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

Archive for October 2019


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

Blog Day : 4123 Post No. : 15276

“Tyaag”(1976) was Produced by N S Kabir and directed by Deendayaal Sharma for Films and Films Interbnational Production, Bombay. The movie had Sharmila Tagore,Rajesh Khanna,Bindu,Dheeraj Kumar, Master Tito, Sulochana Latkar, Prem Chopra, Mukri, Asit Sen,Murad,Amrit Patel, Tuntun, Kamal Kapoor, Chandrima Bhaduri, Mohan Jerry ,Mahendra Zaveri,Om prakash, Nayim, Billimoria, Anand, Lalita Kumari etc with uest appearances by Bindu, Master Satyajit, Dheeraj, Gurnam Singh, Sona, Raza Murad in it.

This movie was apparently produced by Sharmila Tagore seeing that the producer was her secretary. The movie had the same lead pair as that of the blockbuster “Aradhana”(1969).

“Tyaag”(1976) had five songs in it. One song has been covered in the blog. This movie was one of the last movies with music by S D Burman.

Today (31 october 2019) is the 44th remembrance day of S D Burman (1 October 1906 – 31 October 1975). On this occasion, here is a song from “Tyaag”(1976). This song is sung by Kishore Kumar and Asha Bhonsle. Anand Bakshi is the lyricist. Music is composed by S D Burman.

This song, containing the phrase “Kora kaaghaz”, which was there in a song of “Aradhana”(1969) as well, is picturised on Rajesh Khanna and Sharmila Tagore.

Lyrics of this song were sent to me by Prakashchandra.

Audio (Full)

Video (Partial)

Song-Kore kaaghaz pe likhwaa le (Tyaag)(1976) Singers-Kishore Kumar, Asha Bhosle, Lyrics-Anand Bakshi, MD-S D Burman
Both

Lyrics (Audio link)(Provided by Prakashchandra)

hmmm hmm hmm
hmm hmm
hmm hmmm
aaahaa haaa haaa
aa haa
aaa haaa

ohho ho o
hhaa haaa haa
ae hey hey ae ae he ae ae

kore kaaghaz pe likhwa le
kore kaaghaz pe likhwa le
jiya kiya tere hawaaley
ho ho o o
kore kaaghaz pe likhwa le ae ae
jiya kiyaa tere hawaaley

ho ho o o
kore kaaghaz pe likhwa le

kabhi sochta hoon mere sapnon ki raadhaa
kabhi sochta hoon mere sapnon ki raadhaa
kaanha se nain churaa ke
bhulaa de na waadaa
o Radhaa aa aa
bhula de na waadaa
bade be-imaan hain
bade be-imaan hain tere
naina matwaale
kore kaaghaz pe likhwa le
haan aaan jiya kiyaa tere hawaale
ho ho o
kore kagaz pe likhwa le

aa aa aa aa
aa aa aa aa
tera naam mera jeevan
teri preet pooja
tera naam mera jeevan
teri preet pooja
teri yaad bin iss mann mein
nahin koi doojaa rey mitwaa aaa
nahin koi dooja
mujhe bhool jaaye ae
mujhe bhool jaaye ab
ye duniya waale ae
kore kaaghaz pe likhwa le ae ae

jiya kiyaa tere hawaale
ho o o
kore kaaghaz pe

likhwa le
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
(hho ho oo o o o o ae hey hey ae )

badi hi niraali
dil ne likhi ye kahaani
ho o o badi hi niraali
dil ne likhi ye kahaani
galiyon ka raaja
main tu
mehlon ki raani deewaani
mehlon ki raani
ho o o
tere aagey mehlon waaley
tere aagey mehlon waaley
kyaa hain dilwaaley ae

kore kaaghaz pe likhwaa le
jiya kiya tere hawaale
ho o o
kore kaaghaz pe
likhwaa le


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 :

4121 Post No. : 15275 Movie Count :

4201

Today’s song is from a film Mangalsootra-1947.

In Maharashtra, from the 19th century onwards, theatre dramas became popular. They were the sole source of entertainment for the family. The stage dramas developed to a great extent, till about the 20’s decade of the twentieth century, when they faced their first competition – in the form of Silent films. However those films being silent, they could not compete wholly with dramas, which provided dialogues, living people on stage and above all music in the dramas.

However by 1931, the Talkie films arrived and the drama sensed the potential danger. They became alert. Still, the Talkie films were not invading the smaller towns as much as the bigger cities and so dramas survived for some time. As the time passed by and the film industry started inroads into smaller towns and villages, there was real panic. There was a Bee-line of stage actors, directors, singers and music directors to the Cinema world. It offered them name, fame and money. Not all were successful, but many musicians, writers and actors defected to this industry.

Even the big names in Marathi stage, like Bal Gandharva, Deenanath Mangeshkar, Nanasaheb Phatak, Master Avinash, dramatists like P K Atre, Mama Varerkar, Novelists like N S Phadke and V S Khandekar and musicians like Prof. B R Deodhar and Master krishnarao Fulambrikar etc tried their hand at this medium. One such name was a well known and very Popular Chintaman Rao Kolhatkar, who was an actor, director, producer and a playwright of repute in Marathi stage dramas.

He also tried his hand at acting in films as well as directing in both, Marathi and Hindi languages. He acted in 2 Hindi films, namely Andheri Duniya-1936 and Mangalsootra-1947. He also directed a bilingual in Marathi and Hindi film Krishna Arjun Yudha-1934. Here is his short Bio data from netizen.com –

Chintamanrao Ganesh Kolhatkar (12 March 1891 – 23 November 1959) , was a very prominent actor as well as producer, director and playwright of Marathi theatre. He joined the Maharashtra Natak Mandali in 1911, but after a year left for another troupe named as Shri Bharat Natak Mandali. His career took a major turn when he entered the Kirloskar Natak Mandali in 1914. He helped establish the Balwant Sangit Natak Mandali with Dinanath Mangeshkar in 1918. Chintamanrao Ganesh Kolhatkar’s greatest performances came in R. G. Gadkari-s plays, in Punyaprabhav i.e. Force of Virtue’ in 1916, Rajsanyas i.e. ‘Kingdom Renounced’ in 1922, and especially as the villain Ghanashyam in Bhavbandlmn i.e. ‘Bond of Affection’ in 1919. He tried the movie industry in 1933 when Sangitnatak began to decline and acted in two films, notably as the tyrant Shakara in Vasantsena in 1942. This was based on Sudraka, but failed in this medium and returned to theatre. He joined Gangadharpant Londhe’s Rajaram Sangit Mandali, worked with M. G. Rangnekar’s Natyaniketan, and established his own company, Lalit Kala Kunj. This one gave P. L. Deshpande a break. Kolhatkar was a non-singing actor, who took roles in Hindi and Urdu as well.
The Police Commissioner of Bombay felicitated him for his acting in Punyaprabhav. Jawaharlal Nehru once called him Bahurupi i.e. ‘many-formed’. This was a term applied to one-man folk performances, which Kolhatkar used as the title for his autobiography. He also wrote character sketches of several playwrights titled Majhe Natakkar i.e. ‘My Dramatists’, and a five-act play, Purnavatar i.e. ‘Complete Avatar’ in 1924. This was staged in 1996 by the group Antarnatya in Mumbai.
His son Chittaranjan Kolhatkar was also a very prominent , famous and prolific actor, producer and director of Marathi stage and films.
Chintamanrao was awarded Sangeet Natak Akademi Award in 1957, given by the Sangeet Natak Akademi, India’s National Academy of Music, Dance & Drama.

The cast of the film Mangalsootra-47 was Urmila, Anand, Chintaman Kolhatkar, Motibai, Shanta Kunwar, Sheelabai, Mehebano, Dalpat and many others. In the cast, you will find a name Urmila- in some films she is named as Urmila Devi, and Urmila Gupta also. She was not a very good looking actress, but she compensated it with her good acting. Urmila Gupta was born in 1921 at Panja Sahib, Rawalpindi district of United Punjab. Her father, who was a Civil Contractor, died when she was only 5 year old. She did not get much education but could read and write as well as talk fluently, Urdu, Hindi and English.

She started her career with a small uncredited role in film Mirza Sahiban-33. She was the younger sister of Mirza in this film. After some more small roles, she got her major role in film Aasuon ki Duniya-36. After this, she did not look back and did Punjab Lancers-37, Talwar ka Dhani-38, Kahan hai manzil Teri-39, Hurricane special-39, Flying Ranee-39, Desh Bhakt-40, Sasural-41, Sajjan-41, Mere Sajan-41, Naari-42, Das Baje-42, Call of youth-42, Badal -42, Apna Paraya-42, Tamash-42, Kirti-42, Salma-43, Bansari-43 etc etc. Urmila got married to Vinod Talwar, a businessman and stopped working in films, for some time, may be for raising a family. She resumed working in films and acted in another 20 odd films till 1952. She had sung 12 songs. In all, she worked in about 55 films.

I do not know anything about the film Hero Anand. I have seen his name first time in a credit list. The film was made by Golden Pictures, Bombay. It was directed by Dada aka V M Gunjal. Director Vishnupant Mathaji Gunjal or simply Dada Gunjal, was born in Kolhapur in 1904. He was not interested in education, so after passing his Matriculation, he joined the film industry.
Initially he worked in various capacities, but concentrated on Directing the films. He established his own Gunjal Production company at Bombay and directed his first silent film Collegian in 1929. Soon ,realising that producing films was not his cake, he shifted to Directing films for Vishwesh film company, Bombay. Making silent films like Bharati, The Bandit, Vijeta, Bewafa qatil, khabardar, Bhedi khanjar etc.
When Talkie films started, he directed Bhakta ke Bhagwan and Ambarish in 1934. Dada Gunjal directed in all 37 films. Some of his films were, Bhakta dhruv, Panihari,Aparadhi, Ekadashi, Mata, Mamta, Tulsi, Bhakta ke Bhagwan, Noorjehan, Baraat, Kirti, Pati patni, Alakh Niranjan, Mother India -1938 etc.

Dada Gunjal died in 1968.

The film’s Music Director was Ratanlal. He is one of those artistes, about whom hardly any information is available. All that we know about him is what is available in HFGK and books like Dhunon ki Yatra etc. There are only 4 films to his credit. For 2 films- Baraat-42, he gave music with Khemchand Prakash and for film Kismatwala-44 he was with Shanti kumar Desai. Independently he gave music to only Mangalsootra-47 and Parshuram-47.

As per January-1948 issue of magazine Film India, the film was released on 5-12-1947 at Swastik Cinema, Bombay. The review of the film done in this issue, by Baburao Patel is highly critical of every aspect of the film-acting, direction, technical support, story, dialogues etc etc. There is no comment on Music of this film, which means either he was satisfied with it or it was very much below standard to comment even. However, I have listened to some songs of this film and some other films of Ratanlal, I feel he was reasonably good composer. The review only praises the acting by actress Motibai in this film.

The story line of this film, as given in the review is…. Dayal, called popularly Dayal mama (Chintaman Kolhatkar), is a social worker and a Politician in a certain town. He is dragged into a false case and gets jail term of 10 years. After his going to jail, his wife Laxmi (Motibai) and daughter Radha (Urmila) become homeless and helpless. They leave the town and wander.

After 10 years, Dayal comes out of jail and looks for family, but he does not find them. He goes to another city, where, by chance he saves the Zamindar from riding on a Horse, which becomes wild. The Zamindar takes him home, treats him as a friend and appoints him his trusted Manager. Mohan (Anand) is his son, who completes his education. The zamindar dies and Mohan becomes the boss.

Meanwhile Radha grows up as a beautiful and attractive young girl. She and mother move to Mohan’s town, where Radha becomes the village teacher. Radha and Mohan fall in love. But Dayal is against this as Radha’s father is missing.

However, after few reels and may be few Love songs etc, Dayal Mama sees Radha’s mother Laxmi, in the last reel, recognises her. Now, Radha being his own daughter Dayal Mama gives Hari Zandi to Radha- Mohan marriage. All is well. The End. Clap, Clap, Clap.

With such poor and powerless story, what can Vrajendra Gaur, the script and dialogue writer do ? Actually Gaur was a well known and successful writer of many films in 40s and the 50s. He even directed film Kasturi-54. He wrote 59 songs in 13 films. Anyway, all in all, film Mangalsootra-47 was an eminently forgettable film.

With today’s song, this film and Music Director Ratanlal make Debut on the Blog.


Song-Jiya doley Jiya doley Jiya doley re (Mangalsutra)(1947) Singer- Rajkumari, Lyrics- Brijendra Gaud, MD-Ratanlal

Lyrics

Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re
hauley hauley
hauley hauley
khaaye jhakoley
hey hey hey
hauley hauley
khaaye jhakoley
hey hey hey
Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re

neel gagan mein kaale baadal
jhilmil jhilmil ho o
neel gagan mein kaale baadal
jhilmil jhilmil ho
khule chaman mein bhanwra rasiya
kaliyaan choome ho ho o
khule chaman mein bhanwra rasiya
kaliyaan choome ho o
haa aa aa aa
aa aa aa
Jiya doley
Jiya doley
Jiya doley re
Jiya doley
Jiya doley
Jiya doley re ae
hauley hauley
hauley hauley
khaaye jhakoley
hey ae ae
hauley hauley
khaaye jhakoley
hey ae ae
Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re

chanchal lahren magan pawan ke
sang sang bal khaayen
chanchal lahren magan pawan ke
sang sang bal khaayen
jin se meri lagan lagi hai
wo saajan mil jaayen
jin se meri lagan lagi hai
wo saajan mil jaayen
haa aa aa aa aa aa
a aa aa aa
donon mil ke ek nayi duniya basaayen
ho nayi duniya basaayen
Jiya doley
Jiya doley
Jiya doley re
Jiya doley
Jiya doley
Jiya doley re ae
hauley hauley
hauley hauley
khaaye jhakoley
ho ho o
hauley hauley
khaaye jhakoley
hey ae ae
Jiya doley
Jiya doley
Jiya doley re ae
Jiya doley
Jiya doley
Jiya doley re ae ae


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular 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 : 4121 Post No. : 15274

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 49
——————————————————————————————

OK, so a norm need not always be effected. In my previous post of this series, I had mentioned in the beginning that – “The blog was in its childhood –”. On 29th October of 2009, the departure was that only one song was posted. Ah yes, sometimes it used to happen even then. One song has become kind of a norm these days. 🙂

The solo song that day was from the film ‘Pehli Jhalak’ of 1954. The film had made its debut that day with philosophical song “Zameen Chal Rahi Aasmaan Chal Raha Hai” in the voice of Hemant Kumar. Music is by C Ramchandra and the lyrics are from the pen of Rajinder Krishan.

Geet Kosh lists 10 songs for this film, with the above mentioned song appearing in the film as a two part song. All the songs are written by Rajinder Krishan, and the music is by C Ramchandra. Over the subsequent six years, till 1st December 2015, eight of the remaining 9 songs appeared on the blog with a certain irregular regularity. Check out the posting status in the table below.

 

Zameen Chal Rahi Aasmaan Chal Raha Hai Pehli Jhalak 1954 2102 29-Oct-09
Naa Maaro Nazariyaa Ke Baan Pehli Jhalak 1954 2430 24-Apr-10
Charandas Ko Peene Ki Jo Aadat Naa Hoti Pehli Jhalak 1954 2633 17-Jul-10
Chhodi Ji Chhodo Kalaayi Koi Dekh Legaa Pehli Jhalak 1954 2891 2-Sep-10
Oonchi Oonchi Dukaan Phheeka Phheeka Pakwaan Pehli Jhalak 1954 3078 6-Oct-10
Kaise Bhaaye Sakhi Rut Saawan Ki Pehli Jhalak 1954 8642 5-Sep-13
Achchi Soorat Hui Ya Museebat Gali Mein Aana Jaana Band Pehli Jhalak 1954 10950 11-Mar-15
Zamaane Se Niraala Hai Meri Ulfat Ka Afsaana Pehli Jhalak 1954 10963 21-Mar-15
Mohabbat Ne Mujhe Maara Pehli Jhalak 1954 11619 1-Dec-15

The last song of this film was posted almost four years ago. And since that day, 1st Dec, 2015, this film has been patiently waiting to be yippeee’d. The reason being that this last remaining song of this film was not available online all this time. Checking for it again some days back, I am finally able to locate online, the audio of this song, which was posted just recently in August of 2019. And interestingly, just 6 views so far, as I write these lines.

The film ‘Pehli Jhalak’ is produced by Seth Jagat Narayan, under the banner of Jagat Pictures, Bombay. It is directed by MV Raman. The start cast of this film includes Vaijayantimala, Kishore Kumar, Pran, Shammi, Roopa Varman, Anil, Jawahar Kaul, Shivraj, Kamlakant, Om Prakash, Dara Singh, and Baby Asha Parekh.

So finally, we are announcing today, the yippeee status for this film, with the posting of this song. The song is in the voice of Shamshad Begum. The song appears to be a gambling related song, with the words exhorting the gambler to play on – money is a thing that comes and goes. Do not worry about it – “सोच ना बाबू ऐसा ना वैसा; just play the game and place your bet – “दांव लगाने में फिर डर कैसा“. It is a fast paced song sung with her usual verve by Shamshad ji.

Listen and enjoy.

 


Song – Aata Hai Paisa, Jaata Hai Paisa (Pehli Jhalak) (1954) Singer – Shamshad Begum, Lyrics – Rajinder Krishan, MD – C Ramchandra
Chorus

Lyrics

aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
oo oo
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa..aa

khele jo dilwaale dil ki baazi
dil hai raazi to duniya raazi
khele jo dilwaale dil ki baazi
dil hai raazi to duniya raazi
mail hatheli ki hai paisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
oo oo
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa..aa

haar gaya dhan tan bhi laga de
garam hai mehfil rang jamaa de
haar gaya dhan tan bhi laga de
garam hai mehfil rang jamaa de
soch na baabu aisa na waisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
aata hai paisa
jaata hai paisa
daanv lagaane mein phir darr kaisa
oo oo
aata hai paisa
(la la la la la)
jaata hai paisa
(la la la la la)
daanv lagaane mein phir darr kaisa..aa
(la la laa laa laa laa la la)

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

आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
ओ ओ
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा॰॰आ

खेले जो दिलवाले दिल की बाज़ी
दिल है राज़ी तो दुनिया राज़ी
खेले जो दिलवाले दिल की बाज़ी
दिल है राज़ी तो दुनिया राज़ी
मैल हथेली की है पैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
ओ ओ
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा॰॰आ

हार गया धन तन भी लगा दे
गरम है महफिल रंग जमा दे
हार गया धन तन भी लगा दे
गरम है महफिल रंग जमा दे
सोच ना बाबू ऐसा ना वैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
आता है पैसा
जाता है पैसा
दांव लगाने में फिर डर कैसा
ओ ओ
आता है पैसा
(ला ला ला ला ला)
जाता है पैसा
(ला ला ला ला ला)
दांव लगाने में फिर डर कैसा॰॰आ
(ला ला लाs लाs लाs लाs ला ला)


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

Blog Day :

4120 Post No. : 15273 Movie Count :

4200

Today’s song is from a film belonging to the first decade of Talkie films in India- Khan Bahadur-1937.

The film was made by Minerva Movietone and it was directed by Sohrab Modi. B S Hoogan was the Music Director. The film cast included, Sohrab Modi, Prem Adib, Naseem Banu, Sheela, Shareefa, Eruch Tarapore, Sadiq Ali, S.Kapadiya and others.

Incidentally, Khan bahadur-37 was the Debut film for Prem Adib, as a Hero. In later years, he became famous in the role of Shri Ram, along with Shobhanaq Samarth in the role of Seeta, in films made by Prakash pictures. While he was in Minerva, a special teacher was appointed to teach him singing. It was here that he fell in love with actress Indurani and they had a Love child.

In this world, everyone makes a mistake. But those who learn from their mistakes and mend ways, have better chances of succeeding in achievement of their goals. Sohrab Modi was a person who had plenty of ambitions. He knew his own capabilities and understood the need to change with the changing times. Khan Bahadur -37 was his just second movie. The first movie,- Atma Tarang-37-, that he made with his newly established production company had taught him a bitter lesson. He learnt from it and mended his ways for his second venture. It is interesting to know how and why Sohrab Modi committed that mistake. For this, we will have to, once again, go through his revised early life, his entry into acting field and his film making activity.

Sohrab Merwanji Modi was born in a Parsi family on 2nd November, 1897. His parents were Parsi civil Servants. For few years he stayed in Parsi community in Bombay. Sohrab Modi’s childhood was spent with lot of activities. As he grew up, his more interest was in exercise and sports. Though in childhood many times he was severely sick and few times he was also hospitalized, due to which, he looked tall but he was thin. Later he was very active. In school he was an average student, he never got hooked to History subject. Many times teacher complained to his parents for his lagging behind in history subject. His parents turned all the stones to make him study but it all went in waste. Sohrab was good in sports and from childhood he was interested in exercise which helped him to develop his personality in stage acting. Later he shifted with his family to Rampur in Uttar Pradesh. At the age of 14 -15 his mind absorbed many interesting things in acting as he watched silent movies. Soon his mind got diverted toward stage acting.

At the age of 17 years, he worked as a travelling exhibitor in Gwalior. Elder brother Rustom Modi, along with his close friend Ittefaq, set up Arya Subodh Natak Mandali theatre group in 1923.

In start Sohrab Modi only acted as an extra or side role which was not that important. But Sohrab was looking for the opportunity where he could act as a leading actor. Very soon he got an opportunity and he broke the ice. Soon He earned the reputation as Shakespearean actor. Sohrab Modi’s elder brother Rustom helped him in stage acting and people really appreciated the Sohrab acting. Sohrab played Jahangir (Hamlet) opposite Naseem Bano (Ophelia) in Khoon ka Khoon, one of the biggest Urdu stage Hits of the 20s. As Sohrab was growing up, his personality kept developing. His personality suited the role of a king. His two plays ‘Khoon Ka Khoon’ and ‘Saed-E-havas’ added flying colors to his acting.

In 1931 Hindi movie ‘Alam Ara’ was released with sound. On one side ‘Alam Ara’ was a big leap for Hindi cinema. But on other hand introducing of sound in movies created very big crack in theatre business. People started getting interested in watching movies than watching theatre plays. To save theatre art, Modi brothers set up the Stage Film Company in 1935. From this year Sohrab Modi never looked back in acting career.

Sohrab modi talents soon reached the ears of ‘Dadasaheb Phalke’ ears. Though Sohrab Modi had worked in few silent movies before, but Dadasaheb Phalke never appreciated Sohrab Modi’s acting. One day Phalke Saab personally went to see Sohrab’s play ‘Alexander the great’.

Sohrab Modi is remembered fondly by the film buffs for his towering personality, solid voice and his forceful dialogue delivery. Actually, Modi was much more than that. He was the first and the only film maker who took up Historical subjects to make films that left a long lasting impression on the film goers. He loved to do the roles of Historical persons ( actual or mythical) and deliver long dialogues in his resonant voice, clear diction and superb voice modulation.

Sohrab Modi developed these qualities from his stage acting days. In his growing up age at Rampur, he had spent hours in the library of the local Nawab, where his father worked as a Superintendent. This gave him a command on Urdu language. Added to this was his brother Rustom’s drama company ” The Arya Subodh Natak Mandali” in which he acted. In 1935, the brothers set up the ” Stage Films ” to film the two dramas, namely Hamlet aka Khoon ka khoon-35 and Sayeed E Hawas-36, based on Shakespeare’s play King John, as movies. However, these movies did not do too well, as the audience had seen them on stage several times. But this failure didn’t stop Sohrab Modi in acting. Taking a clue from this, Modi decided to start a new company, Minerva Movietone to produce independent films on different stories of merit.

Minerva Movietone was started by Sohrab and brother Rustom Modi in 1936, when they realised that the stage dramas, filmed as Feature films did not get the public approval. Logo of his banner was the Lion. Does this personally symbolize Sohrab Modi personality? Production from Stage films- their first film production enterprise- was suspended till Minerva became successful. ” Aatma Tarang-37″ was the new company’s first film. C. Ramchandra was the Harmonium accompanist for M.D. Habib Khan and Bundu Khan. He also did a small role in Aatma Tarang and earlier Saeed E Havas-36. Minerva’s first film proved to be a let down.

Sohrab found that there were hardly 20 to 30 persons in the audience on the very First show. The film was based on the power of ‘ Bramhacharya’ (Celibacy). In those days, Sohrab was greatly influenced by the teachings of Ramkrishna Mission. Seeing the poor response, he was upset. Thoughts of quitting the film production line were crowding in his mind. Suddenly, he saw four men coming towards him. They came, confirmed that he was Sohrab modi and told him that his film was very good. They further advised him to keep making such good films and one day he will be on Top. Later on he learnt that these gentlemen were the Judges of Bombay High Court.

This gave lot of motivation to Modi. As such he was sure of his success in films, but now he learnt that he must make films on subjects of interest of the public and not his own philosophy, if he wants to succeed commercially. His second film was Khan Bahadur-37, based on the bravery and generosity of a Muslim king who became famous for his bravery. The English rulers gave him the title of Khan Bahadur. The film did a reasonable business.

This incident infused him with new hopes and enthusiasm. This changed his life. Initially he focused on making films on social evils like Drinking (Meetha Zehar-38), Husband-wife separation ( Divorce-38) and Incest ( Bharosa-40 ). Enthused with this experience, he made successful films and took his company to the Top. Renowned for big budget historical films, Minerva benefited from Modi family’s distribution interests in Gwalior, expanded by his third brother Keki Modi into western India. At one time he controlled a chain of 27 theatres in 10 cities. In 1952, they established India’s first Technicolour Laboratory.

As far as the title of the film is concerned, I was wondering as to what it meant. After a search on internet, this is what it means. Khan Bahadur – a compound of khan (leader) and Bahadur (Brave) – was a formal title of respect and honour, which was conferred exclusively on Muslim and other non-Hindu subjects of the British Indian Empire. It was a title one degree higher than the title of Khan Sahib.

The title was conferred along with a medal and a citation (or sanad) and the recipient was entitled to prefix the title to his name. The title was conferred on behalf of the British Indian Government by the Viceroy and Governor-General of India.
The title “Khan Bahadur” was originally conferred by the Mughal Empire on Muslim subjects in recognition of public services rendered and was adopted by the British Indian Empire for the same purpose and extended to cover other non-Hindu subjects of the Indian Empire. Hindu subjects of the British Indian Empire were conferred the title of “Rai Bahadur”.

The MD’s name is B S Hoogan. Frankly, how many of us have really heard this name ? May be, only a few. Till about 8 years ago, even I was not aware of this name. When I first came across this name B.S.Hoogan, in the list of Hindi composers,my first reaction was,what is this foreigner doing in Hindi Films ?

Further when I saw his name as MD in 10-15 films of the 30s, I became very curious and wanted to know more about him.As per my experience so far,I usually got information for any -or almost any-Film personality from my notes,Old cuttings,books,magazines,old articles etc ,or even from an obscure,less known Internet site,but in Hoogan’s case I always found myself at a dead end. There was simply NO information about him anywhere ! It was as if no one in India knew about him or as if he was from some alien planet.

I was perplexed.How can anybody from Film industry,with so many films to his credit,be such an unknown person ? This was a challenge and I decided ,come what may,to find out about this elusive,dodging and unreachable B.S.Hoogan,at any cost.

Almost one year passed and I found a ray of Hope.

I visited the Blog of Mr.Kamalakar Pasupuleti ji. He is a writer on old films, music and an avid collector of old songs,besides having been an active RMIM worker.He is also a mine of information. Incidentally,he too is from Hyderabad-just like me,and being in the same age group,we enjoy discussing matters relating to people and places in old Hyderabad of the 40s and 50s,when we were youngsters.Later on, he migrated to USA.

On his Blog, he had written about Hoogan. He had located the nephew of Hoogan, in India and contacted him.He got some information from him about Hoogan. Although the info was not exhaustive, it was a great find. Plus Kamalakarji himself had also written about Hoogan,from his interaction with people who had met Hoogan in Hyderabad. I wrote to kamalakar ji in USA and he very graciously gave me permission to use all that material for this article.

At this juncture, my luck suddenly decided to cooperate and I found some info about Hoogan in a book.I even found out that the same nephew of Hoogan had uploaded 4 songs of Hoogan,(2 from Parakh-37 and 2 from Meetha Zahar-38) on Hamara Forum.
B.S.Hoogan was not a foreigner,he was very much an Indian.His name was BALWANT SINGH HOOGAN. He was tall,wheat comlexioned and of medium build. He was born in 1901 at Firozpur, Punjab, where his family was settled. He was a Kashmiri Brahmin. According to C.Ramchandra also,he was originally from Kashmir.

Before becoming a music director he seems to have learnt classical music and western music.He played many western instruments.
In the days of silent films,orchestras used to play in the Theatres ,in front of or behind the screen.During the film also they played appropriate music pieces.It would add live pleasure with moving images. Hoogan learnt giving this music and conducting orchestra from his teacher,Mr.Victor Aimes,an Englishman,from the Albert Music Company. He learnt writing music in notations and conducting orchestra with a baton. He played his orchestra of 12 musicians.

Hoogan looked impressive with a Black Tailcoat,Bow-Tie and Grey Trousers,as described by a Hyderabad Nawab,who had been personally introduced to Hoogan in Hyderabad in 1930.

B.S.Hoogan started his career as MD with Ajanta Cinetone of Mohan Bhavnani.He gave music to Afzal,Maya jaal,Rangeela Rajput(all 1933)Dard e dil,Dukhtar e Hind,Mazdoor,Sair e Paristan,Vasavdatta(all1934),Pyar ki maar,Registan ki Rani,Sone ka shahar,sherdil Aurat(all 1935), Begunah,khan Bahadur,Parakh(all1937),Meetha Zahar,Vijay marg(all 1938) and Sansar Sagar-1939.

Total films-18. Songs composed- 231.

Music Director C.Ramchandra, in his Marathi autobiography ( माझ्या जीवनाची सरगम ), wrote about Hoogan. When CR was working in Minerva, Hoogan joined the company, in place of Habib Khan, the composer. He showed CR how the Desi Raag can be played on foreign musical instruments. He brought in many Goan orchestra players into the company. CR knew writing notations, Hoogan improved this. Hoogan liked CR very much. Hoogan would take CR with him to all big hotels of Bombay. Orchestras would be playing there. CR learned how those tunes could be indianised in his music here only.

Hoogan would make tunes and ask CR to write the notations. CR would hum those tunes and then improve the tunes. Hoogan would not know. Thus many of his tunes were used by Hoogan without knowing it. In the film Meetha Zahar-1938, Naushad was Hoogan’s assistant. Actors like Nissar, Bibbo, Sheila and Naseem Bano sang for him.

B.S.Hoogan died in Ferozpore in September 1938, at the age of 37 only.

Today’s song is a duet by Prem Adib and Naseem Banu. Incidentally, they were the cutest and most beautiful couple on screen in those days. Prem Adib was a Kashmiri Bramhin and Naseem had earned a title “Pari Chehra” (face of a Fairy) and truly so. However, both were singers by force. They were not singers but made to sing. Actually, that time Hero and Heroines had to sing their own songs ( exception- Jairaj. That was because everyone, including the MD and directors dreaded his terrible singing. He was probably the only Hero from the 30s and 40s, who never ever sang own songs !).

Prem Adib sang 26 songs in 9 films, from Industrial India-38 to Police-44. None of his songs became popular. Thank God, he was not asked to sing a song in the role of Shri Ram. Probably Prakash pictures were well aware that making him sing in Bharat Milap-42 or Ram Rajya-43 would surely kill the film ! Naseem was more dangerous than him in this matter. She actually sang 39 songs in 13 films – from Vaasanti-38 to Mulaqat-47. Luckily for her, one song – just only one song – from film Pukar-39 ( zindgi ka saaz bhi kya saaz hai, baj raha hai aur be aawaaz hai), sung by her had become popular in those days. However, for this song, in my opinion, the MD- Meer Saheb should get the credit for its tune.

The famous composer Naushad is on record for saying that he always rued that as a MD, he had to make non-singers to sing his songs…till full time playback singers like Rafi and Lata became available.

Anyway, today’s song- the duet- is reasonably good in tune and rendition. With this song, film Khan Bahadur-37 makes its Debut on this Blog.


Song- Pyaari pyaari aaj ulfat ki duniya nazar aave (Khan Bahadur)(1937) Singers- Prem Adib,Naseem Bano, MD- B S Hoogan
Both

Lyrics

pyaari pyaari aaj ulfat ki duniya nazar aave
man kare kaisa suhaave
pyaari pyaari aaj ulfat ki duniya nazar aave
man kare kaisa suhaave

Prem pawan se jiya lahraave
prem pawan se jiya lahraave
sudh budh man se sab bisraawe
sudh budh man se sab bisraawe

pyaari pyaari aaj ulfat ki duniya nazar aave
man kare kaisa suhaave

?man ??
har waqt se ban saj kar kaisa bhaawe
har baat se
har baat se
ban saj kar kaisa bhaawe

jaane ulfat phool khilaawe
jaane ulfat phool khilaawe
bhanwra khush khush geet sunaawe
bhanwra khush khush geet sunaawe

pyaari pyaari aaj ulfat ki duniya nazar aave
man kare kaisa suhaave
pyaari pyaari aaj ulfat ki duniya nazar aave
man kare kaisa suhaave
pyaari pyaari aaj ulfat ki duniya nazar aave
man kare kaisa suhaave

mast banaawe
jiyara lubhaave
ban ban phool na barsaawe
mast banaawe
jiyara lubhaave
ban ban phool na barsaawe
pyaar ki batiyaan
sab din ratiyaan
kaliyan ko apnaawe
pyaar ki batiyaan
sab din ratiyaan
kaliyan ko apnaawe

ae ae
preet ke ye sab khel hain nyaare
preet ke ye sab khel hain nyaare
nain samaaye
man ko lubhaaye
preet ki duniya basaaye
aa aa aa

nain samaawe
man ko lubhaawe
preet ki duniya basaaye
pyaari pyaari
aaj ulfat ki nazar aawe
man kare kaisa suhaawe
pyaari pyaari aa aa


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 :

4119 Post No. : 15272 Movie Count :

4199

Songs Repeated in Hindi Films – 12
– – – – – – – – – – – – – – – – – –

What we have today is a repeat song of a very familiar and a very wonderful hit of its time, and yes, an all time favorite that seems to carry a timeless appeal for people in love. And as is shown on screen, people in love – of all ages. This reuse has some very interesting circumstances, mostly well evident in the picturization itself.

The original song is from the hit film ‘Khel Khel Mein’ from 1975. The lead pair in that film is Rishi Kapoor and Neetu Singh, who were famously in love off the celluloid also. They were referred to as the ‘Love Birds’ of the Hindi cinema. Their affair culminated in their tying the proverbial matrimonial knot in 1980. ‘Khel Khel Mein’ was possibly their second film together, having worked together earlier for the first time together, in ‘Zehreela Insaan’ in 1974. The original song is performed on screen by this pair, playing roles of college students in love, and in search of fun and adventure through petty pranks. On screen, the scenario is that both are drunk, and have got it into their minds to announce their love for each other to the world through this song. The original song is written by Gulshan Baawra and the music is by RD Burman.

The repeat song is from the 2005 film – ‘Pyaar Mein Twist’. The lead roles in this film are played by Rishi Kapoor and Dimple Kapadia. Seeing this pair on screen brought back memories of many a story, all the way back from three decades ago.

Rewind back to 1973. Rishi and Dimple make their individual debuts as lead players in ‘Bobby’, a teen romance that straddles two diverse strata of the society as well as religious affiliations. The film was the big hit of 1973, that revived the fortunes of RK banner after the box office debacle of ‘Mera Naam Joker’ (1970). The release of this film was preceded, and accompanied by a ton of controversies that had the pulp press working overtime for months on end. An uncanny facial resemblance (at that point in time) between Dimple and Nargis of ‘Barsaat’ (1949), created a havoc laden rumor tornado – that Dimple is actually Raj Kapoor’s daughter from his alleged affair with Nargis when the two were a popular and fantastic pair on screen, and off it, in late 1940s to mid 1950s. Of course the rumor was really preposterous; given the dates and timelines of years. But the smut press was really having a great time. Then another storm of rumor was thrown into this mix – that of an off screen affair between Rishi and Dimple. This was even more flabbergasting – as evidenced by the fact that Rishi – fondly called Chintu Baba, would soon be entangled with Neetu Singh, in a relationship that has lasted a life time. The rumor simply refused to die for weeks on end, despite strong denial statements by all parties concerned.

And then, even before the film ‘Bobby’ was formally released, there came another thunderous event that really complicated the already horrendous mess. Totally out of the blue, the marriage of Rajesh Khanna and Dimple Kapadia was announced. Rajesh Khanna was riding a great popularity wave as the superstar of the decade. The decision raised many an eyebrow, all the way to the sky, given that Rajesh Khanna was already in an almost live-in relationship with the small time actress Anju Mahendru. Couple that with the immediate announcement of Dimple’s retirement from the film industry. Goodness, the amount of dirty gossip raised by all these eventualities, was really getting out of hand. To a right thinking person, all the gossip was incredulous and unbelievable, at that time. It would serve no purpose to regurgitate it. And then, in some months’ time, as the controversies appeared to have lived out their usefulness, the box office success of ‘Bobby’ created another gossip storm – that all the controversies and their public discourse associated with Dimple – all the rumor rot was just a marketing ploy to create a box office success for ‘Bobby’. It took almost a year for the storm to die down.

Fast forward now to 1982. The long brewing trouble in the Rajesh-Dimple marriage came to a head, with Dimple leaving the matrimonial home with her two daughters, never to return again. After a cooling period of a year or so, the news emerged about the much awaited return of Dimple to the films. One of the first films that she signed up for was ‘Saagar’ (1985), opposite to Rishi Kapoor once again. The film was delayed by almost a year – in normal course it would have hit the theatres in 1984. Other films starring Dimple got released earlier.

Over the years, this pair has appeared on screen together with an infrequent regularity – ‘Allah Rakha’ in 1986, then on to ‘Ajooba’ and ‘Ranbhoomi’ in 1991. Then in 2005, after another gap of 14 years, came ‘Pyaar Mein Twist’, the film under discussion today. The two actors have appeared together in two more films since then – ‘Luck By Chance’ in 2009 and then ‘Patiala House’ in 2011.

‘Pyaar Mein Twist’ is a romantic comedy underlining a serious subject of mature age romance between two single parents, Yash (role played by Rishi Kapoor) and Sheetal (role played by Dimple Kapadia), both having a flourishing household each of them is responsible for. And yet, Cupid does not spare them from romantic entanglement, leading to a major social upset in the two families. However, with the support of a benevolent aunt (Toshi Auntie – role played by Farida Jalaal) and a supporting future son-in-law (Sanju – role played by Sameer Dattani), all ends well for all parties concerned. The ending sequence shows Yash performing the kanyadaan ceremony at the wedding of Sheetal’s daughter, topped off with a happy smiling family group photo shoot.

The reused song is actually not the real original. It has been re-recorded in different voices for the purpose of this film. It is a duet – but now it is a male-male duet. The original is sung by Kishore Kumar and Asha Bhosle. The repeat version is sung by Babul Supriyo and Vinod Rathod. On screen, it is performed by Yash and his childhood friend Khanna (role played by Satish Shah). The scene is a marriage anniversary party of Khanna. Yash, after a few pegs down his belt, decides to make a public proclamation of his love for Sheetal – much to her visible surprise and suppressed delight.

One query for the more knowledgeable readers – please help to identify the lady in the red saaree standing next to Dimple in this song. She plays the role of Satish Shah’s wife in this film. I have seen her in a couple of other contemporaneous films, but cannot recall her name.

The song starts off with the opening lines of another iconic hit of Rishi Kapoor – the song “Meri Umar Ke Naujawaanon. . . – To Gaao Om Shanti Om”, in his own voice, and then it leads into the lines “Khullam Khulla. . .”. Of the original three stanza song, only two stanzas have been used in repeat version.

So check out this modern day avataar of an iconic song from the 1970s, which is performed on screen by the same actor – thirty years apart. This must be a record of sorts, after considering WM Khan’s performance of the primeval “De De Khuda Ke Naam Pe. . .” in the three versions of the film ‘Alam Ara’ – 1931, 1956 and 1973.

Listen and enjoy.

 

Song – Khullam Khulla Pyaar Karenge Hum Dono  (Pyaar Mein Twist) (2005) Singers – Babul Supriyo, Vinod Rathod, Lyrics – Gulshan Bawra, MD – RD Burman
Rishi Kapoor
Unidentified Male Voice
Babul Supriyo + Vinod Rathod
Chorus

Lyrics

hey..ey..ey
tum ne
kabhi kisi se
pyaar kiya

kiya. . .

kabhi kisi ko dil diya

diya. . .

maine bhi diya. . .
hey..ey..ey

jamaa de

hey y’all party people
listen now
. . .  y’all listen now
. . .  . . .  y’all listen now
. . .  . . .  . . .  y’all listen now
the same old love story
back again

yea
come on
now

say it

come on now
you party people

khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono
arrey khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono
pyaar hum karte hai chori nahi
mil gaye dil jora jori nahi
hum wo karenge jo dil kahe
hum ko zamaane se kya

that’s right

arrey khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono

hey..ey..ey
same old love story
like ya sing it
come on now
feel it

hey
dekh wo
ishq chhup chhup ke farma rahe hain
arrey hai
kya mazaa
dil hi dil me to ghabra rahe hain
hey ey
dekh wo 
ishq chhup chhup ke farma rahe hai
arrey hai
kya mazaa
dil hi dil me to ghabra rahe hain
lagta hai dono padosi hain wo
rishta hi aisa hai jaane bhi do
hum wo karenge dil jo kahe
hum ko zamaane se kya

jamaa de

khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono

oye kitta

one one one one
one more time

hey
bolo na
pyaar ka hai ye dushman zamaana
arrey sun
haan bataa
sab ko milta nahin ye khazaana
hey
bolo na
pyaar ka hai ye dushman zamaana
ae hey hey sun
haan bataa
sabko milta nahi ye khazaana
arrey jinko aji ye khazaana miley
dekh dekh unko ye duniya jaley
hum wo karenge dil jo kahe
hum ko zamaane se kya

khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono

watch it watch it now

pyaar hum karte hai chori nahin
mil gaye dil jora jori nahin
hum wo karenge jo dil kahe
hum ko zamaane se kya

jamaa de

khullam khulla pyaar karenge hum dono

watch it watch it now

is duniya se nahin darenge hum dono

oye kitta

khullam khulla pyaar karenge hum dono

that’s right

is duniya se nahin darenge hum dono

jamaa de

khullam khulla pyaar karenge hum dono. . .


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 :

4118 Post No. : 15271 Movie Count :

4198

Today’s song is from film Kasauti-41. This was a film made by National Studios, after Sagar Movietone withdrew from it. The film was directed by a protege of Sagar- Ramchandra Thakur. The music was by Ashok Ghosh and the songs were written by Kanhaiyalal Chaturvedi (brother of actor Sankatha Prasad-a regular fixture of Sagar. Later on Kanhaiyalal himself became a famous character actor and a comic villain.) and Neelkanth Tiwari. The cast of the film was, Miss Rose, Prahlad, Veena, Sunalini Devi, Satish, Marutirao Pehelwan, Baby Meena, Ansari and many others.

In the early phase of the cinema, there were very few artistes hailing from respected families or who were educated, but as the time went by, slowly and steadily, educated people also started joining films.Most Marathi actresses from the beginning, like Durga Khote, Leela Chitnis,Nalini Tarkhad,Shanta Apte, Snehprabha Pradhan, Vanmala were graduates. Among men, Mohan Bhavnani, Nanubhai vakil, Surendra, Motilal, Dev Anand, Ashok kumar etc were graduates. Surendra was B.A;LL.B and in initial his degrees were flaunted prominently in film credits and advertisements. By the turn of the 30’s decade, majority of artistes were educated.

Ramchandra Thakur – the director of this film was one such scholarly person who was a Postgraduate and a prolific writer on films in English, Hindi and Gujarati, before joining films. Ramchandra Thakur was born in Suver of Sabarkantha district in Gujarat, on 17-12-1908. He moved to Bombay when he was just 9 year old. He pursued his higher education in Bombay and emerged as a scholar of Pali language. When he gave his M.A. final exam, he wanted to become a teacher in a college, if he got First class. If not, he would join film industry as a director. During his college years he had written many articles on films. He had translated Sound Recordist Minu Katrak’s English works in Hindi and Gujarati.

When he did not get First class, he joined Sagar Movietone, in its Marketing department. After few months, Baburao Patel took over from him and he became an assistant director to Chimanlal Luhar for film Dynamite-38. Next, along with Virendra Desai ( Nalini Jaywant’s first husband), he became a co-director of film The Gramophone Singer-38. His first film, as an independent Director was the Debut film of Snehprabha Pradhan – Civil marriage-40.

Then he joined Ranjit Movietone. He directed mythological, Social and Comedy films. Art Director Kanu Desai’s film Geet Govind was directed by him. Thakur directed 20 films. He also wrote script for the popular film Baiju Bawra-52. He produced 5 films. He directed 2 Gujarati films and wrote stories and screenplays for several Gujarati films.

He was an accomplished writer. He wrote 4 novels – Amrapali, Budhidhan Birbal, Prem Diwani and Urmila. He wrote several satirical commentaries too. He wrote a detailed article on Sagar Movietone and Chimanlal Desai in Gujarati magazine ” Jee”. His last Hindi film as a director was Nawab Sirajuddaula-67, which he had produced also. He died on 31-10-1992.

In the early era of silent films, many Anglo-Indian, European and Jew girls joined the films. They were free in behaviour and not averse to intimate scenes or kissing on the screen, hence film makers also preferred them. However they did not/could not speak Hindi or Urdu, but for silent films, this was not a hindrance. For Talkie films, this became a problem for these girls and their number went down considerably.

Among these actresses,there were mostly Baghdadi Jewish women and the rest were from the Bene Israel community, not the Cochini community. That community was small, did not speak Hindi or Urdu, and lived far from the film making cities of Bombay and Calcutta. A single Baghdadi family contributed greatly to Indian films, by giving us the actress-producer Pramila (Esther Victoria Abraham), her sister the actress Romila (Sophie Abraham), and her cousin the starlet Rose (Rose Musleah). Pramila’s son Haider Ali is an actor, who is best known as the co-writer of the blockbuster film Jodhaa Akbar.

Miss Rose Musleah was the heroine of film Kasauti-41 Sometime back our Sadanand kamath ji has provided the life story of Rose on this Blog, so I am not repeating it. Instead of that, let us know something about a ” Cloak and Dagger” personality from Hindi films. His name is N A Ansari.

Nisar Ahmed Ansari was the son of the late Dr. Ameer Ahmed Ansari. He was born on 29-8-1917 at Jhansi. His father had been serving in Military for 11 years and he expired in 1938. He was well known in Jhansi as he practiced there for 40 years.

Ansari matriculated from Allahabad University in 1933. In 1935, he passed his Inter from Aligadh. By 1939 he was a graduate of the Bombay University. He was keen to join films and in this, Mehboob khan helped him by recommending him for film Aasra-40, made by National Studios. It was directed by Mehboob’s assistant Chimanlal Gandhi.

By watching him, no one can ever visualise that a suave and respectable man like him can be a scheming villain . Competition for him was tough,initially when he joined the film industry ,as there were many character actors already there ,who were specialist of negative roles . But young and energetic Nisar Ahmad Ansari had faith in his potentials .

He believed that it is not necessary that villain should have thick eye brows with roving eyes and have a permanent frown on his face. A person having negative traits may have a smiling face also ,to conceal his evil designs . Therefore in most of his movies , he was a well dressed person ,always beaming and had friendly smile on his face . In his films , he use to be boss of a criminal syndicate and have an army of foot soldiers who carried out dirty work on his behalf . To keep a distance between master and servant , instead of calling them by their name he use to call his cronies by their allotted numbers like Number Ten Or Number Five .

With a hit movie ‘Mangu’, he became a director and later directed many successful movies like Black Cat ,Tower House ,Mr Lamboo ,Zara Bach Ke, Wanted etc for various producers and after he established his own banner Bundel Khand Films ,he made many memorable movies . Although, he had to look after his own company and permanent staff ,but he did not disappoint other film makers ,who wanted to have him in their movies in the role of villain. It is a fact, that it was his Black Cat which helped G P Sippy to be a part of the league of big producer ,but it is also true ,Mr Sippy forgot him later and never acknowledged Mr Ansari’s contribution .

Mr N A Ansari ,was essentially a dedicated film maker and had no false illusions about his own capabilities . His movies were never lavishly made and had average production value ,but it did not deter his fans and sizable majority of film viewers ,who adored him and his pictures to patronise his movies . Those who love the movies of golden age ,fondly remember his movies which used to have him in the role of villain ,beside good music, suspense, comedy, ,dance with a plausible story and a strong message for society ,that “Crime Never Pays”.

With producer/actor Sheikh Mukhtar, Nisar Ahmad Ansari had earlier worked as an actor in Dada, Dara & Ustad Pedro. Sheikh Mukhtar, aware of Ansari’s capability ,in 1954,offered him Mangu, to direct. The big success of Mangu was a game changer for Ansari & O P Nayyar. They both were immensely benefited with the favourable outcome of the movie & it’s music. Mangu had predictable Jodi of Sheikh Mukhtar & Mukri ,with Nigar Sultana ,Sheila Ramani & Ansari himself, as a suave villain. Mangu had breath taking, thrilling climax, involving the speeding train. Some real shots, few stock shots & rest studio shoot with back projections (Aadhi Haqeeqat ,Aadha Fasaana ),made the climax awe-inspiring. Unfortunately, the movie could not be preserved & the the present generation has been deprived of witnessing Ansari’s first effort as director. Mangu is one of the most searched movie at youtube.

He again directed Mr Lambu, a big success, for Sheikh Mukhtar. This time with the classic beauty Suraiyya with music by O P Nayyar, but similar tragedy happened, again. No print of the movie is available. In almost all his films N.A.Ansari played the role of an urbane & sophisticated Don. He always appeared, well dressed in impeccably tailored suits, fedora, trade mark pipe between his teeth & walking stick, in his hand.

Besides Sheikh Mukhtar, he directed movies, like Black Cat, Tower House, Jara Bach Ke, Wanted for other producers and playing the main villain. He had no qualms working in movies directed by other film makers & in this category, movies like Private Secretary, Fareb ,Do Thug ,Khota Paisa, Gunda,Ustad 420,Gunahon Ke Raaste can be named. Under his own banner Bundel khand Films he made Wahan Ke Log,Mulzim,Zindagi Aur Maut,Mr Murder, Jurm Aur Sazaa and Noor E Ilahi. The last one being his last production in 1976 & then he decided to hang his boots.It was a big journey for Ansari,who was discovered by Mehboob & given a role in Aasra ,released in 1941.

He could not say “No” to film maker Sultan Ahmad ,when he insisted him to appear in Dharam Kanta (1982 ) & later in Jai Vikranta. N.A.Ansari closed his eyes for ever on 11 Jan 1993, in Canada, thousands of kilometres away from his beloved city Jhansi ,much before the release of his last movie Jai Vikranta in 1995.

Film Kasauti-41 had 13 songs – effectively only 12, as one song was deleted from the film later, for reason not known to us. The Music Director Ashok Ghosh is the ” Mystery Man” of Hindi cinema. That is because, there is absolutely no information about his life story, available anywhere on internet or in any of the several music related books I have with me. All that we know about him is that he assisted MD Pransukh Nayak, while serving in Sagar and that he started independentl composing with film Manmohan-36, in which Anil Biswas was his assistant. The very next year Anil Biswas took over from him as MD for film Jagirdar-37 and spent a long association with Sagar and National studios.

Ashok Ghosh did only 12 films as an MD – Manmohan-36, Sanskar-40, Radhika-41, Nirdosh-41, Kasauti-41, Garibi-42, Sharafat-43, Inkaar-43, Miss Devi-44, Angoothi-44, Aarti-45 and last film Gunjan-48. After this , there is a total black out of information on Ashok Ghosh. Strange !

According to the November 41 issue of Film India magazine, film Kasauti-41 was released on 11-10-41 at Pathe Cinema in Bombay. In its review of the film, Baburao Patel had hardly anything good about it. He only appreciated the acting of Sunalini Devi, as the mother of the hero. He says that the film was a tear jerker story. Raju (Prahlad) tries to prevent the suicide of a woman, who anyway dies. This is witnessed by the victim’s sister Meena (Veena), who is a vamp. She starts blackmailing him . She, calling herself now as Manjula announces her love for Raju. Raju is slated to marry Madhuri (Miss Rose). After some time, she tries to force Raju for her marriage with him. Raju’s mother comes to know all this. As a true mother she goes to Manjula’s house, gives her poison and kills her. Thus a dutiful mother saves the life of her son.

Today’s song is sung by Marutirao pehelwan. A Pehelwan and a song ? Matter for laughing or serious thinking ?
Marutirao Pehelwan also acted in this movie. He was originally from Kolhapur. In the early era of talkie films, many wrestlers joined film companies. They worked mostly in action films. Some such actors were Baburao Pehelwan (he was the hero of Master Bhagwan’s stunt films; later on worked as a stuntman with fight master Azim Bhai), Vasantrao Pehelwan (he was the one who brought Indurani from Poona to Bombay; was a popular villain in stunt films), Nandram Pehelwan (very popular in silent films but fell on bad days in the talkie era), Sadiq Pehelwan, Maane Pehelwan, Amir Khan Pehelwan etc

Marutirao Pehelwan was different. He was handsome, tall, well built, could act and sing well. He was selected for the hero’s role in first Gujarati talkie film ‘Narsi Mehata’ (1932), made by Sagar Movietone. He acted as hero and other roles in about 40 films and sang 56 songs in 17 films. His first Hindi film was ‘Lanka Dahan’ (1933) and last his film was ‘Apna Ghar’ (1942)

He married his co-star of many films – Tara (sister of Sitara Devi and Alaknanda). They left films and settled in Dhule, Maharashtra. Marutirao started a dairy business there. Famous dancer Gopi Krishna was their son. After Marutirao’s demise Tara had a terrible time. She stayed in Bombay slums and did any extra role in films.

From 1946, there was another comedian actor named Maruti (Marutirao Parab), active in Hindi films. Initially, he too was billed as Marutirao, creating confusion. He was the father of comedienne Guddi Maruti.

So, here is the philosophical song.

( I thank Biren kothari ji for his book ” Sagar movietone” and shri M N Sardana ji for some information about N A Ansari, used in this post)

With this song, “Kasauti”(1941) makes its debut in the blog.


Song-Kho kar bhi sab kuchh izzat na khona (Kasauti)(1941) Singer-Maruti rao Pehelwan, Lyrics- Kanhaiyalal Chaturvedi, MD-Ashok Ghosh

Lyrics

Kho kar bhi sab kuchh a a
izzat na khona aa
zuroori hai ae ae ae ae
jeewan mein ae ae
izzat ka hona
Kho kar bhi sab kuchh
izzat na khona
Kho kar bhi sab kuchh
izzat na khona
zuroori hai
jeewan mein
izzat ka hona
zuroori hai
jeewan mein
izzat ka hona
Kho kar bhi sab kuchh
izzat na khona
Kho kar bhi sab kuchh
izzat na khona

pareeksha ho jis dam
hansna na rona
pareeksha ho jis dam m m
aa aa aa aa
aa aa aa aa
aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
pareeksha ho jis dam
hansna na rona
kasauti pe utre jo sachcha
wo sona
kasauti pe utre jo sachcha
wo sona
kasauti pe utre jo sachcha
wo sona
kasauti pe utre jo sachcha
wo sona
Kho kar bhi sab kuchh
izzat na khona
Kho kar bhi sab kuchh
izzat na khona 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 :

4117 Post No. : 15270 Movie Count :

4197

Hullo Atuldom

Let me wish a very Happy Deepawali to one and all. Let the festival light up our lives with lots of positivity love and peace. Let the new Samvat bring in prosperity all around. In all this let us try and make the life of everyone around us happy too. Dhanteras, Naraka Chaturdashi and Laxmi Pooja starts the festive week which goes on to Bhai Dooj and ends with Chat Pooja. May there be no issues of weight gain for anyone 😉

Now there are other things that group “Atulites” is celebrating today. One of us is having his birthday. Also, birthday wishes to the daughter of another atulite. God bless them with lots of health and happiness.

A few months back we had a party song for Atulji’s birthday which asked “where’s the party tonight?”; don’t remember the reply. But here is the next party and it is a song on Bhai with Kareena Kapoor Khan in tow and the whole “mohalla” joining in the celebration. As it is the whole country is in festival mood and this song fits in for the occasion.

A confession – I knew the existence of this song which was written by Shabbir Ahmed and composed by Pritam Chakraborty. But I hadn’t heard it completely. Neither in the movie nor on any music channel. As I sat to write it for the post and heard it, I knew this was a song which our birthday boy will love as it underlines his quality of being a great host. Specially the line “aao jahaaz mein ya bharke truck se”; he will definitely say “aaj ki party meri taraf se”. Another thing which I realized is that this is the end credits- song of the 2015 Kareena Kapoor- Salman Khan blockbuster “Bajrangi Bhaijaan” which was directed by Kabir Khan. The song features the entire cast of the movie which includes Nawazuddin Siddique, Sharat Saxena, the child – who played the ‘mute central character’- Harshaali Malhotra, and all the actors who played parents to Kareena and Harshaali. Much like the whole of Atuldom wishing our Atulite and Daughter of the other Atulite on their birthdays. Gang work 😉

I am sure the regular followers of this blog have guessed who is the Atulite I am wishing. He was one of the first follower and farmaish(er) of the blog [sorry for the hinglish word and wrong grammar.] He is a doston ka dost. An occasional NRA – non-resident Atulite. A very gracious host and then he also is a fan of HFM thanks to having spent a small part of his life in that sphere of the country where Hindi films were the only source of entertainment. A Rafi fan who is addicted to Kishore Kumar’s voice too. Fan of Rajesh Khanna who learnt to love Amitabh too. Over the years his love for Sahir Ludhianvi’s work has grown that by no means, means that he doesn’t appreciate other lyricists. He loves to occasionally slip into the Punjabi way of speaking and loves to hear Urdu in songs and poetry. I am speaking of Rajaji. Wishing our dear Rajaji a very Happy Birthday.

I don’t know much about the daughter who has her birthday today. Don’t even know her name but all the best to her too. I hope, she too, will like today’s song. May she have lots of dreams and may they come true.

Happy Deepawali once again to all!!!


Song-Ae party o party ae party party party(Bajrangi Bhaijaan)(2015) Singer-Mika Singh, Lyrics-Shabbir Ahmad, MD-Preetam Chakraborty
Chorus

Lyrics

ae party, o party,
aye party party party
aye party, o party,
aye party party party
papapappapapa
papapappapapa
papapappapapa
papapappapapa
papapappapapa

hai celebration
naacho dhana-dhan
music bajaao keh do yeh sabse
hai celebration naacho dhana-dhan
music bajaao keh do yeh sabse
aaj ki party meri taraf se
aaj ki party meri taraf se
chaand ko bolo utre falak se
aaj ki party meri taraf se
chaand ko bolo utre falak se
aaj ki party meri taraf se
um dum dukur dukur ahaa
dum dum dukur dukur oho
dum dum dukur dukur
dhing pata pat dhingri popo
dum dum dukur dukur
dum dum dukur dukur
dum dum dukur dukur
dhing pata pat dhingri popo

machi hai chull
tod ke rule
kare wo step ki gire log daayein baayein
neend bhi gull,
jashn hai full
naache jamke ke poora floor hill jaaye
baaz naa aaye,
shor machaaye
party jo na kare usko tata bye
machi hai chull
tod ke rule
kare wo step ki gire log daayein baayein
neend bhi gull
jashn hai full
naache jamke ke poora floor hill jaaye
baaz naa aaye
shor machaaye
party jo na kare usko tata bye
shaadi na function
aajao bantan
aao jahaaz mein ya bharke truck se
aaj ki party meri taraf se
aaj ki party meri taraf se
chaand ko bolo utre falak se

aaj ki party meri taraf se
dum dum dukur dukur ahaa
dum dum dukur dukur oho
dum dum dukur dukur
dhing pata pat dhingri popo
dum dum dukur dukur
dum dum dukur dukur
dum dum dukur dukur
dhing pata pat dhingri popo


This article is written by Raja, 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 : 4116 Post No. : 15269

Here is that date again.

The 25th of October is a date that many Hindi film lovers, and lovers of shaayari, remember with some pain. For it was on the 25th of October 1980 that one of the tallest figures of the industry, and certainly of the world of poetry, bade farewell to us.

Sahir Ludhianvi.

I’m usually careful with my choice of adjectives, especially when using them in the superlative. But in the case of Sahir, I don’t have the slightest hesitation in saying “one of the tallest”. For he comfortably satisfies this criterion.

There have been more famous figures in the industry.

And there have certainly been more popular and liked figures in the industry. If anything, Sahir, with his uncompromising nature, and and ego and mood to match, wasn’t the easiest person to get along with.

And yet, when it comes to stature, that too in his particular field, Sahir was truly a giant.
Without belittling any of the others who also produced outstanding work in the form of lyrics, Sahir always seemed to be in a league of his own.

They say that an actor is not real – after all, it is his job to act. He is only putting on a show. Which is one reason Kishore Kumar preferred singing to acting. He felt a singer can put his heart and soul into a song, whereas an actor’s job is to pretend.

A lyricist goes a step further than even a singer.

While a singer can put his heart and soul into a song, he does not create it. He only renders it.

The text comes from the lyricist.

And therefore the lyricist has the best chance of putting his heart and soul into his creation. He talks to his audience through his lines. He can use his poetry as an outlet for his thoughts, his feelings, his joys and his frustrations.

And I feel no one did this better than Sahir.

With Sahir, what you saw was what you got.

Sahir was pretty much an open book in terms of his preferences, his likes and dislikes. Nothing duplicitous or fake about him. He had strong views on certain topics, and he had absolutely no qualms about expressing them.

He even got into trouble early in his life with the Government of Pakistan for this reason – and fled Lahore (and thus, Pakistan) to come to India in 1949.

Imagine if this had not happened. Imagine what might have been lost to us.

Whatever issues Indians might have with the Government of Pakistan, I thank the Pakistan Government, on behalf of all Indians, for creating an “enabling” environment for Sahir to move to India. 🙂

And Sahir never looked back.

From “thandi hawayen” (Naujawan-1951), the song that got him noticed, to “pal do pal ka saath hamaara” (The Burning Train-1980), one of the last films for which he wrote lyrics, Sahir was one of the most highly regarded lyricists of his time.

I remember saying this before. When Sahir passed away, I only knew his name as a lyricist. In those days, still a teenager, I had limited knowledge of song details. I’d know the song, and the singer. Yes, some chance I’d know the composer, but unless I’d listened carefully to the lyricist’s name while listening to it on radio, not much chance I’d know the lyricist. In those days, to be honest, I enjoyed songs without knowing whether it was a Majrooh or Sahir or Shailendra or Hasrat Jaipuri song.

With this limited knowledge, I read the obituary on Sahir in the Illustrated Weekly of India in 1980. It was a fairly long obituary, and naturally many of his songs were mentioned.

That was when it hit me.

Oh, “aage bhi jaane na tu” was Sahir’s?

And “ye raat ye chaandni phir kahaan”?

Oh, and “udey jab jab zulfen teri” also?

And “abhi na jao chhod kar”?

And “zindagi bhar nahin bhoolegi wo barsaat ki raat?”

And “tu Hindu banega na Musalmaan banega”?

Oh, and “jeevan ke safar mein raahi” also?

And “tadbeer se bigdi hui taqdeer bana le”?

There were many more – and each one was a song I knew, a classic. Yet, such was my pathetic knowledge at the time of who the lyricist was, that I never realized these were all Sahir.

At that time, if you’d asked me to mention a few Sahir songs, I’d have come up with Pyaasa and Kabhie Kabhie songs. These I always knew as Sahir songs. But I am ashamed now to think of how ignorant I otherwise was.

It was only at that moment I realized what a legend Sahir had been. And what the world had lost.

After that, I paid a lot more attention to the lyricist, while listening to songs.

And often it was Sahir.

Much later in life, I read that it was only on Sahir’s insistence that All India Radio itself started mentioning the name of the lyricist also, in its radio programmes.

It was not only the name of the lyricist, but also the lyrics themselves, that I started paying attention to.

And that is when I realized that Sahir’s lyrics were different.

They were deep, they conveyed an emotion that came from the heart – and often a strong emotion at that. They were not the “baith ja, baith gayi, khadi ho ja, khadi ho gayi” types.

If today lyrics are a very big, in fact the biggest, part of my love for a song, it is entirely due to Sahir. I listen to lyrics carefully today – no appreciation of a song is complete for me, without appreciating the lyrics.

Whether Sahir was writing romantic poetry (“abhi na jao chhod kar”) or mocking the government for its failures (“cheen-o-Arab hamaara”), whether he was lamenting the state of society (“jinhe naaz hai Hind par wo kahaan hain”), or trying to uplift those seemingly with no hope (“wo subah kabhi to aayegi”), whether he was exhorting the oppressed to fight for their rights (“ponchh kar ashq” , “na munh chhupa ke jiyo”), or showing a mirror to society about its treatment of women (“aurat ne janam diya mardon ko”), whether he was trying to promote communal harmony (“tu Hindu banega na Musalmaan banega”), or talking about the futility of war (“khuda-e-bartar”), every single time Sahir’s lyrics tugged at your heart strings.

Not just because the poetry was beautiful and the lyrics powerful (which they absolutely were), but because you could feel that every word was written with heart and soul. No wonder it went straight from Sahir’s heart to our hearts.

You could feel Sahir’s anguish and despair when he says “ye duniya agar mil bhi jaaye to kya hai”. Or his cynicism when he says “aasmaan pe hai khuda aur zameen pe hum, aajkal wo is taraf dekhta hai kam”.

At the same time, you could feel the romance in the air, with “tum agar saath dene ka waada karo” and “parbaton ke pedon par”. Just listen to poetry like “thehre thehre paani mein, geet sarsaraate hain….bheege bheege jhonkon mein, khushbuon ka deraa hai”. Waah!
And “abhi na jao chhod kar”, one of my alltime favourites, and surely one of the most perfect songs ever in every respect.

Sahir’s poetry for the hurt felt by the jilted lover was no less powerful. “Jaane wo kaise log the jinke pyaar ko pyaar milaa”. Or lines like “laut rahi hain meri sadaayen, deewaaron se sar takra ke….haath pakad kar chalne waale, ho gaye rukhsat haath chhuda ke (sad version of in hawaon mein)”. And of course, “chalo ek baar phir se ajnabi ban jaayen hum dono” with lines like “wo afsaana jisey anjaam tak laana na ho mumkin, usey ek khoobsoorat mod dekar chhodna achha”.

Then you have the Barsaat Ki Raat qawwalis. Roshan’s masterpiece “na to karwaan ki talaash hai” merging into “ye ishq ishq hai ishq ishq” is one of the greatest ever compositions in Hindi cinema, with Sahir’s contribution in lyrics being no less significant. With lines like “jo dawaa ke naam pe zeher do, us chaaraagar ki talaash hai”.

I can go on and on. Dharamputra, Taj Mahal, Aaj Aur Kal, Mujhe Jeene Do, Chitralekha, Kaajal, Waqt, Neel Kamal, Humraaz, Bahu Begum, Aadmi Aur Insaan. Each one with memorable lyrics. One of my favourites is “poochhe koi ki dard-e-wafaa kaun de gaya, raaton ko jaagne ki sazaa kaun de gaya…kehne se ho malaal, to hum kya jawaab dein….duniya kare sawaal, to hum kya jawaab dein”.

Although Sahir was less productive in the 70s, he still came up with poetry that reminded us of Sahir of yore. The 70s was a decade where poetry began steadily losing ground to more “chaalu” lyrics. Urdu also began losing ground in the process.

This was a development that Sahir could not prevent, but did leave him disillusioned. His “main pal do pal ka shaayar hoon” very correctly represents his then state of mind. He continued to write though, but mostly for the Chopra family’s films, for films like Karm, Trishul, Insaaf Ka Tarazu, Kaala Patthar and The Burning Train.

Since Sahir started as a poet, and moved into film song lyrics, the sense of poetry comes across strongly in his lyrics. Much like with Kaifi Azmi.

So much for Sahir’s poetry. No one can do justice to it in one article. I’ve barely scraped the surface.

But what really makes me put Sahir on a different pedestal altogether is not the QUALITY of his poetry, but the CONTENT of his poetry.

Clearly Sahir was a rebel, a non-conformist.

And his poetry often reflected this, since he wrote straight from the heart.

But importantly, he never shied away from expressing his views. He never tried to be politically correct. He showed society a mirror, whether society liked it or not. For example, his line “kaho ji tum kya kya khareedoge, yahaan to har cheez bikti hai” is a much underrated, but powerful, line, in my opinion.

Yes, he railed and ranted – whether it made a difference or not. “Samaj ko badal daalo” he wrote.

Today, 39 years after his death, we are still languishing with most of the ills that existed in Sahir’s time, and which he spoke against.

It is a sad commentary of our times that many of his laments feel just as relevant today as they felt then. Yes, “aurat ne janam diya mardon ko, mardon ne usey bazaar diya” and “tu Hindu banega na Musalmaan banega, insaan ki aulad hai insaan banega” are just as relevant in 2019, as they were in 1958-59.

If Sahir were alive today, he’d probably be writing just as strongly today as he wrote then. The issues haven’t gone, sadly only Sahir has.

That’s a sobering thought.

Now, let’s move on to the song for today.

It’s from the 1969 film, Paisa Ya Pyaar.

As has now become customary :-), the lyrics for this song have been sent to me by Avinashji.

I remember seeing this film as a young boy, but I don’t remember the story now. It was a remake of a Tamil film Panama Paasama, starring Gemini Ganesan and Saroja Devi, which was a pretty big hit at the time. In fact, the name Panama Paasama, translates in Hindi to Paisa Ya Pyaar.

I remember the song “Ber lo, ber lo” was a lift from the very popular “yelantha pazham yelantha pazham” song of Panama Paasama. 🙂

But today’s song is different. It is a typical Sahir song – Insaan ne paise ke liye.

Here, Sahir’s lament is about how money destroys relationships. He talks about how people lose everything, even their own self-respect, for money. He concludes by saying that love is the biggest wealth there is.

The song is sung by Hemant Kumar, music composed by Ravi.

Please do listen.

I’d like to end by saying that Sahir was wrong in one respect.

He wrote

“kal koi mujh ko yaad kare
kyon koi mujhko yaad kare
masroof zamaana mere liye
kyon waqt apna barbaad kare”

Sahir saab, I can only say you grossly underestimated our love and respect for you.

jo aapse mila hai, wo itna hai anmol
roz sunte hain, aap hi ke hum bol
aap ko bhool jaayen, ye mumkin nahin
aap ki yaad na aaye, aisa koi din nahin

Thank you SO MUCH for what you’ve given us, Sahir saab.

And, very importantly, for just being you.

Video

Audio

Song-Insaanon ne paise ke liye aapas ka pyaar mita daala (Paisa Ya Pyaar)(1969) Singer-Hemant Kumar, Lyrics-Sahir Ludhainvi, MD-Ravi

Lyrics (based on audio link) (Provided by Avinash Scrapwala)

Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa
Hanste baste ghar phoonk diye
Dharti ko narak banaa daalaa

Mitti se nikaala sone ko
Sone se banaaye mahal magar
Mitti se nikaala sone ko
Sone se banaaye mahal magar
Jazbaat ke naazuk rishton ko
Mitti ke taley dafnaa daalaa
Insaanon ne
Paise ke liye
Aapas ka pyaar mitaa daalaa

Deen aur dharam ko haar diya
Neki ko badi par waar diyaa
Deen aur dharam ko haar diya
Neki ko badi par waar diyaa
Mandir Masjid aur Girjon ko
Bankon ki bhent chadhaa daalaa
Insaanon ne
Paise ke liye
Aapas ka pyaar mitaa daalaa

Daulat ki hawas mein logon ne
Kya kya na kiya is duniya mein
Kya kya na kiya is duniya mein
Chaahat izzat mehnat gairat
Sabkaa neelaam uthhaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa

Pyaar apne jagah khud daulat hai
Ye baat na samjhi insaan ne
Pyaar apne jagah khud daulat hai
Ye baat na samjhi ee insaan ne
Kudrat ke banaayi daulat ka
Sikkon mein mol lagaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa

————————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————–
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला
हँसते बसते घर फूँक दिए
धरती को नरक बना डाला

मिटटी से निकाला सोने को
सोने से बनाए महल मगर
मिटटी से निकाला सोने को
सोने से बनाए महल मगर
जज़्बात के नाज़ुक रिश्तों को
मिटटी के तले दफना डाला
इंसानों ने
पैसे के लिए
आपस का प्यार मिटा डाला

दीन और धरम को हार दिया
नेकी को बदी पर वार दिया
दीन और धरम को हार दिया
नेकी को बदी पर वार दिया
मंदिर मस्जिद और गिरिजों को
बैंकों की भेंट चढ़ा डाला
इंसानों ने
पैसे के लिए
आपस का प्यार मिटा डाला

दौलत की हवस में लोगों ने
क्या क्या न किया इस दुनिया में
क्या क्या न किया इस दुनिया में
चाहत इज्ज़त मेहनत गैरत
सबका नीलाम उठा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला

प्यार अपने जहाँ खुद दौलत है
ये बात न समझी इंसान ने
प्यार अपने जहाँ खुद दौलत है
ये बात न समझी ई इंसान ने
कुदरत के बनायी दौलत का
सिक्कों में मोल लगा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला


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 :

4115 Post No. : 15268 Movie Count :

4196

I came to know about actress Chhaaya Devi for the first time some time in 2011 when I found her name mentioned in Kidar Sharma’s autobiography, ‘The One And Lonely Kidar Sharma’ (2002) in the context of the shooting of the film ‘Vidyapati’ (1937). At that time, I thought her to be one of many female actors connected with New Theatres who had short acting career. For me, the only female actor of that time who mattered in Kolkata film industry was actor-singer Kanan Devi. What a wrong impression I had about Chhaya Devi when I came to know later that she had a long filmy career of over 5 decades – both in Bangla and Hindi films.

Being born in Bhagalpur and a part of her schooling done in Delhi, Chhaya Devi (1914-27/04/2001) was proficient in Hindi besides her mother tongue, Bengali. Sometime in early 1930s, her family shifted to Kolkata when she was put under the tutelage of K C Dey, the singer and music director. She was trained in Hindustani classical music and sang Khayal and Thumri on All India Radio. She was also trained in Kathak dance. It was on the recommendation of K C Dey that Chhaya Devi got her first bilingual film in Bengali and Hindi under the banner of New Theatres (NT), ‘Sonar Sansaar’/’Sunehra Sansaar’ (1936) which was directed by Devaki Bose.

Chhaya Devi’s next bilingual film for NT in Bengali and Hindi was ‘Vidyapati’ (1937) in which she did the role of Queen Laxmi, which brought her fame. Another NT film, ‘Abhinetri’/’Haar Jeet’ (1940) in which she acted did not find favour with the audience. Outside NT, she did ‘Chowranghee’ (1942) for Fazli Brothers.

After having worked in Kolkata in about 15 films, Chhaya Devi worked in Mumbai with her first film ‘Mera Gaon’ (1942) directed by Sarvottam Badami in which Jairaj was the hero. Probably, she came to Mumbai along with her mentor K C Dey who was the music director for the film. From her filmography, it appears that she had 2-year hiatus from the film industry (1943-45).

From the late 1950s onward, Chhaya Devi had already shifted to doing character roles in films. It is interesting to note that it is during this phase of her career that she became hyper active in doing Bengali films. For example, in the 1960s, she did around 40 films and in the 1970s, the figure was about 30. Her last film was ‘Tomar Rakte Amaar Sohag’ (1993). In all, she worked in about 120 films.

Some of the Hindi films in which Chhaya Devi worked were ‘Sunehra Sansaar’ (1936), ‘Vidyapati’ (1937), ‘Haar Jeet’ (1940), ‘Mera Gaon’ (1942),’Chowranghee’ (1942), ‘Shri Ramanujam’ (1943), ‘Uttara Abhimanyu’ (1946), ‘Ratnadeep’ (1951), ‘Mamta’ (1966), ‘Tu Hi Meri Zindagi’ (1965), ‘Zindagi Zindagi’ (1972), ‘Alaap’ (1977), ‘Rang Birangi’ (1983). These films were mostly bilingual or the remakes of Bengali films.

Recently, I have watched about half a dozen Bengali films directed by Tapan Sinha in which Chhaya Devi had acted in them. I have also watched a few of her other films. What I have realised with my limited exposure to some of her Bengali and Hindi films that Chhaya Devi was a versatile actress. If she was widow, Anandima in ‘Apnajan’ (1968) who is virtually a peacekeeper between two warring groups of unemployed youth, she is equally good in portraying the villainous looking but soft at heart madam (Baijee) in ‘Uttar Falguni’ (1963)/’Mamta’ (1966). Also, her portrayal of a dominating mother was effective in ‘Saat Paake Bandha’ (1963) which was remade in Hindi as ‘Khora Kaagaz’ (1974). In Hindi films, we have Lalita Pawar, Achala Sachdev, Meena Kumari doing their respective specialized roles very convincingly. In my view, Chhaya Devi was ‘three-in-one’ for Bengali films.

Chhaya Devi was not only a talented actress, she was also a good singer. She had the potential to becoming one of the leading singer-actors in Bengali film industry. Alas! It was not to be. While apart from talent, the luck factor plays an import role in making a film artist successful, I feel that in the case of Chhaya Devi, there was another factor which may have put a sort of speed breaker in the early part of her filmy career. And that factor was the successful emergence of actor-singer Kanan Devi, the first female super star of the Indian film industry.

When Chhaya Devi joined the Bengali film industry, Kanan Devi was already on a threshold of becoming a successful actor-singer. Kanan Devi’s stint with NT during 1937-41 and thereafter with M P Productions of P C Barua in 1942-48 did not give Chhaya Devi the much scope to show her histrionic. Incidentally, Chhaya Devi never got opportunity to worked with K L Saigal and also with P C Barua, an eminent director.

One of the Tapan Sinha’s films in which Chhaya Devi has portrayed the role of madam (Baijee) of a brothel was ‘Harmonium’ (1976). In this film, she sings two songs on herself. The film is available for viewing in 5 parts on a video sharing platform. The story in brief as I understood from the film is as under:

In this film, harmonium has been used as props. The harmonium which was first purchased by an aristocrat widower for her daughter for learning music has to be auctioned as the father dies and his estate manager forges his property paper to his name making the daughter orphaned. All through the harmonium’s journey through various section of the society, it is branded as ill luck to the family owning it.

The harmonium now goes to a middle-class home and then to a brothel. The harmonium is used for singing and dancing activities of the brothel. However, a murder takes place in the brothel forcing Baijee to leave the place with the harmonium. Finally, harmonium is bought by a Government officer for his daughter to learn music where the aristocrat’s orphaned daughter is the governess. After seeing the harmonium which was the same as the one bought by her aristocrat father, the governess is painfully reminded of her childhood days and is worried about the ill luck it may bring to the family. The film ends with a song which the governess is teaching to the daughter of Government officer.

As I have mentioned earlier, in this film, Chhaya Devi sings two songs one of which is in Hindi. I am presenting the song ‘armaan kuchh to dil mein tadapte hi rah gaya’. It is a short thumri of less than 2 minutes, written in a ghazal format. The name of the lyricist is not known though in one of the audio clips, the song is attributed to Gulzar saab. But I have not been able to get it confirmed from any other reliable sources. The song has been set to music by Tapan Sinha. I thought that at least the audio clip of SAREGAMA (HMV) may have full song. But it is also of the duration of less than 2 minutes.

This song is one more example of Chhaya Devi’s versatility in acting and singing. Note how nicely she uses the ‘harkat’ and ‘taan’ when she repeats the lines. Also note her gestures, ‘mudras’ and expressions. She may have learnt all these from her training in classical singing and kathak dance training.

Video


Audio Clip:

Song-Armaan kuchh to dil mein tadapte hi rah gaya (Harmonium)(Bangla)(1976) Singer-Chhaaya Devi, MD-Tapan Sinha

Lyrics

aa aa aa
armaan
armaan kuchh to dil mein tadap…a a a
te hi rah gaya aa
te hi rah gaya aa
kuchh aansoo banke
banke
kuchh aansoo banke
banke
aankhon mein…en en en
aaya ke dhal gaya
haay
aaya ke dhal gaya

aa aa aa
karte khuda se ishq gar
aur ban jaayen aur bhi kuchh
bandon ke ishq ne mujhe
ae ae ae ae
banda bana diya
haay
banda bana diya


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 : 4115 Post No. : 15267

Today’s song is from an obscure film Yaad-42, the first directorial adventure of actor – director Mazhar khan. He also acted as a Hero in this film, opposite Veena. Others in the film were Satish, Azuri, Indira Devi, Shehzadi, Haadi, Haroon, Ram Avtar, Devraj etc.etc. Lyricist for its 9 songs was Munshi Arzoo Lucknowi and the music was by K.Datta aka Datta Korgaonkar. Two songs of this film are already discussed, first one in 2014 and the second in 2016.

Neither have I seen this film, nor I could get any information on this film on internet or any book. Obviously, it seems to be just one of those films which come and go without leaving its mark on the way. In those days, like any other year, such non-descript films were made in plenty. Only few films were noticeable and discussed by critics in the Media, i.e. in Newspapers, because this was the only media available in those days.

As said in the beginning, Yaad -42 was not only the first directorial venture for Mazhar Khan, but it was also the first Debut Hindi film for its Heroine Veena. How Veena joined films and how she came to Bombay is a very interesting story. In one of the interviews she gave in November 1981, to Urdu film magazine ‘ Shama ‘, she herself has described all this. Let us also read it once again…

Veena was born as Tajwar Sultana, on 4-7-1926, at Quetta in Baluchistan (now in Pakistan). Her father was in Railways, so he was transferred many times and her education was done at various places, including Delhi. After her Matriculation, she was sent to a women’s college, with Hostel, in Amritsar. In those days, her brother Shehzada Iftekhar was an assistant Cameraman at Northern India Studios, Lahore. This studio advertised for a Heroine, for their new Punjabi film ” Gawandi “. (This brother Iftekhar is many times mistaken for actor Iftekhar- who was totally different. The story of love for Suraiya is of this brother and not that actor Iftekhar.)

A Bangali lecturer from Veena’s college had applied. A few days later, a team (including her brother) from Lahore came to interview her, but she was rejected as she did not know Punjabi well enough. Veena was very keen to apply, but her brother warned her about the family resistance. She prodded him to give her photo to the visitors. Seeing her photo, she was called to Lahore for screen Test. All this was without letting the family know.

One Saturday, Veena left for Lahore. Next day she gave the screen test, mouthing dialogues written by Wali Saheb. She was selected and offered the role. One of the producers- Sheth Kishorilal, suggested to change her name for the screen as Veena ( it was his daughter’s name) and she became Veena.

She completed film ‘Gawandi-42’, opposite Hero Shyam, in just one month and in the next one month, she did another film ‘ Ravi Paar-42′, opposite Hero S.D.Narang. All this was without family’s knowledge, but she was aware of the impending storm. She returned to college. News about her film work had already reached the college. She was thrown out of the college and the hostel for this.

When she returned home, as expected there was a great scene. She was scolded and locked in a room. Her family wanted to get her married, which she vehemently opposed. Her family went to the producers and demanded that the films be destroyed. Of course, this was was not accepted. Meanwhile, Veena had received film offers from Mazhar Khan, Mehboob, Bombay Talkies and Rajneet. She left her house with brother and reached Bombay. Mazhar khan paid her Rs.2000 per month with a Bungalow and a Car. She did her first Hindi film ” Yaad “-42. Then came Najma-43 from Mehboob, Rajputani-44 from Ranjit etc etc. She earned One lakh rupees per film.

Veena did about 100 Hindi films in her career, till she retired in 1983. Even after her husband, Al Nasir’s death in 1957, she continued to stay and work in India with her children. Veena died on 14-11-2004. ( adapted from her interview in Shama, November 1981. Thanks to book ” ye un dinon ki baat hai” by Yasir Abbasi).

In Hindi cinema world, some artistes are known for some specialty. They may not be great artistes, but certain aspect of their career is so famous that they are remembered. For example, ” Dattu Theka” of composer Dattaram was and is very famous in film music. He was a small time composer but became famous for this. Similarly another such person was Datta Korgaonkar alias K.Datta as he was popularly known. He was famous for his passion and intense attachment to Nurjehan’s singing. Though he composed her songs in only 2 films, after she left india, Datta almost felt like a paralytic person and virtually lost interest in his music.

K.Datta or Datta Korgaonkar alias Anna saheb, was born in Sawantwadi in Konkan area on 4-6-1908. He grew up learning to sing. His mother was a Bhajan singer. He started singing on stage during Ganesh utsav melas. He was called to Kolhapur in 1937 to give music to a Marathi film, Chandrarao Morey’-38. His first break in Hindi came in 1939 with Mera Haq,followed by Alakh Niranjan-40, Geeta-40 ( in Hindi and Marathi) and Yaad-42.

He first came face to face with Noorjehan in Naadaan-43. He was simply mesmerised with her voice and singing style. He composed 7 songs for Noorjehan. After doing Zameen-43 and Maharathi Karna-44, he again composed 4 songs for Noorjehan in film Badi Maa-45. His songs ‘ Diya jalakar aap bujhaya’ and ‘ aa intezar hai tera’ are evergreen songs of Nurjehan. He also gave a break to Lata and Asha to sing in a chorus with Noorjehan. It is very sad that initially, K.Datta’s name was not mentioned on the 78 RPM records of Badi Maa. Only on the ‘re-issue’ records his name came up.

His other films were Yateem-45,Shaahkaar-47,Rangmahal-48,meri kahani-48,Daaman-51,Gumaasta-51,Rishta-54,Harihar Bhakti-56 and Ajanabi-66. In film Daman-51, he gave the First duet of Lata and Asha. In all K.Datta gave independently music to just 17 films,plus one film Badmash-44,with Khan Mastana. His Marathi films were 12 from 1938 to 1965. After retirement in 1965,he spent his time in Bhakti, Pooja and Asrology. He used to have special Pooja on every Thursday,when Bhajans were sung. Many composers and other film industry people used to be his visitors. Naushad, C.Ramchandra, Madan Mohan, Sajjad Hussain etc were the regular visitors to Annasaheb. He died on 23-12-1978.

He was a Noorjehan believer to the core. To date K Datta remains the only top composer from Maharashtra to whom Noorjehan came first, Lata later. No one regretted Partition more than K Datta. Indeed, his creativity seemed to come to an end once Noorjehan left him high and dry by moving, with a song on her lips, to Pakistan. He once said, “Noor Jehan left for Pakistan and took my creativity with her”. The four Noorjehan numbers, as fashioned by K. Datta, are historically most important. Because it was hearing and absorbing these four nuggets of Noorjehan, while acting with her in `Badi Maa’, that Lata Mangeshkar learnt to shape her vocal technique. If Lata came to sound a Noorjehan replica for so long, the tonal base for this was laid, just imagine, by a robustly tall Maharashtrian from the ghats called K Datta in `Badi Maa’.The last number of Noorjehan fetched him the ultimate tribute from no less a movie stalwart than Mehboob Khan, who said: “Bhai Datta, yeh gaana to aap ne Khuda ke darbar mein baithe hue banaya lag raha hai” (“It sounds as if you created this song sitting in Allah’s abode”). K Datta used to play Ek anokha gham ek anokhi musibat ho gayi on a harmonium presented to him by O.P. Nayyar. How grimly significant that the one music director, O.P. Nayyar, who never in his life commissioned Lata, should have gifted that harmonium to the one Maharashtrian composer who believed only in Noorjehan!

There is one odd name in the cast of this film- Hadi. His full name was Mohammed Hadi. He was also known as Master Hadi, due to his knowledge of Music and singing. In early Talkie films, he gave music to films, singly and with other composers and also sang songs. But mainly, he was an actor from the Silent era. No wonder he was seen in some films of the First year of Talkie films of 1931, like Draupadi, in which he had played the role of Shakuni. he sang 3 songs also. He was seen in other films like Abu hasan-31, and Daulat ka Nasha-31. His acting in saubhagya Sundari-33 and Sulochana -33 was much appreciated. He is estimated to have acted in about 30 films till 1947.

The other interesting name that appears in the cast is of Shehzadi. The original actress Shehzadi was the sister of Alam Ara-31 heroine Zubeida and Sultana. All 3 sisters retired from films in or around 1936.

This Shehzadi was different. She was born in Bombay and was well conversant with Hindi, Marathi, Urdu, Gujarati, Bangla and English. She joined Bombay Talkies and made her debut in film Jhoola-41. She was in the famous Dance-song ” Main to Dilli se dulhan laya re” along with Mumtaz Ali. She worked in films of Chitra productions,Saubhagya Pictures, Star Productions and Asiatic productions. She was Heroine of Gope in film ” Haso Haso aye duniya walon”-47.

Her acting in Saheli-42 and Yaad-42 was much appreciated. She did 26 films from 41 to 47 period. She started her own Ratnakar Productions in 1947 and made film ” Utho Jaago”-47, with actor Ashiq Hussain as a Hero. Soon after Partition, she married Ashiq Hussain and they migrated to Pakistan.

Yet one more name is Indira Devi. She was an Anglo-Indian from Calcutta with original name-Eugenia Peterson. She started with Silent films in 1927 ,like Jaidev, jana,Punarjanma, Kapal Kundala, Ganesh janma, Rajsinha, Waman Avtar etc etc. She got married in 1930 and stopped working in films till 1935, to raise a family. She changed her name to Effie Hippolite, but for films she took name of Indira Devi. She started with film Wamaq Azra-35. She went on to do 21 films till 1947, after which there is no information about her. Probably, she migrated to Britain.

Today’s song is sung by Saraswati Rane. This is the 3rd song from this film to be posted here.


Song-Haay Raama tirchhi najariya ne maara (Yaad)(1942) Singer- Saraswati Rane, Lyrics- Munshi Arzoo Lucknowi, MD- K Datta

Lyrics

Haay Raama
haay raama
haay raama
tirchhi najariya ne
tirchhi najariya ne maara
haay raama
tirchhi najariya ne
tirchhi najariya ne maara

?? joban ??
nainan par
?? maara
aa aa
aa aa
haa aa aa aa
haay raama
tirchhi najariya ne
tirchhi najariya ne maara

aa aa aa aa
aa aa aa aa aa
haa aa aa aa aa
haa aa aa aa aa
?? nahin jaani
?? nahin jaani
baali umariya ne maara
aa aa
aa aa aa
aa aa aa
aa aa aa
haa aa aa aa
haay raama
tirchhi najariya ne
tirchhi najariya ne maara
haa aa aa
haa
haa aa aa
haa
haa aa aa
haa
haay raama
tirchhi najariya ne
tirchhi najariya ne maara

sagri raina mohe tadpat beeti
sooni sajariya ne maara
aa aa
aa aa aa
sooni sajariya ne maara
aa aa aa aa
aa aa aa aa
aa aa aa
aa aa aa
haa aa aa aa
haay raama
tirchhi najariya ne
tirchhi najariya ne maara


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over 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

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Movies with all their songs covered =1180
Total Number of movies covered =4221

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