was billed as O.K.Dar (Jeevan) from film Romantic India-36 onwards
and then on as Jeevan only-except still a few films where he was billed as O.K.Dar(Jeevan).
In film Patit pawan-1955, both brothers acted and they were individually billed as Jeewan and Dar Kashmiri. This settles their name issue decisively. Most of this information comes from Filmdom-The All India Film Directory and Who’s who in Indian Film Industry-1946.

The curse of ” Same Name Confusion” is cast on the film industry from its early era (The first heroine Zubeida – Alam Ara-31, had a same name actress later on in the 40s). The name Ghulam Mohammed was the only one in 1932, but later on two more Ghulam Mohammeds came on the scene for the same period. One of them was the well known Music Director and the third one was a small time singer in the 50s and the 60s. Initially, very little information was available on actor Ghulam Mohammed. Now,more information is available and hence his information is more uptodate- with dates of Birth and Death etc. Here is the latest note on Ghulam Mohammed-the actor…

Ghulam Mohammad was born on 19-3- 1905 in Lahore and died on March 10, 1961. He appeared in more than 500 stage dramas and was, during the WW1, in Baghdad, Iraq. He was best known as Chacha (Uncle) in film circles.

Ghulam Mohammad was a super star villain actor in the pre-partition films. He was a popular stage actor in the 1920s and appeared in movies mostly as villain actor in the 1930s/40s. His first big film was Madhuri in 1932 which was directed by R.S. Choudhary. He was in Villain’s role with actress Salochana who was a Jewish artist and the first ever super star film heroine in the sub-continent. It was one of many famous productions by the leading Bombay based film company Imperial Film Co. and Ghulam Mohammad was an automatic choice for them. He was called Prince of Imperial Film Company and he was the first ever Muslim actor to bye a luxury car in the 1930s.

Ghulam Mohammad was an all round actor and appeared as hero, villain and supporting actor in 65 movies in the 1930s-40s. In ‘Daku ki Ladki’-33 he was in the role of the Daku. With this film he became popular. By 1942,he was called by Dalsukh Pancholi,to Lahore. He did ‘Khandan’,’ Zamindar’, and Shirin Farhad’ during 1942 to 1945. Shirin Farhad was a big flop. He came back to Bombay. He did about 25 films here. Some of his films were Ek din ka Sultan,Sanyasi,Behram Khan,Humjoli, Raajputani, Chhin le Azaadi, Jugnu, Lakhon mein ek, Heer Ranjha, Pardesi Mehmaan, Vidya etc.

He played the main villain role in the first ever colored film Kissan Kanya in 1937. He was in main role with Noorjahan in Lahore based Punjabi film Chowdhary in 1941 and also in her first Hindi/Urdu film as heroine, Khandan in 1942, which was made in Lahore as well. He was also in the last big film before partition Jugnu (with Noorjahan and Dilip Kumar and Sulochana).

Around 1949,he migrated to Pakistan and did 69 films there (41 urdu and 28 Punjabi films) and finally died in poverty and anonymity.

( Adapted from http://www.pakmag and vo bhuli dastan by Subhash Jadhav)

For a long time,I was searching for information on comedian Sunder. I got hold of a 2 page detailed article on Sunder, but it was in Punjabi- which I could not read or use. I found a small paragraph on Sunder in Sanjit Narvekar ji’s book ” Eena Meena Deeka”. Lastly, I requested Harish Raghuwanshi ji for help. Despite his failing health, he promptly sent me articles in Hindi, English and Gujarati, on Sunder. He is such a helpful person. May God give him a healthy life.

Sunder Singh aka Sunder was born in Sialkot, Punjab in August 1916. His father was working in Madon Theatres, Calcutta. Sunder also started working there. Initially, for long period,he did Girl’s roles. Once his work was seen by H.S.Rawail (Director in later life). He was quite impressed. Later Rawail started working with R.N.Vaidya as his assistant in direction.Meanwhile Sunder started working in Talkie films. His first film,where he was credited was ” Na honewali baat”-38. Before that, Rawail and Vaidya were preparing to make film Banke Sipahi-37.Rawail recommended Sunder and Vaidya gave him an uncredited small role in that film.

Sunder and Rawail became good friends and started staying in one flat in Calcutta. After few films here, they both went to Lahore and Sunder got the Hero’s role in film ” Shukriya”-44. There were 4 Heroines in the film- Ramola, Rooplekha, Manorama and Raksha. Sunder’s role in this film was that of a young man from a village and Ramola was from a City. Sunder’s one song from this film-‘ Nayanon ke teer chala gayee ek shehar ki laundiya’ became very popular allover India, However the song was banned in Punjab due to its lyrics. After this they both came back to Calcutta.

His next film was Albeli-45, in which too there were 4 Heroines- Ramola, Rooplekha, Manoram and Usha. In the 40’s , Sunder acted in many films like Arabian Nights, Baap, Shabri, Chandrashekhar, Ek aurat, Grihalaxmi, Lottery, Samapti, Jhoothi kasme, Savyasachi, Do baaten, Shadi ke baad, Bawra, Khiladi, Nai Bhabhi etc. In Calcutta, Sunder got married to a girl from his community. Rawail left for Bombay. After few months, Sunder also returned to Bombay.

Rawail was very happy to get him back and gave him roles in almost all of his films. Not only Rawail, but also J.Om Prakash, Mohan Kumar, Lekhraj Bhakri, Manoj kumar etc gave him roles in their all films and he became a busy actor. He was at one time, in great demand. He was quite popular due to his nature.In the decade of 50’s he did 88 films, which increased in the 60s and 70s. In the 80s however films came haltingly.

From singing Hero, he became a Junior artiste( extra), in presence of the new crop of actors. The role of comedians was on decline, as Heroes like Amitabh and others did comedy scenes themselves. His health started troubling him. His last film was probably Bahurani-89. He became ill for a long time and finally died on 5-3-1992. Sunder acted in 436 films He was a good singer and sang his own songs in early cinemas. In all, Sunder sang 40 songs in 25 films. ( Thanks to Harish Raghuwanshi ji for material for adaptation.)

I do not know, what the film Abla-41 was about and what its story was. I could not find anything about this film in any issues of Film India of that period. Only 2 songs of the total 6 songs in the film are available on You Tube. From the HFGK, it is known that the film’s singers were Ram Dulari, Binapani, Bhawani and Akbar Khan Durrani Peshawari- who had worked in the film also. Today’s song is sung by Akbar Khan and Chorus. With this song, film Abla-41 makes its Debut on the Blog.


Song-Bharat ki vidhwa dukhiyaari (Abla)(1941) Singer- Akbar Khan Durrani Peshawari, Lyricist- Pt. Gyan Chandra, MD- Khurshid Khan
Chorus
Unknown female voice 1
Unknown female voice 2

Lyrics

Bharat ki vidhva dukhiyaari
Bharat ki vidhava
Bharat ki vidhava dukhiyaari
Bharat ki vidhva

bin maalik ke kheti jaaye
bin maalik ke kheti jaaye
chor uchakka najar lagaaye
chor uchakka najar lagaaye
laage aag bhasam ho jaaye
laage aag bhasam ho jaaye
sookhe jeewan ki phulwaari
Bharat ki vidhva dukhiyaari
Bharat ki vidhva

?? jewar
?? saare
?? jewar
?? saare

har deewaali gaye intzaari
har deewaali gaye intzaari

mata pita bhi thokar maaren
mata pita bhi thokar maaren
bipad padi dukhiya pe bhaari

Bharat ki vidhava dukhiyari
Bharat ki vidhava

jaago jaago hosh mein aao
ghar mein laagi aag bujhaao
jaago jaago hosh mein aao
ghar mein laagi aag bujhaao
vidhwaaon ke kasht mitaao
vidhwaaon ke kasht mitaao

?? dekh ki duniya bhaari
Bharat ki vidhva dukhiyaari
Bharat ki vidhva


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 : 4060 Post No. : 15193

“Zindagi”(1964) was written produced and directed by Ramanand Sagar for Gemini Productions, Madras. This movie had Raj Kumar, Rajendra Kumar, Vyjayanthimala, Helen, Mehmood, Prithviraj Chauhan, Jeevan, Dhumal, Jayant, Kanhaiyalal, Hiralal, Master Shahid, Leela Chitnis, Pushpavalli(Actress Rekha`s mother), Baby Farida & “Honey”, Mumtaz Begum, Moolchand, Nirupa Roy, Satyajeet etc in it.

The movie had 13 songs in it. Seven songs from the movie have been covered in the past.

Today (30 august 2019) is the 96th birth anniversary of Shailendra (30 august 1923 -14 december 1966). Shailendra would have been 96 today. I know of at least one person senior to Shailendra in age who is still around. Sadly Shailendra left us at a tender age of 43.

In such a brief duration of 43 years, he had a 17 years long career as a lyricist in HFGK. His literary output during this period was enough to establish himself as an all time great lyricist in the annals of HFM.

Shailendra penned around 760 songs in HFM. This blog has as many as 676 of his songs. So only around 80 odd Shalendra songs are left to be covered in the blog.

On the occasion of the birth anniversary of Shailendra, here is a song from “Zindagi”(1964). This song is sung by Lata and chorus. Shailendra is the lyricist. Music is composed by Shankar Jaikishan.

The song is picturised as a “god bharaai rasm” song. Picturisation shows a would be mother played by Vyjyanti Mala, surrounded by ladies viz. Leela Chitnis, Mumtaz Begum and others while Helen (who rather unusually for her is seen clad in a saari)lip syncs this song.

Lyrics of this song were sent to me by Prakashchandra

Video

Audio (Longer)

Song-Ek naye mehmaan ke aane ki khabar hai (Zindagi)(1964) Singer-Lata, Lyrics-Shailendra, MD-Shankar Jaikishan
Chorus

Lyrics (Provided by Prakashchandra)

ik naye mehmaan ke aane ki khabar hai ae
dil mein leher hai
ek naye mehmaan ke aane ki khabar hai ae
dil mein lehar hai

chaand ko palne mein bulaane ki khabar hai ae
dil mein leher hai
chaand ko palne mein bulaane ki khabar hai ae
dil mein leher hai

nainon waali
kaahey ko tu nain chhuraaye ae
nain chhuraaye
baithhi hai kyun chor si
tu sar ko jhukaaye ae
sar ko jhukaaye
mukh na chhupaa
kya ye chhupaane ki khabar hai ae
dil mein lehar hai
ek naye mehmaan ke aane ki khabar hai ae
dil mein lehar hai

rotaa koyee aayegaa iss ghar ko hansaane ae
ghar ko hansaane
aas ke deepak se kayee deep jalaaney ae
deep jalaaney
naach rey mann
naachne gaane ki khabar hai ae
dil mein lehar hai
ek naye mehmaan ke aane ki khabar hai ae
dil mein lehar hai
chaand ko palne mein bulaane ki khabar hai ae
dil mein leher hai


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 : 4059 Post No. : 15192

“Chaalaak”(1973) was directed by T N Sharma and R K Bannerji for Film Dhara, Bombay. This “social” movie had Radha Saluja, Kiran Kumar, Alka, Jayshree T, Brahmchaari, Keshto Mukherji, Jagdeesh Raj, Brahm Bhardwaj, Master Ratan, Uma Dutt, Paresh Nanda, Moolchand, Banjara, Bachan Singh, Elizabeth, Suring=der Khanna, Sheikh, Bhola, Satyarani, Sudakshana Mukherji etc with guest appearances by Maruti, Hercules, Lalita Kumari, and friendly appearances by Ajeet, Gautam Sareen, P Jairaj and Danny Danjongpa.

The movie had five songs in it. Three of these songs have been covered in the past.

Here is the fourth song from “Chaalaak”(1973). This song is sung by Asha Bhonsle, Kishore Kumar and chorus. Hasrat Jaipuri is the lyricist. Music is composed by Ganesh.

The song is picturised as a party song. I am unable to identify the lady lip syncing the song in Asha Bhonsle’s voice. Danny lip syncs in Kishore Kumar’s voice. I request our knowledgeable readers to help identify the lip syncing lady.

The music of the song sounds familiar but that is not because this music was heard earlier. That is because this music was heard years later in a Laxmikant Pyarelal composition, viz “gore nahin ham kaale sahi” in “Deshpremi”(1982). Or is it some other song. I request our knowledeable readers to tell us about the song where this music is reused.


Song-Piye jaa jiye jaa (Chaalaak)(1973) Singers-Asha Bhonsle, Kishore Kumar, Lyrics-Hasrat Jaipuri, MD-Ganesh
Both
Chorus

Lyrics

duniya phaani
duniya phaani
ho bahta paani
arre jawaani badi toofaani
hey duniya phaani
hey bahta paani
arre jawaani badi toofaani

ho
zindagi kya ik nasha hai
mastiyon ka jaam hai
hey zindagi kya ek nasha hai
mastiyon ka jaam hai
piye ja

o jiye ja aa
piya ja jiye ja
piya ja jiye ja

piye ja ja ja
jiye ja ja ja
piye ja jiye ja piye ja jiye ja

tu ru ru ru ru ru
tu ru ru ru ru
tu ru ru ru ru ru
ho o
tu ru ru ru ru
tu ru ru ru
tu ru ru ru ru ru
aaa

laalalalalalala
laalalalala

hey hey haa

jo maza hai yaar ki baahon mein
ham se poochh lo
arre haan jo maza hai yaar ki baahon mein
ham se poochh lo
aankhen tumhaari shaayaraana
lab hain tumhaare ya paimaana

ho
ho
ho
piye jaa
o jiye jaa
piye ja jiye ja
piye ja jiye ja
duniya phaani

haa
hey bahta paani
haa
arre ye jawaani badi toofaani
ho duniya phaani

main hi tera humsafar hoon
kaun chheenega mujhe
arre main hi tera humsafar hoon
kaun chheenega mujhe

kab se tumhi pe main fida hoon
dil ki tumhaare ye sada hoon
haa
haa
haa
piye ja
jiye ja aa
piya ja jiye ja
piya ja jiye ja
duniya phaani

haa
hey bahta paani
haa
arre jawaani
badi toofaani
ho zindagi kya
ik nasha hai
mastiyon ka jaam hai

piye ja ja ja
jiye ja ja ja
piye ja jiye ja
piye ja jiye ja

piye ja aa
jiye jaa aa
piye ja aa
jiye jaa
piye ja
jiye ja
piye ja
jiye ja
piye ja
jiye ja
piye ja
jiye ja


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 :

4058 Post No. : 15191 Movie Count :

4173

Today’s song is from film Aaj aur kal-47. The film was produced by C R Gwalani and R K Parashar. It was directed by K A Abbas. The music for its 6 songs was composed by Khwaja Khurshid Anwar. The film was made under the banner of Chitra Productions, Lahore.

1947 was a period of political turmoil, both in future Pakistan and existing India. The matters became worse after actual Partition took place. When the entire country was disturbed, no wonder, the film industry too was shaken with uncertainty. There was a flood of rumours. No one was sure as to who is leaving and who is staying. In Lahore, the condition of film people from India was more serious. In order to save their lives, they had to run away to India, leaving everything behind. In film industry in India situation was not that bad, but people were scared.

This automatically resulted in some films remaining incomplete. Most producers had ensured to somehow complete their films, well before actual time of Partition. This was so, on both sides of the border. Film Aaj aur kal was one such film which had started shooting in 1946, censored in 1947 but could not be released same year, due to this commotion. An early issue of Film India magazine announced in 1948 that this film was awaiting its release. However, we do not know,if the film was released actually or not, as there is no information available about its release dates or place etc.

From the advertisements, photos, posters and short newslets available in the film magazine, we know that actor Shyam and actress Nayan Tara were the lead pair. HFGK, however, does not give their names in its cast details. Only the names of Neeta, Rasheed Ahmed (Rashid Khan) and Arif are listed in its cast column. Film Aaaj aur kal aka Today or Tomorrow-47 had a Sci-Fi story in which a city called Gandhi Nagar was shown as a city of future in the year 2048 (100 years later). In the absence of storyline, we can,at best, imagine the story.

Rashid Khan was a new entrant in Hindi films then,having debuted in ‘Dharti ke Lal’-46, this was his just 4th film. Vadodara or Baroda has given many actors to film world. Some of them are Mehboob Khan, Urmila Bhatt, Shabbir kumar, Faruq Shaikh, V H Desai, Dinesh Hingoo etc etc. Add to this, Rashid Ahmed Khan aka Rashid Khan, who was a villain, comedian, character artiste and everything else, except the Hero.
He was born on 5th July 1915. He was a Suleimani Muslim, hence very liberal and secular in nature. He studied upto B.A; LL.B., but without becoming an advocate he came to Bombay to become an actor. He met Jaddan Bai,who gave him titbit roles in films. Then he was employed by Sohrab Modi as a Painter in his studio.Rashid Khan used to copy the acting of Chandra Mohan. After two months this job was also gone. Finally, Rashid Khan got a job in All India Radio, Bombay as an announcer.

One day Balraj Sahni met him. He was directing K.A.Abbas’ drama ‘ Zubeida’ and was looking for an actor for the important role of Munshi Bedil in the drama.He was impressed with Rashid khan and offered him the role. Rashid Khan flatly refused. Next one month, on and off, Balraj Sahni was trying to convince Rashid Khan, but he was adamant in not doing acting. Just one week prior to the staging of the drama, Rashid Khan met Balraj Sahni and accepted his offer.

Rashid Khan’s acting was much appreciated by critics. Balraj gave him a role in film ” Dharti ke lal”-46, which became his Debut film. Many stage stalwarts were acting in that film. Deena(Sanghvi) Pathak had a dance item in it. Later she became a famous character actress in Hindi films in the 70s and 80s. Rashid khan got several films like Hasrat, Gudia, Aaj aur Kal, Anjuman, Aarzu etc. Initially he was credited as Rashid Ahmed,but later on he ensured that he was mentioned as Rashid Khan. In the beginning, he had to improve his Urdu/Hindi diction, as he was a Gujarati person.

Dev Anand cast him as Postmaster in Navketan’s first film ‘ Afsar ‘. Then came Baazi, Jaal Aah, Shri 420 and many others. He acted in most Dev Anand and Guru Dutt films. K.A.Abbas cast him in his 8 films. He was a favourite of Hrishikesh Mukherjee.He worked with Mukherjee in 18 films. Personally, I like his role of a “Body builder and Exercise freak”, in film ” Ek phool chaar Kaante”-1960. In his career, Rashid Khan did acting in 96 films.

In 1953, he married one Suraiya. His son Fazal is a photographer and Daughter Heena married into Fida Hussain family.
Rashid Khan rarely got long and big roles, but he made his small roles also memorable. He was not typecast. He did roles as Villain, Comedian and character artiste as father,brother or friend of the hero. While shooting at Famous studio, on 7-11-1972, he got massive heart attack and died while working, just like Gope. (adapted, with thanks, from Gujarati article by Harish Raghuwanshi ji.)

Music Director Khurshid Anwar (21-3-1912 to 30-10-1984) was a rare case, who was successful both in India as well in Pakistan, after he migrated there. He was also a highly respected personality here and there. A lot has already been written about him on Internet as well as on this Blog-by me, hence I am not repeating it here now.he gave music to 10films in India- including Parwana-47, with Saigal and he composed 77 songs- without a single song by Lata Mangeshkar. For his first film Ishara-43, he had called famous singer of Lucknow, Gohar Sultana, to sing few songs.

The film was directed by Khwaja Ahmed Abbas (7-6-1914 to 1-6-1987), who directed 20films from 46 to 88. He was born in Panipat, Haryana, on 7-6-1916. He was born in the home of celebrated Urdu poet, ‘Khwaja Altaf Husain Hali’, a student of Mirza Ghalib. His grandfather Khwaja Gulam Abbas was one of the chief rebels of the 1857 Rebellion movement, and the first martyr of Panipat to be blown from the mouth of a cannon. Abbas’s father Ghulam-Us-Sibtain graduated from Aligarh Muslim University, was a tutor of a prince and a prosperous businessman, who modernised the preparation of Unani medicines. Abbas’s mother, ‘Masroor Khatoon’, was the daughter of Sajjad Husain, an enlightened educationist. Abbas took his early education in ‘Hali Muslim High School’, which was established by his great grand father Hali. He had his early education till 7th in Panipat. He was instructed to read the Arabic text of the Quran and his childhood dreams swung at the compulsive behest of his father. Abbas completed his matriculation at the age of fifteen. He did his B.A. with English literature in 1933 and LL.B. in 1935 from Aligarh Muslim University

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

Set up production company Naya Sansar (1951), providing India’s most consistent representation of socialist-realist film (cf. Thoppil Bhasi and Utpal Dutt). Best work is in the scripts for his own films and for those of Raj Kapoor (Awara 1951); Shri 420 (1955), 1955, both co-written with V.P. Sathe; Jagte Raho, 1956; Bobby, 1973) and Shantaram’s Dr. Kotnis Ki Amar Kahani (1946; adapted from his own book, And One Did Not Come Back), which combined aspects of Soviet cinema (Pudovkin) and of Hollywood (e.g. Capra and Upton Sinclair), influencing a new generation of Hindi cineastes (Kapoor, Chetan Anand) and sparking new realist performance idioms (BALRAJ SAHNI). His Munna, without songs or dances, and Shaher Aur Sapna, cheaply made on location in slums, were described as being influenced by neo-realism. Pardesi is the first Indian-Soviet co-production, co- directed by Vassili M. Pronin. The landmark Supreme Court censorship judgement about his Char Shaher Ek Kahani (aka A Tale of Four Cities) curtailed ‘arbitrary’ governmental pre- censorship powers on the grounds that the Indian Constitution guarantees the right to free speech. His constitutional challenge of the Cinematograph Act led to the famous Supreme Court decision upholding the validity of precensorship of cinema.

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

With today’s song, film Aaj aur Kal-47, makes its Debut on the Blog. All the 6 songs of this film are very sweet. Today’s song is also very melodious. It is sung by Zeenat Begum. This enchanting tune was again heard, 10 years later , in Rafi’s song “Mubaarak ho dulha dulhan ko ye shaadi“, from film Paak Daaman(1957), composed by Ghulam Mohd.


Song-Pade ishq mein jaan ke hum ko laale (Aaj Aur Kal)(1947) Singer- Zeenat Begum, Lyricist- Not known, MD- Khursheed Anwar

Lyrics

pade ishq mein jaan ke hum ko laale
khuda imtihaan mein kisi ko na daale
pade ishq mein jaan ke humko laale
khuda imtihaan mein kisi ko na daale

ye rukte hain roke na talte hain taale
ye rukte hain roke na talte hain taale
koi kis tarah aansuon ko sambhaale
khuda imtihaan mein kisi ko na daale
pade ishq mein jaan ke hum ko laale
khuda imtihaan mein kisi ko na daale

wahi bebasi hai wahi namuraadi
wahi bebasi hai wahi namuraadi
na kaam aayi aahen na kaam aaye naale
khuda imtihaan mein kisi ko na daale
pade ishq mein jaan ke hum ko laale
khuda imtihaan mein kisi ee ee ko na daale


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 : 4057 Post No. : 15190

Songs Repeated in Hindi Films – 10
– – – – – – – – – – – – – – – – – –

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Blog 10-Year Challenge (2009-19) – Song No. 43
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As Gajendra ji had commented, couple of episodes ago – I am quite sure the readers are now beyond getting surprised by the songs posted in this series. Yes, some very interesting repeats, but oh well. . .

The interesting thing about today’s post is, well, two things. It is the singer’s Remembrance Day today, as well as, we also are showcasing the song as part of the 10 year challenge series.

10 years ago, this day, six songs were posted. Those were the days, when Atul ji was at his prolific best, and six new songs on the blog was quite the norm. And he followed an interesting convention. The songs he posted on one day, used to be in the incremental chronological order, as you can notice in the short table below.

Chup Hojaa Ameeron Ke Ye Sone Ki Ghadi Hai Bandi 1957 1814
O Pawan Veg Se Udne Waale Ghode Jai Chittod 1961 1815
More Ang Lag Jaa Baalmaa Mera Naam Joker 1970 1816
Gore Gore Gaalon Waale…Kahte Hain Mujhko Haseenon Ka Devtaa Haseenon Ka Devta 1971 1817
Mile Mile Do Badan Khile Khile Do Chaman Blackmail 1973 1818
Pahraa Hai Yahaan Pahraa Badnaam 1975 1819

There were two debut films that day – ‘Jai Chittod’ and ‘Haseenon Ka Devta’. And quite interestingly, both the films are at present miles away from being yippeee’d. Since that day, only one song has been added for ‘Jai Chittod’ (12 songs listed in Geet Kosh), and none for ‘Haseenon Ka Devta’ (6 songs listed in Geet Kosh). The remaining 4 films, ‘Bandi’ (1957), ‘Blackmail’ (1973), ‘Badnaam’ (1975) and ‘Mera Naam Joker’, the magnum opus by Raj Kapoor, have completed their account on the blog.

And yet, today, “Mera Naam Joker’ makes another appearance here, on account of an unlisted song. In that, it is a repeat song from RK’s own film from 1951 – ‘Awaara’. Being his own film, of course it would have been a simple thing to reuse the earlier song.

In the iconic song “Ae Bhai Zara Dekh Ke Chalo”, the poet Neeraj declares,

haan babu ye circus hai
aur ye circus hai show teen ghante ka

pehla ghanta bachpan hai
doosra jawaani hai
teesra buddhaapa hai

The entire film was presented as three chapters, with two intermissions. And quite literally, RK has presented three phases of life in these three segments – childhood, youth, and old age. And in each of these phases, there is a different lady with whom the Joker’s heart gets entangled. And every time, his emotions and timid overtures are eventually disregarded – in face of certain compulsions of life that each one of those lady characters struggle with, in their own lives. In the first phase, there is a mismatch of age. In the second, there is a mismatch of location / language / societal background. And in the third, there is a mismatch of aspirations in life versus the values of life.

The reprisal of this song occurs close to the end of the second segment. The Joker has lost his heart to a circus artist visiting from Russia. And as their visit and stay comes to a close, the lady has to leave, and go back to her own country with her group. The circus manager (role played by Dharmendra), in an earlier conversation, has already cautioned him against getting too friendly with the visitors. That caution has now become a prophesy realized. Marina (role played by Russian actress Kseniya Ryabinkina) has to leave. The Joker is at the airport, with Sher Singh (role played by Dara Singh), his partner in crime, or let’s say, his ustaad in the art of romance. The Joker has come to bid farewell to the departing Russian troupe, and his lady love, who cannot stay. There is a brief exchange between the two lovers, and the lady leaves, planting a kiss on the Joker’s lips, and waving a good bye. Sher Singh asks the Joker as to what the lady has said in her native language. The Joker replies forlornly, that her words reminded him of an old song.

And then this song from two decades earlier is played once again, as a background piece. Marina walks to the plane, and the plane departs. And the verses penned by Shailendra are re-told yet once again in the life of the Joker –

duniya mein tere teer ka
ya taqdeer ka maara hoon. . .

This verse segment is the one that I never seem to have been able to get over all my life.  “That, in this life of mine, I have been vanquished either by my own destiny, or the glance arrows coming from your eyes – I do not know which one.” Such a powerful assertion in just ten words, ensconcing within itself a myriad philosophies of life, in a moment narrating and laying bare everything that can and could have gone wrong in an overwhelmed life. The emotions these ten words evoke inside, lie crumpled, tightly wound like a giant ball of thread, with no end visible – not enough words to unravel it and express it.

This song is probably one of the most recognizable songs ever in the ocean of Hindi film music – not only here in India, but also in many parts of this world, where RK’s films are loved as part of their own cultures. The first few bars of the prelude music start to play, and practically every one can recognize which song is coming up. And so, I remember, the first time I saw ‘Mera Naam Joker’, and this scene played out on the screen, and the Joker tells about being reminded of an old favorite song, and the prelude music begins to play – it was quite a shock of recognition that overpowered the heart. Yes, RK presenting this song at this juncture, makes all the sense, rounds up everything that he has been wanting to say through this film – ‘Mera Naam Joker’ – a wayward truant clown I am in this life.

An interesting throwback on this song – it was also repeated within the original film itself. Regular folks would remember, the closing scene – Nargis and Prithviraj Kapoor are visiting RK in the prison, after he has been incarcerated post his trial. It is a brief meeting – about two minutes or so. And as Nargis is asked to take leave, there is this standard dialogue that RK utters – “. . . meri soorat hi aisi hai”. Overcome by the understated innocence and simplicity, plus the unpretentious hangdog look on his face, Nargis once again rushes back into his arms, and exactly the same stanza starts to play in the background.

A few interesting observations about these two reprisals. Take the music and rendition. The song that plays in ‘Mera Naam Joker’ is very nearly the original, but as one listens carefully, one can make out small pieces of extra orchestral music that S-J have weaved in, merging it with the overall background score of the scene. And in the original film ‘Awaara’, the rendition has a small variation at the end. The words of the last line that Mukesh has sung include a very delicate and lovable “हाय” ~ “haaye” –

haaye. . .
awaara hoon..oon..oon. . .

This addition has made this line oh so much more endearing and adorable. Listening to this last one snippet made my day – more than all the pleasure and emotions that are flowing with the original complete version of the song. So surely, this segment, or at least this last line has been re-recorded, even then back in 1951, and presented separately as the end piece.

Next, in both these reprisals, there is a close, very close proximity of the lady love. In ‘Awaara’, the kiss almost happens – just short of the waving scissors of the censor board. And in ‘Mera Naam Joker’, the kiss does happen, with Marina forcefully planting it on the lips of the Joker. Oh well, I don’t know – should we expect a kiss, whenever this part of the song is played ??  Ha, ha, I am sure you will tell me – it happens only in the reel world. 🙂 🙂

Another cute co-incidence I discovered in the last scene of ‘Awaara’. RK and Nargis are in each others arms, and a loud voice calls out in the background, probably the prison warden or constable – “ओ क़ैदी नंबर 308, चलो” (“O prisoner no. 308, come on move.”). I made a little connect in my mind – I don’t know whether that was the intention of the director and dialogue writer. The number 308 – it rang a bell. 308 –> 30-8 –> 30th August –> Shailendra’s birthday. 🙂 🙂

Back to ‘Mera Naam Joker’, I might as well document it here, for possibly no more posts of this film could be forthcoming in the future. The three ladies who appear in each of the three chapters of this film, just examine the screen names – Mary, Marina, Meena. Sound quite connected, flowing right into each other. You combine Mary and Meena – becomes Marina. Just some musings of the wandering mind. Just like the three magazines that RK, Rajendra Kumar and Padmini are seen browsing through on the flight – Time (Padmini), Fortune (Rajendra Kumar) and Life (RK). 🙂 🙂

And then, back to Mukesh, after all so much wandering of the silly mind over the terrain of anecdotes and co-incidences. Even till late afternoon today, I hadn’t the faintest idea whether I would be writing post for the remembrance day today. Mahesh ji’s post, so wholesome and so satisfying, after posting that in early morning, I was not picking up new ideas to write another post on Mukesh. Later, in the afternoon, I was just browsing through the list of songs etc., and don’t know why, but I decided to check out the 10-year-challenge thing for today. Pulled out the list of songs for 27-08-2009. The title ‘Mera Naam Joker’ jumped out at me immediately, and before I could say bambi, my mind had made a few jumps around, connected other material, and brought out this well baked idea of doing a combined 10-year-challenge and repeat-songs post. Yes, I had this repeat song on my list, and had not yet planned when to post it. The mind made that decision for me today, and quite swiftly so, without taking me along on the steps of decision making.

I am glad I checked this out, and got to make this connection and getting this post out today. In the earlier post today, Mahesh ji has mentioned a figure of ~80% songs of Mukesh being hit songs. I cannot think of any other singer, at this level of prolific output, who can be associated with this high a percentage of successful and popular songs from his or her body of work. And then the second connect came when Arun ji deposited on the Whatsapp group, a reminder of the Mukesh anniversary program on Doordarshan seven years ago. I recalled that this was also the very first question that the person interviewing me and Shikha ji, put to me in this program. That question was – “Mukesh ji has about 800 songs to his credit? Why does it always seem that has sung much more?”

And my answer was exactly on these lines – in any singer’s body of work, there is a certain percentage of songs which are memorable, which became popular, and which are quite well retained in the memory. However, with all other singers, this ratio of popular and memorable songs to their total repertoire, is comparatively lower. By extrapolating this expectation, the mind always thinks that in case of Mukesh, his body of work ought to be much larger, if the number of his popular and memorable songs is so much. This is a very interesting point. After that TV program, I had this very discussion with a number of friends, and mostly we agreed to this conclusion.

No doubt the music director and the poet – they have a very significant contribution towards the creation of a song. But it is the voice of Mukesh, that makes something different out of any song. That is what has made so large a percentage of his songs popular and memorable. A soulful voice – that was my assertion on that TV program also, that – “मुकेश जी की आवाज़ में एक अनोखी आत्मीयता है, जो किसी और गायक में नहीं मिलती”.  There is this so unique a characteristic of his rendition – an effortless exposition of the emotions, expressed in a most relaxing mode.

I feel I could go on and on. But then, not now. Another song, another post – there seems to be so much more one wants to say about this soulful, mellifluous voice – almost divine.

Song Repeat – Mera Naam Joker (1970)

Song Reprised at End – Awaara (1951)

Song – Aawaara Hoon. . .  (Mera Naam Joker) (1970) Singers – Mukesh, Lyrics – Shailendra, MD – Shanker Jaikishan

Lyrics

aabaad nahin barbaad sahi
gaataa hoon khushi ke geet magar
gaataa hoon khushi ke geet magar
zakhmon se bharaa seena hai mera
hansti hai magar ye mast nazar
duniyaa aaa..aaa aaa..aaa
duniyaa mein tere teer kaa
ya taqdeer kaa maara hoon
aawaara hoon
aawaara hoon
ya gardish mein hoon aasmaan ka taara hoon
aawaara hoon
aawaara hoon
aawaara hoon

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Hindi script lyrics (Provided by Sudhir)
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आबाद नहीं बर्बाद सही
गाता हूँ खुशी के गीत मगर
गाता हूँ खुशी के गीत मगर
ज़ख़्मों से भरा सीना है मेरा
हंसती है मगर ये मस्त नज़र
दुनिया आ॰॰आ॰॰आ॰॰ आ॰॰आ॰॰आ॰॰
दुनिया में तेरे तीर का
या तक़दीर का मारा हूँ
आवारा हूँ
आवारा हूँ
या गर्दिश में हूँ आसमान का तारा हूँ
आवारा हूँ
आवारा हूँ
आवारा हूँ


This article is written by Mahesh Mamadapur, 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 : 4057 Post No. : 15189

Mukesh and his co-singers – 5
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We remember Mukesh on his remembrance day today (22 July 1923 – 27 August 1976).

Needless to say, the post had to be special. But, when a singer has almost 80% of songs considered as hits and most of these songs already represented on the blog, what can be more special. Well, a few hitherto songs of Mukesh continue to be discovered with a great deal of exhilaration to his fans and old hfm lovers in general. I assume that the present song will make this post special.

It is well known that Mukesh has nil to very few duets with singers like Noorjahan, Amirbai Karnataki, Jagit Kaur, Khursheed, Parul Ghosh etc. With singers like Hamida Banu, Suraiya, Rajkumari, Surinder Kaur, Sitara Kanpuri etc, the numbers are again quite few. He does have sizable numbers with Lata, Asha, Suman Kalayanpur, Geeta Dutt etc.

A very interesting companion in singing in this discussion will be off course the versatile Shamshad Begum. I had almost taken it for granted that all songs of hers with Mukesh have been covered on the blog. But then one thing led to another and resulted in this post of which I am extremely happy. Not one but two duets have been discovered in the last few weeks. Before I proceed with revealing the songs, it is pertinent to mention the traceability aspects of these duets.

We go back to Sadanand ji posting the Mukesh number for MGR in the comments section. I decided to take up Dhaniram’s collaboration with Mukesh and as usual sent the query to Shri Harish Raghuvanshi ji (of Surat) enquiring if it was the sole song under the composer.

Harish ji did confirm the singularity of the case, but added a priceless info that there is a duet in Shole (1953) in which Mukesh has a duet with Shamshad Begum. He further stated that very few music lovers are aware of this duet. The context being Dhaniram being the other composer apart from Naresh Bhattacharya to have scored music for the film. When I searched for this duet on the internet, I came across a Hemant Kumar solo and his duet with Shamshad Begum. Not losing hope, I was lucky enough to find the full movie on youtube. I first decided to go through the credit titles if I could trace Mukesh.

The film titles are shown on a railway track with very poor background and the moving train literally pushing the titles out of the screen. With great difficulty, I saw all the titles and there appears no mention of any of the playback singers in the film. Here, I would seek more knowledgeable reader’s kind explanation as to why many of the old films never bothered to credit playback singers in the titles. I suppose this trend continued even in the sixties for quite a few films.

The print of the film is extremely poor in both voice and picturization. The saving grace being something is available to run through. In spite the bad print and poor audio what stands out is the impeccable grace and beauty of Bina Rai and the ever energetic and melodious voice of Shamshad Begum. Coming back to the bad print of the film Shole (1953), I decided to run the film arbitrarily at short intervals. Then for one of the duets with a rather long prelude, I could hear sound bites very familiar to me. Yes, it is undoubtedly Mukesh.

I was so excited that I noted the time at which this duet starts and closed the film. I went to the other room in my house where my wife was busy with our daughter in her studies. They had a cursory look at my face and instantly both asked what I was so delighted about. I told them about the discovery and they again became engrossed with the studies knowing very well that this guy has no better work to do. My daughter likes a few songs of Raj Kapoor sung by Mukesh and wife likes a few of his duets and solos, but they are never into these statistics and other aspects of old hfm songs as I am. Anyways, I was back to the same link and juncture and again savored what I was listening for the very first time; an unheard duet of Mukesh. Only the first couple of lines of the mukhda are sung by Mukesh and then Shamshad Begum takes over for the rest of the duet. Its an extremely melodious duet to listen.

Now coming to another strange feature, I found four different versions of this song. The below table is self-explanatory and I have provided links for each of the versions.

Version Singers YouTube link
Film Soundtrack Mukesh, Shamshad Begum https://youtu.be/G8gkPL4qc8o
Hemant Kumar https://youtu.be/mmoh60LfIsc
78 rpm record Hemant Kumar https://youtu.be/OuvVFrcTYuU
Hemant Kumar, Shamshad Begum https://youtu.be/zlzgIDgky7g
Full movie SHOLE (1953) https://youtu.be/W6ubiNUgZuQ

Now, if the film had Mukesh and the 78 rpm version songs had Hemant Kumar, it would have been quite understandable. But, Hemant Kumar having sung the film version of the solo makes the case quite intriguing. Did Mukesh walk out of the film after singing the duet? We may never know. What we do know is that during this period he was working in various departments such as acting, composing, producing etc. and these experiments costing him dearly in terms of getting offers to give playback arguably for the rest of his singing career.

Also, during late forties and early fifties, the void created by the passing away of KL Saigal in early 1947 was yet to be filled. Good friends Mukesh and Talat Mahmood were vying to fill the gap and they both failed. One can now say with much conviction that the void created by KL Saigal will remain till the end of days.

Coming back to the versions, both the film soundtracks have poor audio and the 78 rpm ones have better audio quality. For some reason, I personally feel the duet of the film soundtrack is the best amongst the four if a better copy is available to listen. The momentary pause that Shamshad Begum has in the film soundtrack is more appealing than in the version song. Now one may ask, pause is a pause and how it can be differentiated. Well, crazy music lovers have additional senses to assimilate such nuances in music. Long live such craziness. 🙂

Now we come to the important discussion on the combo of Shamshad Begum and Mukesh. Forget writing in detail about their association, the very mention of the two names together excites me to no end.  Mukesh and Shamshad Begum, two different styles, but when it came to duets the styles glued to form some glorious duets in the annals of HFM. At many places on the net it is mentioned that the singers have altogether 22-24 duets. I am happy to list 29 and here is the carcanet of the jewels.

A cursory glace at the table reveals that they have actively sung most of their 29 duets during a period of only for 4 years of their career. This aspect has much to be pondered about.

S. No Name of song Movie (year) Music Director Lyricist
1 kya jaadu hai tere paas piyaa Chehra (1946) M A Mukhtar I C Kapoor
2 O dil ko hasaane wale Shatranj (1946) Madhav Lal and Baldev Nayak G S Madhup
3 lut gayi laajo beech Chheen Le Aazaadi (1947) Hansraj Behl Pt Indra Chandra
4 Moti chugne gayi re hansi Chheen Le Aazaadi (1947) Hansraj Behl Pt Indra Chandra
5 aagre se odhni manga de Laakhon Mein Ek (1947) Hansraj Behl Pt Indra Chandra
6 raat ko ji haay raat ko ji  Aag (1948) Ram Ganguly Majrooh Sultanpuri
7 kaise bataaun unse Anjuman (1948) Bulo C Rani Majrooh Sultanpuri
8 kabhi dil dil se takraataa  Anokhi Ada (1948) Naushad Shakeel Badayuni
9 Bhool gaye kyun deke Anokhi Ada (1948) Naushad Shakeel Badayuni
10 Tere naaz uthhane ko jee Grihasthhi (1948) Ghulam Mohammad Shakeel Badayuni
11 aayi saawan ritu aayi Mela (1948) Naushad Shakeel Badayuni
12 dharti ko aakaash pukaare Mela (1948) Naushad Shakeel Badayuni
13 main bhanwara tu hai phool Mela (1948) Naushad Shakeel Badayuni
14 mera dil todne waale Mela (1948) Naushad Shakeel Badayuni
15 O janewale humko bhool na O Jaanewaale (1948) Ali Hussain Moradabadi
16 sajanwaa prem kahaani O Jaanewaale (1948) Ali Hussain Moradabadi
17 ho badi zulmi tamanna hai Dada (1949) Naashad Majrooh Sultanpuri
18 pyaar mein tumne dhokhaa Shabnam (1949) S D Burman Qamar Jalalabadi
19 tu mahal mein rehni waali Shabnam (1949) S D Burman Qamar Jalalabadi
20 tumhaare liye huye badnaam Shabnam (1949) S D Burman Qamar Jalalabadi
21 maine dekhi jag ki reet (Happy and Sad versions) Sunhere Din (1949) Gyan Dutt D N Madhok
22 hamse nain milaana BA paas Aankhen (1950) Madan Mohan Raja Mehdi Ali Khan
23 Jaao sidhaaro hey raadha Aarzoo (1950) Anil Biswas Majrooh Sultanpuri
24 ho kaale kaale baadal Apni Chhaaya (1950) Hanuman Prasad P L Santoshi
25 kehne waale kehte hain Bijli (1950) Khemchand Prakash Bharat Vyas
26 hato hato ji aati hain ham Dilruba (1950) Gyan Dutt S H Bihari
27 mohabbat karne waalon se Hanste Aansoo (1950) Ghulam Mohammad Shewan Rizvi
28 duniya ne chede kahaniyaan Ek Thha Raja (1951) C R Subbaraman Pt Sudarshan
29 Aye dil tu kahin le chal (multiple versions)

 

Shole (1953)

 

Naresh Bhattacharya

 

Kamil Rashid

Before I proceed to write on the above duets please note that song no 23 has SD Batish, 26 has Geeta Roy, Pramodini Desai and 27 has Rafi saab singing along with Mukesh and Shamshad Begum in the respective songs.

It would not be an exaggeration to state that Mukesh and Shamshad were pioneers in playback singing. I know it is more often used for Shamshad’s career, but let us not forget that Mukesh too started giving playback as early as 1944 with ‘Uss Paar’. Why ‘Uss Paar’ and not ‘Moorti’ or ‘Pheli Nazar’? Well, that could take another detailed post. 🙂

In the above list song number 1, 3, 4 and 5 are regular features on Radio Ceylon and are played to this day. 6 was of course the directorial debut of Raj Kapoor, with Ram Ganguly’s haunting scores – the songs of the film remain popular to this day. The next film of RK, as we are well aware, had a change in composers. Shamshad Begum had a cabaret solo in ‘Awara’ and a couple of not so popular songs for SJ thereafter.

10 by one of my favourite composers Ghulam Mohammed is a rare treat to hear. I only wish Mukesh has sung more songs for him.

8, 9 and 11 to 14 need no description and arguably are the best-known duets of the combo; the magician of these two films being none other than the great Naushad.

‘Shabnam’ under SD Burman had 3 duets of the combo with Mukesh giving playback for thespian Dilip Kumar. Needless to say, the songs of this film were a huge rage during those days.

21 under Gyan Dutt is an absolute masterpiece. The debut movie of Madan Mohan had the combo singing a comical duet at 22.

The other songs may not be very well known, but as I have said earlier it is the combination of the singers that make the duets lively and a pleasure to listen.

Quite a few of these duets have been covered by our Sudhir ji in his series on Mukesh wherein he covered the rare and difficult to trace songs at the beginning of Mukesh’s career. Again, as I have written earlier, in spite of the best efforts of Sudhir ji having covered all the songs of Mukesh till 1950, welcome discoveries continue to be uncovered and 2 is such an example. Sudhir ji has shared the audio with me and it will be posted on the blog in the very near future. 🙂

29 and probably the last duet of the combo is covered in this post and I have already written about the many facets of this song. In fact Sudhir ji has sent queries and sought clarifications from his collector friends to understand the existence of the multiple versions of this song in the film.

‘Shole’ (1953) was directed by BR Chopra for Hira Films. The movie had Ashok Kumar, Bina Rai, Purnima, Jeevan, Mohana, Manmohan Krishna, Mirza Musharaf, Romi, Naaz, Uma Dutt etc in it. The movie had two music directors viz Dhaniram and Naresh Bhattacharya. The present song is composed by the latter. The lyrics of this multiple version song are credited to Kamil Rashid.

The lyrics of the Hemant Kumar solo version are slightly different in the 78 rpm vs the soundtrack versions, but giving due credit to Hamant Da, I herewith, for obvious reasons, present the lyrics of only the film soundtrack version of Mukesh and Shamshad Begum

I thank Harish ji for all the help rendered in making this elusive duet of Mukesh appear on the blog. I also thank Sudhir ji and Atul ji for giving me yet another opportunity to present this post.

Lastly, on his remembrance day, I pay humble tributes to Mukesh whose mellifluous voice continues to regale listeners the world over.

Song – Ae Dil Tu Kahin Le Chal  (Shole) (1953) Singer – Mukesh, Shamshad Begum, Lyrics – Kaamil Rashid, MD – Naresh Bhattacharya

Lyrics

ae dil
ae dil
tu kahin
le chal
le chal

ae dil tu kahin le chal
le chal
le chal

ae dil tu kahin le chal
le chal
le chal

aa aa aa aa

ye door ki manzil se mujhe
kis ne pukara hai
bhatke hue raahi ko
yeh kis ka ishaara hai
aashaon ke sagar ka
shayaad wo kinara hai
aashaon ke sagar ka
shayaad wo kinara hae
ae dil wahin le chal
wahin le chal
wahin le chal

ae dil tu kahin le chal
tu kahin le chal
kahin le chal
kahin le chal

jahaan ishq ke hothon par
fariyaad na ho koi
majboor na ho koi
naashad na ho koi
taqdeer ki thokar se
barbaad na ho koi
barbaad na ho koi
ae dil wahin le chal
wahin le chal
wahin le chal

ae dil tu kahin le chal
tu kahin le chal
kahin le chal
kahin le chal

do dil jo judaa kar de
wo raat na aati ho
hothon pe shikaayat ki
koi baat na aati ho
jahaan gham ki ghata le kar
barsaat na aati ho
barsaat na aati ho
ae dil wahin le chal
wahin le chal
wahin le chal

ae dil tu kahin le chal
tu kahin le chal
kahin le chal
kahin le chal

le chal
le chal
le chal
le chal
le chal

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

ए दिल
ए दिल
तू कहीं
ले चल
ले चल

ए दिल तू कहीं ले चल
ले चल
ले चल

ए दिल तू कहीं ले चल
ले चल
ले चल

आ आ आ आ

ये दूर की मंज़िल से मुझे
किसने पुकारा है’
भटके हुये राही को
ये किसका इशारा है
आशाओं के सागर का
शायद वो किनारा है
आशाओं के सागर का
शायद वो किनारा है
ए दिल वहीं ले चल
वहीं ले चल
वहीं ले चल

ए दिल तू कहीं ले चल
तू कहीं ले चल
कहीं ले चल
कहीं ले चल

जहां इश्क़ के होठों पर
फरियाद ना हो कोई
मजबूर ना हो कोई
नाशाद ना हो कोई
तक़दीर की ठोकर से
बर्बाद ना हो कोई
बर्बाद ना हो कोई
ए दिल वहीं ले चल
वहीं ले चल
वहीं ले चल

ए दिल तू कहीं ले चल
तू कहीं ले चल
कहीं ले चल
कहीं ले चल

दो दिल को जुदा कर दे
वो रात ना आती हो
होठों पे शिकायत की
कोई बात ना आती हो
जहां ग़म की घटा ले कर
बरसात ना आती हो
बरसात ना आती हो
ए दिल वहीं ले चल
वहीं ले चल
वहीं ले चल

ए दिल तू कहीं ले चल
तू कहीं ले चल
कहीं ले चल
कहीं ले चल

ले चल
ले चल
ले चल
ले चल
ले चल


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4056 Post No. : 15188

I am an ardent admirer of Ruskin Bond’s short stories. I do not remember as to when I started bonding with Ruskin Bond’s books. It could be sometime early 1990s when I read his first book titled ‘Beautiful Garhwal – Heaven in Himalayas’ (1988). Surprisingly, this book is not listed under the list of his published books. It is a ‘coffee-table book’ with 15 of his articles on the Garhwal Himalayas – from the village life, rivers, valleys, pilgrimage to trees and flowers, etc. It is an excellent and lavishly printed book in art paper with a lot of illustrations and beautiful pictures. This book was printed for Garhwal Mandal Vikas Nigam (GMVL) as a part of promotion of tourism in the Garhwal Himalayas.

Since then, I had ready many of his short stories which are in my collections of books like ‘Rain in the Mountains – Notes from the Himalaya’ (1993), ‘The Lamp is Lit’ (1998), The Room on the Roof’, ‘The Night Train to Deoli & Other Stories’ etc. Very recently, I have read his latest book ‘The Beauty of All My Days’ – A Memoir ( 2018). A few of his books of short story collections which I have read, seems to have been missing from my collections. Probably, I may have given to some ones to read but they did not return.

Ruskin Bond has spent much of his life at the foothills of the Garhwal Himalayas. His last 5 decades have been spent in Landour, a cantonment area of Mussoorie. He has widely travelled in Garhwal Himalayas. Hence, much of his writings is the reflections of the hills and the village life of the Garhwal Himalayas and his nostalgic experiences. His lucid writing style takes the readers to the virtual trip to the Himalayas.

I have been very much influenced by the writings of Ruskin Bond and his nostalgia of the Garhwal Himalayas. Of all the Himalaya treks I have undertaken during the last 35 years, I have done the maximum number of treks in the Garhwal Himalaya. His description of the village life prompted me to prefer home stays in village houses for the overnight stays rather than in the tents whenever I trekked in the Himalayas. I could, therefore, get the first hand experiences of Ruskin Bond’s descriptions of the Garhwal villages and the psyche of the simple villagers.

Recently, I have written an article in the Blog on Gulzar saab on the occasion of his 85th Birthday. When I was going through the profile of Ruskin Bond, I found it interesting to note that there were many similarities in the events in the lives of Ruskin Bond and Gulzar saab. Both were born in 1934, with Gulzar saab being younger by exactly 3 months. Both had a lonely childhood. Gulzar saab lost his mother when he was a child. Ruskin Bond had grown up without the support of his mother as his parents had divorced when he was a child. His mother got remarried and he lived with his father. Circumstances deprived both of them of their fathers’ company when it was most needed. Gulzar saab was sent to Mumbai to stay with his elder step brother, while Ruskin Bond missed his father most of the time because he was in the Royal Air Force and later died from Malaria at an early age.

Both Ruskin Bond and Gulzar Saab developed their writing skills and got their poems/short story published when they were teens. Both got associated with Hindi films albeit with a gap – Gulzar saab in ‘Bandini’ (1963) as a lyricist and Ruskin Bond as a story writer in ‘Junoon’ (1978) based on his novel, ‘A Flight of Pigeons’ (1970s). Both wrote and published a good number of books of children’s literature. Ruskin Bond and Gulzar saab were conferred with Sahitya Akademy Awards in 1992 and 2002 respectively and with Padma Bhushan in 2014 and 2004 respectively.

While the lives of Ruskin Bond and Gulzar saab was moving parallelly, they got merged for the first time when Vishal Bhardwaj decided to make a children’s film in Hindi, ‘The Blue Umbrella’ (Neeli Chhatri, 2005) based on the novella of the same title written by Ruskin Bond. He also wrote screen-play for the film jointly with Vishal Bhardwaj. Gulzar saab got associated with this film as a lyricist.

After a gap of about 5 years, Ruskin Bond and Gulzar saab worked together in Vishal Bhardwaj’s film ‘7 Khoon Maaf’ (2011) which was based on his novel ‘Sussanna’s Seven Husbands’. Ruskin Bond wrote screen-play along with Vishal Bhardwaj and also played a cameo role of a priest in the film. Gulzar saab wrote the lyrics. Collaboration between them for the third film is in the offing. Incidentally, Vishal Bhardwaj has become a neighbour of Ruskin Bond in Landour as revealed by the latter.

As I mentioned earlier, ‘The Blue Umbrella’ (2005) was a children’s film based on Ruskin Bond’s novella by the same name. The film was directed by Vishal Bhardwaj. Except for Pankaj Kapoor and Deepak Dobriyal, rest of the actors in the film are unfamiliar to me. The lead actors in the film is Pankaj Kapoor and 10-year girl, Shreya Sharma. The film was critically acclaimed and it got the National Film Award for the best children’s film in 2008. But the film was a box office disaster.

The film is not available for viewing in any video uploading platforms like YT. I saw the movie on Netflix. There are some minor differences in the story outlined in the film from the story in the book. The story in the book is based in some remote village in Garhwal whereas in the film, the story is based on a remote village in Himachal Pradesh. The end in the film also differ from the book which I will discuss later. The story in the film is as under:

In a remote Himalayan village, 10-year old girl, Biniya (Shreya Sharma) stays with her widowed mother and elder brother. The family has a small terraced field and a couple of cows sufficient to take care of their sustenance.

One day when Biniya goes to graze the cows, she comes across a group of Japanese tourists. Biniya’s eyes fall on a beautiful blue umbrella which is lying open on the meadow. She likes the umbrella and wants to have it but she has no means to get it. The lady tourist sees a necklace with a pedant of bear’s claws in Biniya’s neck and she likes it. Despite the bear’s claws being regarded as a lucky charm, Biniya exchanges for the blue umbrella. From now onward, Biniya and her blue umbrella are inseparable.

Most of the people in her village are envious of her blue umbrella as no one in the village possessed such a beautiful umbrella. The village teacher’s wife pesters her husband to get a similar umbrella for her. But the children in the village are full of praise for Biniya’s blue umbrella.

In the village, Nandkishore (Pankaj Kapoor), the owner of the village’s only tea shop, also becomes envious of Biniya’s blue umbrella as she has become the centre of attention in the village. Even tourists coming in buses for going towards a hill station nearby take a tea break for photographing her with blue umbrella.

Nandkishore tries all tricks of attractive offers to make her sell to him the blue umbrella but she refuses to sell. The blue umbrella causes restlessness in the mind of Nandkishore. He must have that blue umbrella. He tries to get one from the nearby town but it is not available. A similar type of umbrella which may be available in Delhi would cost him a lot. He feels that his attraction to the blue umbrella may have to do with his last birth.

One day, Biniya while grazing the cows on a meadow, finds her umbrella missing. She suspects Nandkishore to be the one who stole her blue umbrella. Police searches the Nadkishore’s shop but does not find the umbrella. Humiliated by the police investigation, Nandkishore buys a colourful red umbrella which, he says, he got from Delhi. He now becomes the centre of attraction in the village.

Biniya’s own investigation on her missing blue umbrella continues which takes her to a nearby town where one umbrella was recently dyed. In the meanwhile, with his status in the village gone up due to owning a red umbrella, Nandkishore is invited as a chief guest for a wrestling competition in the village. During the competition, it starts raining and his red umbrella turns blue as red colour on the umbrella get washed out. It becomes clear that Nandkishore had stolen Biniya’s blue umbrella and got it dyed with red colour. The village panchayat held him guilty and pass a judgement that that the entire village should boycott Nandkishore and his shop.

With the boycott, Nandkishore business is almost stopped. He is not even invited for the marriage of the village chief’s son. Barber’s shop refuses him as a customer. Biniya watches all the happenings to Nandkishore. She feels sorry for him. One day, she visits his shop after a long gap to buy biscuits and forgets her umbrella in his shop. When Nandkishore notices this, he runs after her with the umbrella in snowy conditions and returns to her the umbrella. Biniya refuses to accept the umbrella by telling him that it is not her umbrella and walks away. The village boycott of Nandkishore is lifted and his business in the shop returns to normal.

I found the ending in Ruskin Bond’s book more touching than in the film. In the book, after few days of boycott of Nandkishore’s shop, Biniya feels that she is the cause for all the problems Nandkishore has been facing due to boycott. After many days of boycott, she visits his shop to buy toffees. Nandkishore thinks that Biniya has come to his shop to make fun of his situation or she has come with a counterfeit coin to buy toffees. But none of his presumptions comes out true. She buys the toffee but forget her blue umbrella in the shop. Nandkishore runs after her to give her back the umbrella. However, she tells him that she left the umbrella for him.

After few days of this event, Nandkishore calls Biniya while she is passing by his shop. He shows her his newly made locket of bear’s claws with silver chain. She likes it but she says she has no money to buy. Nandkishore says that it does not matter as she has given him her umbrella and he is giving her a locket of bear’s claws. He places the pedant on her and says that it looks very beautiful on her. She is very much pleased as bear’s claws are regarded luckier than leopard’s claws. For Nandkishore, the smile that she gave him upon receiving the pendant was more rewarding than owning the pendant.

Vishal Bhardwaj, the producer-director of the film had said at the time of the release of the film that it was a children’s film with a message to adults. How true it is! Firstly, how an alien thing like an attractive blue umbrella can disturb the peaceful life of a village. Second, the intense desire to possess something can lead to irrational behaviour and its resultant adverse consequences. Third, forgiveness is the key to normalisation of a relationship. In ‘The Blue Umbrella’ Ruskin Bond has shown that there is always a soft corner in the hearts of individuals. In the end, Biniya gives up her possessiveness and Nandkishore shades his greediness. And the village comes back to its peaceful life.

The film has 3 beautiful songs, all written by Gulzar. One of them has been represented on the Blog.

I have selected for presentation the song ‘neeli aasmaani chhatri’ because this is the only song in which the blue umbrella is on display most of the duration of the song. Like Biniya and Nandkishore in the film, I am also tempted to this beautiful blue umbrella, my temptation being limited to watching it to my heart’s content. The song is sung by Upagna Pandya under the music direction of Vishal Bhardwaj.

It is a lovely song with western symphony music used for interludes.

Video Clip:

Audio Clip :

Song-Neeli Aasmaani chhatri (Blue Umbrella)(2005) Singers-Upagna Pandya, unknown female voice, Lyrics-Gulzar, MD-Vishal Bhardwaj

Lyrics(Based on the Audio Clip)

ku ku ku ku
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku
arre he….ey

(ku ku kudi ku ku )
hey hey
(ku ku kudi ku ku)
neeli aasmaani chhatri
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku,
ku ku kudi ku ku

he…..ey
hey ae
neeli aasmaani chhatri
chhatri ka udan khatola
dole to laage hindola
chhatri ka udan khatola..aa aa
dole to laage hindola
ude kabhi bhaage kabhi
bhaage kabhi daude kabhi
samajh na maane chhatri..ee
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku
ku ku ku ku
ku ku ku ku
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku

ambar ka tukda toda
lakdi ka hattha joda
haath mein apna asmaan hai re
chhatri le ke chalti ho
memon jaisi lagti ho
goron ka dil beimaan hai re
khunti kabhi laathi kabhi
laathi kabhi chhadi kabhi
khunti kabhi laathi kabhi
laathi kabhi chhadi kabhi
paaji shaitaani chhatri..ee

baarish se jo rishta hai
paani pe mann khinchta hai
bijli ko ye pehchaan hai re
shaayad phir ud na jaaye
ambar se jud na chaahe
bholi hai anjaan hai
hai re
doobe kabhi taire kabhi
gote khaati jaaye kabhi
doobe kabhi taire kabhi
gote khaati jaaye kabhi
karein naadaani chhatri..ee
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku

hey ae hey ae
(ku ku kudi ku ku)
hey re
(ku ku kudi ku ku)
neeli asmaani chhatri
chhatri ka udan khatola..aa
dole to laage hindola aa aa
chhatri ka udan khatola..aa aa
dole to laage hindola
ude kabhi bhaage kabhi
bhaage kabhi daude kabhi
samajh na maane chhatri


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 : 4055 Post No. : 15187

Today’s song is from film Insaaf-1946. This was a social film, directed by Phani Mujumdar and the music was by Hari Prasanna Das aka H P Das. The lyrics came from the veteran, successful lyricist D N Madhok. This film is a special one, because this was the Debut film for Balraj Sahni, after he decided to join films.

Balraj Sahni has a very high place in my list of Original actors, the others being Ashok Kumar, Motilal, Om Puri, Sanjeev Kumar, Amol Palekar, Anupam Kher, Satish Shah and few more. Indian film industry had very few ‘ Natural’ actors and most of them operated from the 30s to the 70s. As I am not well acquainted with the Newer generation actors, I can not speak about them,but I am sure there must be few such Natural actors. I guess Ranbir Kapoor is one actor , who I feel acts with ease.

Basically, it is wrong to compare old actors with the crop of New actors. Comparisons are always between ” Like with Like”. There is a sea of change in everything in film making. The parameters are changed because the needs are different today. It is grossly unfair to compare anything with the old ones.

Few years back, when I first wrote about Balraj Sahni, I had said that Balraj Sahni was a different type of person than all other film actors. It is surprising how he came into film line, in the first place. Basically he was a very sensitive writer and stage actor, but having once entered the film world, he continued for the sake of earning a livelihood, making lot of compromises on his journey of life. I still stand by what I had said. It is worthwhile to even repeat it.

In the days,when not many educated people came into films, Balraj-a double MA in English and Hindi joined the films. In the conventional way he was not a handsome person,but his superior acting prowess compensated for this. In an industry,which is a ‘show business’, he was never counted amongst the Top grade stars, though critics and learned viewers always found him excellent. You can never imagine a Raj kapoor or a Dev Anand in a film like Seema or Kabuliwala, nor can a Dilip kumar fit into ‘Do Bigha Zameen’. For such roles Balraj was matchless. After the film Do Bigha Zameen, he and Nirupa Roy became India’s most loved, poor and uneducated, good natured and simple couple for many subsequent films.

Due to this, Balraj never got any romantic or Glamorous roles. However, to earn his daily bread satisfactorily, he compromised and worked in several B grade movies, like Black Cat-59, opposite a Non actress Minu Mumtaz !

Yudhishthir Sahni aka Balraj Sahni was born in Rawalpindi, Punjab, British India (now Pakistan) on 1st May, 1913 in a Punjabi family. After completing his graduation in Bachelor of Arts (Hindi), and post graduation in Masters of Arts (English Literature), both from Punjab University; he got married to Dayamanti. It was in late 1930s that both husband and wife moved to Bengal to join Rabindra Nath Tagore’s Vishva Bharati University in Shantiniketan as English and Hindi teacher. It was about the same time that in 1936 Balraj wrote his first compilation of Hindi fiction called “Shahzaadon ka Drink”. It was also in Bengal that Balraj and Damayanti’s son, Parikshit was born. In 1938, Sahni went to work with Mahatma Gandhi for a year and the very next year went to England to join the British Broadcasting Network’s Hindi service as a radio announcer. In 1943, he returned to India.

It was in 1944 that Sahni moved to Bombay and joined the Indian People’s Theatre Association (IPTA), a group with which he also started his acting career, albeit through plays. In the same year, he bagged a role in the film “Insaf”, which marked the beginning of his acting career in Hindi film industry. “Dharti ke Lal” and “Door Chalein” were his next of releases in the same year. (In 1947, after doing Heroine’s role in film Gudiya-47, Damayanti expired. Two years later, Balraj married his first cousin Santosh Chandhok and they had 2 children.) It was, however, the film “Do Bigha Zameen” that established his strengths as an actor. The movie was directed by Bimal Roy and came out in 1953; it also won the international prize at the Cannes Film Festival. The film is now considered a classic.

In the years that followed, he played many leading roles in commercial films opposite actresses like Nargis, Meena Kumari, Vyjayanthimala, and Nutan in films “Lajwanti” (1958), “Ghar Sansar” (1958), “Satta Bazar” (1959), “Kathputli” (1957), and “Sone Ki Chidiya” (1958) respectively. These films further established his position as a versatile actor. In the 1961, film “Kabuliwala”, written by Tagore, went on to become another of his classic. To prepare for the role, Balraj lived with kabuliwalas in a Bombay suburb. His character roles with strong performances in films like “Haqeeqat” (1964), “Waqt” (1965), “Do Raaste” (1969), “Ek Phool Do Mali” (1969), and “Mere Humsafar” (1970) further left an indelible mark in the film fraternity and fans alike. The legendary song “Ae Meri Zohra Jabeen” from the film “Waqt”, picturized on Balraj Sahni and Achala Sachdev is still etched deep in peoples’ memories and is loved by the current generation as well. He acted in 3 films.

Along with successfully proving his acting prowess, he also displayed exceptional directing skills through the film Lal Batti (1957), where passengers are forced to spend a night together at the railway platform at the time of India’s independence. Balraj co-directed this movie along with Krishan Chopra. His performance in the film “Garm Hava” (1973) is considered to be the best, till date. Sadly, this was his last film before his death.

Sahni’s writing career begun with “Shahzaadon Ka Drink” that came out in 1936. This was his first compilation of Hindi fiction. He went on to become an esteemed writer in the Punjabi literature. He wrote “Mera Pakistani Safar” shortly after his visit to Pakistan in 1960. After a tour to Soviet Union in 1969, he wrote “Mera Rusi Safarnama”. This book also earned him the Soviet Land Nehru Award. He also wrote his autobiography called “Meri Filmy Aatmakatha”. Sahni even penned the screenplay for the 1951 released film “Baazi”; starring Dev Anand and directed by Guru Dutt. Apart from this, he wrote a number of poems, short stories, and contributed to the Punjabi magazine Preetlari.

Going through depression for some time after his young daughter Shabnam’s untimely death, Balraj Sahni passed away on 13th April, 1973 at the age of 59 following a cardiac arrest. He is survived by his son Parikshit, who is also an actor in the Hindi film industry.

Balraj Sahni received Padma Shri Award in 1969. Balraj Sahni earned the ‘Soviet Land Nehru Award for his book Mera Rusi Safarnama in 1969. Balraj Sahni starrer movie ‘Do Bigha Zameen’ won the international prize at the Cannes Film Festival in 1953. Balraj Sahni joined the BBC-London’s Hindi service as a radio announcer from 1939-43. ‘Punjabi Kala Kender’, founded in 1973 at Mumbai by Balraj Sahni, gives away the annual Balraj Sahni Award’. ‘All India Artists’ Association’ also gives away the annual ‘Balraj Sahni Award’.

The other day,I was reading the Autobiography of Balraj Sahni. His style of narration is very good. He does not miss even the smallest details.The part of his life when he entered the Hindi films is extremely readable.

When he was with BBC, London,once he was deputed to attend a seminar in Poona,India. He came down with his wife Damayanti and they stayed with a friend-Appasaheb Pant, the scion and Yuvraj of Aundh-a princely state in British India, in Maharashtra.( He later became the High Commissioner to Britain, post Independence). One evening they all went to see a Marathi film “Manoos'(Aadmi-39) of Prabhat, directed by V.Shantaram. After seeing the film,he was terribly impressed with Shantaram’s direction and was all praise for him.
When Balraj left BBC and returned to India,he was again in Poona. This time he went to see Shantaram, with prior appointment. When he reached the Gate, a person was waiting for him. he was taken to the reception room. That man left. In the room there was one more person with a Black cap-which was very common for Maharashtrians, those days. Balraj thought he too was another visitor like him After few minutes, that man asked in excellent English if he was Balraj Sahni. Balraj was astonished and nodded affirmatively. That man got up and said,’I am Shantaram. Nice to see you’. Later Shantaram took him around the studio etc.

Balraj returned to Bombay absolutely mesmerized with Shantaram. While in Bombay they were loitering, when they suddenly met Chetan Anand- his old friend. They were very happy to see each others. Chetan took them to his 4 bedroom spacious flat in Pali Hill,Bandra.They stayed with him for few days. Balraj had decided to work in films and was negotiating for his role in film Insaf, while Chetan was busy in his Neecha Nagar-46. One evening they went to see film ‘Shakuntala’, made by Shantaram. After seeing the film Balraj was very much upset and started criticising Shantaram that his standard has gone down, compared to Aadmi-39.

Chetan Anand smiled and said, “Shantaram has made a film for Box office.” Balraj did not understand. Chetan Anand explained, ” One can not go on making art films alone. To run the studio, you need money. Shantaram being a good businessman, he makes such films which earn him money. With this money he can make more meaningful films. For example after Shakuntala, Shantaram made Parbat pe apna Dera-44 and then his memorable film Dr. Kotnis ki amar kahani-46. This is how the maths of cinema works”. There are many such incidents described in his Autobiography which is highly readable,not only for his story but also for glimpse into the film scenario of the 40s and 50s.

Balraj had done 101 films. His first film was ‘Insaaf’-46 and the last film of Balraj, to be released well after his death was “Amaanat”-77.

The film Insaaf-46 was directed by Phani Mujumdar (28-12-1911 to 16-5-1994),who was already a seasoned Director. He is the only Director who directed films in 9 languages (Hindi, Bangla, English, Malay, Chinese, Magadhi, Maithili, Aasamese and Punjabi). Starting with P C Barua in Calcutta, besides Street singer-38 and Kapalkundala-39, he had directed several hit films like Baadbaan, Doctor, Tamanna, Door Chalen, Faraar, Aarti, Kanyadan, Akashdeep, Oonche Log etc., a total of 29 films. A short Biography and Obituary on him, written by the famous Film Historian and writer of “Encyclopedia of Indian Cinema”-Ashish Rajadhyaksha was published in The Independent,Calcutta, on 22-6-1994. I have reproduced it few months back in one of my earlier posts, so I am not repeating it here.

The Music Director of this film, Hari Prasanna Das or H.P.Das was born in Chitgaon, East Bengal, in 1905. He was a Bengali. He was assistant to Pankaj Malik in films Dushman and Kapal Kundala-1939. He gave music to Bangla film ‘ Nimai Sanyasi’-40, in which he gave singing opportunity to 20 year old young Hemant Kumar. His first Hindi film as a MD was New India Films’ Blood Feud (or Josh-E-Inteqam)- 1935. His other films were Mohabbat-43, Meena-44, Kadambari-44, Mazdoor-45, Begum-45, Insaaf-46, Veerangana-47, Sati Toral-47 and Hum bhi insaan hai-48. He died on 26-9-1989.

The film Insaaf aka Justice aka Nyay (न्याय)- 1946 had 8 songs – all penned by D.N.Madhok (5-9-1902 to 9-7-1982), who was an actor (Radheshyam-32), Music Director (Radheshyam-32), Singer (Radheshyam-32), and a Director (16 films,from 1933 to 1955). As a Lyricist, he wrote 882 songs in 119 films (1932 to 1969).

2 songs from this film are already discussed here. Today’s song will be the 3rd song. It is a chorus song. Looks like a Marching song or similar one. I do not know the story line of this film. From the lyrics of all the songs ( I have all the 8 songs of this film with me), I feel it is a film about the battle between “The Haves and The Have Nots”. No wonder, a man of Socialistic leanings, Balraj Sahni made his beginning from such a film ! There is 1 solo and 1 duet of Manna Dey in this film. These are his earliest songs in Hindi films. Manna Dey was a joint MD with H P Das in 3 films – Veerangana-47, Sati Toral-47 and Hum bhi Insaan hai-48.

Now let us listen to this chorus song.


Song- Chala chal chalaa chal uthaa ke kadam (Insaaf)(1946) Singers- Chorus, Lyricist- D N Madhok, MD-Hariprasanna Das

Lyrics

Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
?? chal diya hai magar
?? hain nahin
aa aa aa
aa aa aa
?? chal diya hai magar
?? hai jahaan walwale nahin
aa aa aa
aa aa aa
?? hai jahaan walwale nahin
pyaara watan
aa aa aa
pyaara watan
pyaara watan
pyaara watan
pyara watan
le na kahin dam
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham

maate tujhse ??
ghutnon ke bal par chalte jo
maate tujhse ??
ghutnon ke bal par chalte jo
uthha kadam
uthha kadam
uthha kadam
aa aa aa
uthha kadam
aa aa aa
?? se nahin kam
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham

maate tujhse ??
ghutnon ke bal par chalte jo
maate tujhse ??
ghutnon ke bal par chalte jo
uthha kadam
uthha kadam
uthha kadam
aa aa aa
uthha kadam
aa aa aa
uthha kadam
?? se nahin kam
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
aa aa aa
aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa


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 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 :

4054 Post No. : 15186 Movie Count :

4172

Hullo To all in Atuldom

A very happy Janmashtami or Gokulashtami or Sri Krishna Jayanthi as it is called in the various parts of the country. It is celebrated with a lot of prasads, bhajans and jagrans (in some regions). Jagran means keeping awake. The thought behind this is that Lord Krishna was born in the dead of the night so the devotees keep vigil till that hour. As per mythology it was raining heavily at the time of the Lord’s birth and most of the country is having a good monsoon at this point.

The Srimad Bhagwat Puraan says- at birth the Lord was transported, hidden inside a basket by his father Vasudev, to the house of Nand in Gokul, across a swollen Yamuna. (As if in anticipation of the lord there is a flood alert along the banks of the river Yamuna this year.) The Lord grew up in the loving care of Nand and his wife Yashoda. His baal-leelas (playful pastimes as a child) are described in the 10th Canto of the Srimad Bhagwat Puraan. One of the acts described in great detail is ‘maakhan chori‘ – how the lord Loved to reach out to the pots of curds, milk and butter that used to be hung up in the kitchens of Gokul.

Today’s song shows the day 2 of the Janmashtami / Gokulashtami celebrations that is very common in western India. It is from the 1979 Rajkumar Kohli directed Sunil Dutt- Reena Roy- Bindiya Goswami- Shatrughan Sinha starrer ‘Muqaabla’. It has songs penned by Verma Malik with Laxmi-Pyare as the music directors.  Asha Bhonsle, Kishore Kumar, Anwar, Mahendra Kapoor and Mohd. Rafi are the playback singers used in the movie. The movie was a typical romantic, masaala movie where Sunil Dutt and Shatru play gang leaders. I vaguely remember having seen it, possibly on television, and by the time I discovered it half the movie was over.

But here is the gist as given on IMDB.com:

Sheru (Shatrughan Sinha) and Vicky (Sunil Dutt) are two gang leaders. After a series of complications and mishaps both realize that they will be better off being friends and helping the poor and needy. They also fall in love with two separate women, one of them is Lacho (Reena Roy). When these two turn good guys, the bad guy’s leader Banwanri (Ranjeet) gets angry and vengeful. Fortunately, our two heroes get support from a honest police inspector (Premnath). Then Sheru finds out that Lacho really loves Vicky and his son, this embittered them both against each other. And the two again resume their old rivalry and hatred for each other.

As I said earlier, Janmashtami celebrations continue on to the second day in many parts of India. There are street corner scenes where in pots of goodies along with dahi are tied high up. Groups of youngsters make an attempt at breaking the pots, by making human pyramids and emulating Krishna’s habit of breaking pots which were tied up in the kitchens of yore.

In my younger days (there, I let the cat out of the bag, that I am not so young now though I like to think that I am still a bachcha 🙂 ) we used to have dahi-handi in our apartment complex between the two wings of flats. They used to be tied at a height of 1st floor. We needed a pyramid of three tiers to reach the handi. It was a very simple joyful day. Then as time went by, as in other spheres of life, commercialization set in the dahi-handi festival began to be conducted with prize money attached to the ropes of dahi-handi. This has further grown to the extent that there is this chowk (crossroad intersection) in Thane where the competition is held and the whole road is out of bounds for traffic for the day. And groups of youth practice for months on end to make pyramids which have seven or eight layers. There are numerous cases of people falling and breaking their limbs.  Lately there are also all girl groups in the contest. It is telecast live on all Marathi TV channels and makes for good viewing.

Dahi-handi was made popular in Hindi cinema by Shammi Kapoor in ‘Bluffmaster’ (1965) – the original “Govinda Aala Re, Aala, Zara Matki Sambhaal Brijbaala“.  Various heroes have copied him in subsequent years. In today’s song, we have Shatrughan Sinha and Sunil Dutt have a go at the handi along with Manmohan (in red shirt) and others who are not clear in this video. (A few years back Sonakshi Sinha also had a Govinda song to her name). The song is written by Verma Malik and Laxmikant Pyarelal are the music directors. Mohd Rafi and Kishore Kumar are the playback singers.  I couldn’t stop my smile when I saw Sunil Dutt dancing. Don’t know who the dance master was who gave him steps that were uncharacteristic of Duttsaab. Then Dr. Shreeram Lagoo enters the scene as the advisor of peace and I was desperately trying to recognize the actor in the light brown shirt with a head band who was trying to raise bets on who will break the handi. The finale of the song is the whole pyramid collapsing when this actor pokes a pin into the feet of one of the govindas (that is what the boys in the pyramid are called)

Govinda Aala Re!!!!

Song – Teen Batti Waala, Ae Govinda Aala  (Muqaabla) (1979) Singer -Mohammed Rafi, Kishore Kumar, Lyrics – Verma Malik, MD – Laxmikant Pyaarelal
Chorus

Lyrics (Provided by Prakashchandra)

teen batti waala
ae govinda aala
ae teen batti waala
he govinda aala
govinda govinda govinda
he govinda govinda govinda
rassi pe latki mitti ki matki
matki mein maal masaala
govinda
govinda
govinda teen batti waala
dekho matki phodne aala re aala

he laal patti waala
govinda aala
he laal patti waala
he govinda aala
govinda govinda govinda
he govinda govinda govinda
oopar latak ke niche patak ke
loot lo maal masaala
govinda
govinda
govinda lal patti waala
apni sena ko lekar aala re aala

baandh kataare daal do ghera
is matki par haq hai mera
baandh kataare daal do ghera
is matki par haq hai mera
sar koi uthaaye
sar ko jhuka do
haath uthe to
haath uda do
haathon ke tote ud jaayenge
hum se jo pad gaya paala
govinda
govinda
govinda teen batti wala
dekho matki phodne aala re aala

naam mera duniya pehchaane
bachcha bachcha mujhko jaane
naam mera duniya pehchaane
bachcha bachcha mujhko jaane
kadam uthe to
duniya jhukti
chalti hawa mujhe dekh kar rukti
mere haath se bach kar jaaye
bach kar jaaye
jaaye koi kismat wala
govinda
govinda
govinda lal patti wala
apni sena ko lekar aala re aala

govinda aala re aala
govinda aala re aala
is matki ko hum lootenge
govinda aala re aala
dekhna phir kayi sar phootenge
govinda aala re aala
hai muqaabla hum cha tum cha
koi na aaye beech mein chamcha
dekhta hoon mai tera hausla
kar doonga main abhi faisla
teen batti to jalti rahegi
lal patti bhi to chamakti rahegi
teen batti to jalti rahegi
lal patti bhi toh chamakti rahegi

[dialogues]

govinda govinda govinda govinda
he ae ae ae
govinda govinda govinda govinda
he ae ae ae
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda


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 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 :

4054 Post No. : 15185

Jai Sri Krishna.
Jai Govinda Jai Gopala.

The accompanying song is from Vinod Doshi presented 1983 release ‘Nastik’ which was directed by Pramod Chakravarthy. It starred Hema Malini, Nalini Jaywant, Reeta Bhadhuri, Sarika, Amitabh Bachchan, Pran, Amjad Khan, Deven Verma, Madan Puri, Bharat Bhushan, Lalitha Pawar, Jayshree T, Ratanmala, Praveen Paul, Kamal Kapoor, Shammi, Bhagwan, Yusuf Khan, Kamran, Viju Khote, Azaad, Pehalwan, Julian, Jaswant, Habib, Bob Christo, Daljeet, Tom Alter, Jezebel, Ranveer Raj, Darshan, Sehgal, Sunder Taneja, Umesh Khanna, Mehar Singh, Manik, Vaman, Master Raju, Baby Pinky, and Master Rajesh (young landlord grows up to be Amjad Khan).

It was basically an action-drama showcasing Amitabh as a young man (Shankar) who is outraged when his father is killed by the village landlord’s son Tiger (Amjad Khan) who also separates him from his mother and sister. He becomes an atheist – Nastik, and vows revenge on Tiger. Enroute to this destination of his, he encounters two small time crooks in Hema Malini and Pran. Like any masala movie the separated family members rediscover each other, Pran’s daughter regains consciousness to identify the person who tried to rape and kill her. So now Pran and Amitabh join forces and the family reunites in the climax at their village and the wrong doer is brought to book.

This movie had eight songs one of which is there on the blog. Today on the occasion of Sri Krishnashtami or Janmashtami, I present this bhajan, which appears twice in the movie. The movie opens with this bhajan as it is Shri Krishna Jayanti in the movie too. The first part is in the voices of Alka Yagnik and Sadhana Sargam. The bhajan comes again at the climax when Amitabh Bachchan has to deal with an almost dying sister – Reeta Bhadhuri and recollects the bhajan that he had sung with his father, sister etc in his childhood. The second version is in the voices of Mahendra Kapoor and Manhar Udhas (for Bharat Bhushan, Amitabh does not lip sync).

Govind Bolo Ke Krishna Kaho,
Shyaam Kaho Ya Murliwala
Matlab To Kanhaiya Se Hai

Haathi Ghoda Palki
Jai Kanhaiyalal ki

Part I

Part II

Song – Sagre Jagat Ka Ek Rakhwaala  (Nastik) (1983) Singer – Alka Yagnik, Sadhna Sargam, Manhar, Mahendra Kapoor, Lyrics – Anand Bakshi, MD – Kalyanji Anandji
Alka Yagnik + Sadhna Sargam
Chorus

Lyrics

Part 1
sagre jagat ka ek rakhwaala

sagre jagat ka ek rakhwaala
mohan murli waala..aa
mohan murli waala
shaam savere..ae
shaam savere jap mann mere
shyam ke naam ki maala..aa
sagre jagat ka ek rakhwaala
mohan murli waala
sagre jagat ka ek rakhwaala

[dialogues]

ho ooo ooooo
sab ka meet hai krishna kanhaiya
krishna kanhaiya
krishna kanhaiya
kanhaiya krishna kanhaiya
oooo oooo
jeewan geet hai krishna kanhaiya
krishna kanhaiya
krishna kanhaiya
kanhiya  krishna kanhaiya
jhoom uthe sab. . .
jhoom uthe tab
bansuriya jab
chhede nand ka lala..aa..aa
sagre jagat ka ek rakhwaala
mohan murli waala
sagre jagat ka ek rakhwaala

[dialogues]

ooo ooooo
woh hi sab ki laaj bachaaye,
laaj bachaaye
krishna kanhaiya
kanhiya krishna kanhaiya
hooo oooo
sabke bigde kaaj banaaye,
kaaj banaaye
krishna kanhaiya,
kanhiya krishna kanhaiya
antaryaami..ee
antaryaami sab ka swami
gokul ka woh gwaala..aa
sagre jagat ka ek rakhwaala

ooo ooooo
oooo ooooooo ooooo ooo
ye sukh dukh ye mann ye jeevan
ye mann ye jeevan
ye sukh dukh ye mann ye jeewan
sab tera sab tere arpan
sab tera sab tere arpan
tu hi sab kuchh dene waala
tu hi lene waala
sagre jagat ka ek rakhwaala
mohan murli waala
sagre jagat ka ek rakhwaala

gopala jai jai gopala
gopala jai jai gopala
ho ooo
gopala jai jai gopala

[dialogues]

gopala jai jai gopala
govinda jai jai Gopala
govinda jai jai gopala
hooo govinda jai jai Gopala
govinda jai jai gopala
krishna kanhaiya
kanhaiya murli wala
krishna kanhaiya
kanhaiya murli wala
krishna kanhaiya
kanhaiya murli wala
kanhiya murli wala
kanhaiya murli wala
kanhaiya murli wala
kanhaiya murli wala
kanhaiya murli wala

Part 2

oooooo oooooooo
tod ke jhoothe bharam ke phande
tod ke jhoothe bharam ke phande
sheesh jhuka kar dekh to bande
sheesh jhuka kar dekh to bande
ho sakta hai ae ae ae
ho sakta hai
teri bhi sun le
sab ki sun’ne waala
sagre jagat ka ek rakhwaala
aaaa aaaaa aaaa aaaa
aaaa aaaaa aaaa aaaa
aaaa aaaaa aaaa aaaa

shyam ki leela main kya jaanu
aaaa aaaa
o o shyam ki leela main kya jaanu
main logon ki baat na maanu
aaaa aaaaa aaaa 
dars dikhaaye
aaaa aaaaa aaaa 
saamne aaye
aaaa aaaaa aaaa 
dars dikhaaye saamne aaye
mujhse chhupne waala..aa..aa
sagre jagat ka ek rakhwaala
mohan murli waala
sagre jagat ka ek rakhwaala


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

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has more than 15300 song posts by now.

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

Total number of songs posts discussed

15315

Number of movies covered in the blog

Movies with all their songs covered =1180
Total Number of movies covered =4218

Total visits so far

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Active for more than 4000 days.

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