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

Archive for October 2019


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

Blog Day : 4110 Post No. : 15261

Today’s song is a Parody song from film Phoolwari-46. It is sung by Mohantara Talpade. Jayashree T and Meena T were her brother’s daughters, I believe. Mohantara was a major female playback singer in the 40s. Starting with film Mamaji-42,she sang 117 songs in 54 films, till Inaam-55. Though she got married in 1950 to Dr. Ajinkya, she continued with using her maiden name to avoid confusion. Mohantara was a popular Bhavgeet and film singer in Marathi also.

In Hindi films we find a variety of songs. Love songs, Happy songs, Sad songs, Comedy songs, Birthday songs, patriotic songs, Chorus songs, prayers, Lories, Bhajans and many more types.

However there is one type of songs which is a sure hit with all viewers and that is a PARODY SONG(in Hindi it is called VIDAMBAN song – विडंबन ). Normally a Parody song is equated with a medley of old popular song tunes, set to new Lyrics, enacted by someone else.

While this is right to a great extent, the actual definition of a Parody song is ” A song which involves changing or copying well known musical ideas or lyrics or copying a particular style of a composer or an actor or even a general twisted style of Music ”.

Our friend AK ji of Songs of Yore says, “As is commonly known, parody is an exaggerated imitation of a person, song, literature or performance to produce a comic effect. It seems parody has existed from the earliest days of dramatic performance. Wikipedia states that according to Aristotle, Hegemon of Thasos was the inventor of a kind of parody; by slightly altering the wording in well-known poems he transformed the sublime into the ridiculous. In ancient Greek literature, a parodia was a narrative poem imitating the style and prosody of epics “but treating light, satirical or mock-heroic subjects”. The ancient Indian treatise on dramaturgy, Natyashstra by Bharat Muni, is of similar antiquity. Though it mentions Prahasan as one of the ten types of play, from its definition it seems to be a low form of performance – something like burlesque – and not quite parody as we know today.

Where do parody songs in Hindi films fit in the above general description? Parody songs do not have any pretensions of being art. They are not intended to mock the original either. Very simply, these songs are a recognition of the original’s popularity. They include a large number of such songs. Broadly classified Parody songs are in two types: one, parody based on a single song, and the other, a medley of songs. There could be some more subtle variations within these broad categories.” (adapted, with thanks, from his article on Songs of Yore dt.2-3-2018)

The very FIRST Parody song in Hindi films came as early as 1936. It came from a film called ” Sunehara Sansaar”-1936. It was a Parody of a famous patriotic song by Dr. Iqbal-” Saare jahan se achha Hindosta hamara…” The parody song was ‘ Saare jahan se achha saabun bana hamara,hum kishtiyan hai iski…’

The lyricist was Vijay Kumar, B.A. and the Music Director was K C Dey.

When the song was released, instead of becoming popular, it drew people’s ire for distorting a patriotic song. There was criticism and several protests.

Another Music Director Master Mohd. (who was well known for composing many patriotic songs in those days, in his films) decided to make a Parody of K C Dey’s famous song, ‘Jao jao aye mere sadhu…’ from Pooran Bhagat-1933.

He included this parody song in same year in his film ‘ Miss frontier Mail ‘-1936. The lyrics for this song were- gaao gaao aye mere aye mere sadhu…’.

It was sung by Minu,the Mystique in the film.

This Minu was actually Minoo Cooper, a regular singer in Bombay city Parsi circles. He used to sing in many Hotels in those days. He has also sung a few more songs in Hindi films later.

This retaliatory Parody song was well received by the audience and it became popular too.

This song has been posted on this Blog, by our dear SUDHIR ji, on 29th June 2012.,along with a very interesting write up, for which he is known.

So, parody songs entered Hindi films with an interesting History behind them !

I can recall that during our younger days, it was our hobby to twist the popular songs with comic lyrics. Even today I still remember a few of them…

1) Jiya beqarar hai
Nargis ko bukhar hai,
Aja be Dilip kumar
tera intejar hai.

2) Dhoti chhod ke mat jaana
Dhoti saath mein le jaana
kasam tujhe mere Pehelwanki….

3) Bhaiya mere, saambaar mein Idli na dubaana

4) Ek saal pehle,tum to Bekaar the
Gadhe pe sawar the,
aaj bhi ho,aur kal bhi rahoge…

5) De gayi bill, budhiya dukaan ki… etc etc

I am sure many of the readers also must have done this,in their times. These song Parodies added spice to our lives. So when some film had a Parody song, we used to see that film without fail !

Making a Parody song is one of the easiest matters for the Music Directors and many Music Directors have resorted to Parody songs at least once, except probably serious composers.

The cast of the film Phoolwari was Motilal, Khursheed, Dikshit, Tiwari, Himmat Sharma (brother of Kidar Sharma), Leela Shinde, Baby Anwari etc etc. The film was made in Ranjit studios. Ranjit was almost like a factory, churning out films after films continuously. The studio had 6 shooting floors. When a Ranjit film was not shooting, the floor would be given on hire to other producers. When film Phulwari was being made, there were other five films shooting in Ranjit , on other floors. They were Prabhu ka Ghar, Chaand Chakori, Dharati, Rajputani and Seeta Haran. In this list, Khurshid had 2 films, Trilok kapoor was in 2 films and Mumtaz Shanti also had 2 films being shot there at the same time. In other films actors like Jairaj and Surendra were acting. By the way this was Khurshid’s last film at Ranjit Studios.

The film was directed by Chaturbhuj Doshi. Chaturbhuj Doshi (1894–1969) was a Hindi and Gujarati writer-director of Indian cinema. He was one of the top Gujarati screenplay writers, who helped script stories for the Punatar productions. He is stated to be one of the leading figures who launched the Gujarati film industry with work on notable films like Gunsundari (1948) and Nanand Bhojai (1948). He was well known for his family socials and had become a celebrity in his own right. He made a name for himself as a journalist initially and was referred to as the “famous journalist” & publicist by Baburao Patel, editor of Filmindia.

His debut film as a director was Gorakh Aya (1938), produced by Ranjit Movietone, though he joined Ranjit in 1929, as a scriptwriter. In 1938, he directed another film for Ranjit, a social comedy, The Secretary, and both films were box-office successes for Doshi. His forte was socials, regularly adapting stories and novels for films. He worked initially on comedies like Secretary and Musafir (1940), but then “shifted to more significant films”.

Chaturbhuj Anandji Doshi was born in 1894 in Kathiawad, Gujarat, British India. He was educated at the University of Bombay, after graduation he started work as a journalist for a daily, Hindustan (1926), working for editor Indulal Yagnik. His entry into films was working as a scenarist in the silent era for directors like Jayant Desai, Nandlal Jaswantlal & Nanubhai Vakil. He joined Ranjit Movietone in 1929, and wrote stories and screenplay for several of Ranjit films.

Film Gorakh Aya (Gorakh has come) in 1938, was the first film directed by Doshi. It was produced by Ranjit Movietone with screenplay by Gunvantrai Acharya & dialog-ues by P. L. Santoshi. The music, termed “good” was composed by Gyan Dutt. The Secretary (1938), was a “riotous comedy”, starring Madhuri, Trilok Kapoor. Charlie. The music was composed by Gyan Dutt, became a regular in most of the films directed by Doshi. Musafir in 1940 was a comedy costume drama, which had Charlie playing a prince.

Bhakta Surdas, a devotional film directed by Doshi in 1942, is stated to be the “most famous” of the several versions made. It starred K. L. Saigal and Khursheed “the singing idol(s) of millions”, winning “unprecedented popularity” everywhere.

Maheman (1942) starred Madhuri, Ishwarlal, Shamim and Mubarak. Music director Bulo C. Rani had come to Bombay in 1942, and joined Ranjit Studios assisting Khemchand Prakash in music direction.

Doshi helped enormously in the development of the Gujarati cinema. During 1948-49 he directed three successful Gujarati films which “brought immense success to the industry”. The success of the Gujarati film Kariyavar in 1948, directed by Chaturbhuj Doshi from a story by Shaida, called Vanzari Vaav, helped establish the Gujarati film industry along with other films like Vadilo Ne Vanke (1948) by Ram chandra Thakur and Gadono Bel (1950) by Ratibhai Punatar. His next Gujarati film was Jesal Toral (1948) based on folk-lore, which proved a big box-office success. In 1949, Doshi directed another Gujarati film, Vevishal, an adaptation of Meghani’s novel of the same name.

He also wrote stories, and one of his stories Pati Bhakti was used in the Tamil film En Kanawar (1948) produced by Ajit Pictures, which starred the Veena maestro, Sundaram Balachander, who was also the debut director and music composer for the film. In all he directed 24 Hindi films. His last Hindi film was Sanskar-1958. He had also written few songs in film Maya Bazar-32.

Chaturbhuj Doshi died on 21 January 1969 in Bombay, Maharashtra, India. Filmography-1932: Narasinh Mehta (Writer), 1934: Sitamgarh (Writer), 1938: Gorakh Aya, Secretary, 1939: Adhuri Kahani, 1940: Musafir, 1941:Pardesi, Sasural, 1942: Bhakta Surdas, Dhiraj, Mehmaan, 1943: Chhoti Maa, Shankar Parvati (Director, Writer), 1944: Bhartrahari, 1945:Murti, 1946: Phulwari, 1947: Bela, Kaun Hamara, 1948: Jesal Toral, Kariyavar (Director, Writer), Sati Sone, 1949: Bhakta Puran, Vevishal, 1950: Akhand Saubhagya, Kisi Ki Yaad, Ramtaram, 1954: Aurat Teri Yahi Kahani, 1956: Aabroo, Dashera, Dassehra, 1957: Khuda Ka Banda, Shesh Naag, 1958: Sanskar, 1960: Mehndi Rang Lagyo (Writer, Lyricist) (Thanks to Gujarati articles provided by Harish Raghuwanshi ji and Encyclopedia of Indian Cinema).

In the cast, you will find a name Dikshit or Dixit. In the olden films Dixit and Ghory was a comedy pair, which became very famous. Some times they even acted singly in different films. Phoolwari-46 was one such film for Dixit.

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

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

Dixit acted in 66 Talkie films and 8 silent films in 17 years. He died on 29-6-1949 due to a massive heart attack. His partner Ghori migrated to Pakistan and did 8 films there till 1960,without much success. He too died on 9-12-1977 at Karachi. (Thanks to book Ina Mina Dika by Sanjit Narwekar.)

Music was by Hansraj Behl, for this Ranjit movie. I have heard many many parody songs, have seen also many, but this must be the only time when the singer of the original song is also in the same film in which that singer’s song is ‘parody- ed’. Today’s song is a parody of the famous song of Khurshid from film Tansen-43 ” Ghataa ghanghor ghor, Mor machaave shor “. I wish I was able to this film.


Song-Hawaa chale saany saany (Phoolwaari)(1946) Singer- Mohantara Talpade, Lyrics- Pt Indra Chandra, MD- Hansraj Behl

Lyrics

hawa chale saany saany
hawa chale saany saany
kauwa kare kaany kaany
more sajan jaago o
jaago
more sajan jaago o

murga jaaga
murgi jaagi
jaage khel kabootar
murga jaaga
murgi jaagi
jaage khel kabootar
bhadak bhadak kar jaagi bhainsan
jaage saanp chhachhundar
bhadak bhadak kar jaagi bhainsan
jaage saanp chhachhundar
chhodo piya chaarpaayi
chhodo piya chaarpaayi
garma garam chaai laayi
more sajan jaago o
jaago
more sajan jaago o

dhanna dhobi ganga teli
natkhat nanda naai
dhanna dhobi, ganga teli
natkhat nanda naai
chhagan sambholi laaya goli
koot raha halwaai
chhagan sambholi laaya goli
koot raha halwaai
chaukwa khaska de bhaiya
chaukwa khaska de bhaiya
wahaan dekho jaaya(?) sainya
more sajan jaago o
jaago
more sajan jaago o

daal chadhi choolhe per meri
garam masaala laao
daal chadhi choolhe per meri
garam masaala laao
main talti hoon bhajiya bhaaji
tum bacche nahlaao
main talti hoon bhajiya bhaaji
tum bacche nahlaao
raho piya ?? joda
raho piya ?? joda
rahe jaise ?? ghoda
more sajan jaago o
jaago
more sajan jaago o

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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 : 4109 Post No. : 15260

“Chingaari”(1955) was directed by S Srivastava for co-operative pictures production, Bombay. The movie had Shekhar, Nalini Jaywant, Leela Misra, Sunalini Devi, Pran etc in it.

This forgotten movie had eight rare songs in it. Two songs have been covered in the past.

Here is the third song from “Chingaari”(1955) to appear in the blog. This song is sung by Lata. Shailendra is the lyricist. HFGK mentions the music director as Manohar. We thought that it was Manohar Sonik, but by now we know that it was Manohar Arora.

This movie had seven Lata solo songs in it, so it follows that they were all meant for the lead actress viz Nalini Jaiwant. And so we can safely assume that this song was lip synced by Nalini Jaiwant in the movie.

This song, like other songs of the movie, is a forgotten gem.


Song-Raah na soojhe jaaun kahaan (Chingaari)(1955) Singer-Lata, Lyrics-Shailendra, MD-Manohar Arora

Lyrics

raah na soojhe jaaun kahaan
lut gaye mere donon jahaan aan
apna paraaya koi nahin
sar pe jhuk aaya aasmaan
aa
raah na soojhe jaaun kahaan
lut gaye mere donon jahaan

dil bechaara toota hua
gham ke haathon loota hua
kheench rahe hain is jaal ko
beraham ?? juda
ae suhaane gham tu bata
main tujhe ab chhupaaun kahaan
raah na soojhe jaaun kahaan
lut gaye mere donon jahaan aan
apna paraaya koi nahin
sar pe jhuk aaya aasmaan

dil ke mehmaan dil se bhi ja
ab tu is duniya mein na aa
bhool ja mujhko tu bhool ja
poochh na mujhse koi wajah
dil bhi mera dil na raha
ab tujhe main basaaun kahaan
raah na soojhe jaaun kahaan
lut gaye mere donon jahaan aan
apna paraaya koi nahin
sar pe jhuk aaya aasmaan aa
raah na soojhe jaaun kahaan
lut gaye mere donon jahaan aan


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 : 4108 Post No. : 15259

Today’s song is a lovely duet by Lata and Hemant Kumar, from film Daaka-59. The film was made by Starland productions, Bombay for Hasmukh Kheda. The film was directed by Nanubhai Bhatt and the 6 songs of the film were written by Majrooh Sultanpuri (2 songs) and by Prem Dhawan (4 songs). Their music was composed by the King of Melody – Chitragupta. Dilip Dholakia was his assistant for this movie.

The cast of the film was Ashok Kumar, Nirupa Roy, Pran, Maruti, Smriti Biswas, Badri Pershad, Balam, Kesari, Kathana etc.etc. Songs of this film were recorded in 1956, but for reasons not known to us, the film was censored only in 1959 (25-11-1959). The length of the film was 12,698 feet and was in 14 reels.

Why I gave the details of the length and number of reels is that during the period of 50s, I remember how the films used to begin in the theatres. In Hyderabad city, once the show time was up, the theatre would be plunged in darkness and advertisements would start with slides or shorts. After this, usually there would be Indian News Reel or a Documentary of the Films Division. The Indian News reel was interesting and when some Cricket match was being played, here or abroad, some shots of the match would be shown. By this time, all the audience used to be in their seats. The first scene of the start of the main film was showing its Censor Certificate. It was at this time, when 99% audience used to read loudly in chorus, “14 Reels”, as if they had discovered some top secret ! Perhaps, it gave them an idea whether the film was a long one , normal or a short one.

Ashok Kumar (13-10-1911 to 10-12-2001) the Hero of this film, always surprised me. I wonder how much energy this man must have had. If you see his Career graph,it is most unusual. I am saying this because, normally an actor is at his best Performance level when he is young. As the age increases, his level diminishes and after a certain period, he is away from the Silver screen. In case of Ashok Kumar this is very different story. See the following chart and you will realise what I mean.

Period in years Aproximate Age No. of films done in the decade
Decade 1 (1936-1940 ) 25-30 years 12 (First film- Jeevan Naiya-1936)
Decade 2 (1941-1950 ) 30-40 years 23
Decade 3 (1951-1960) 40-50 years 55
Decade 4(1961-1970) 50-60 years 62
Decade 5(1971-1980) 60-70 years 85
Decade 6 (1981-1990) 70-80 years 60
Decade 7 (1991-1997 ) 81-86 years 13 (Last film- Aankhon mein tum ho-1997)

From 1936 to 1997 he acted in 310 films. That is a very long journey in films, of 61 years ! His first Heroine-Devikarani- was born in 1908 and the Heroine of his last film- Suman Ranganathan was born in 1974 ! He worked with Heroines from 4 generations (a film generation is counted as 15 years). Ashok Kumar ,in his career, paired with Devika Rani-she was 3 years elder to him in age- in 8 films, with Nalini Jayawant in 11 films and with Nirupa Roy in 21 films in 33 years’ period-from Bhai Bhai-56 to Dana Pani-89.

He had to sing his own songs. By that time the system of Playback had started, but actor singing his/her own songs also continued for some time. He sang 77 songs in 25 films. Effectively, his singing was halted by Mohd. Rafi, when he sang for Ashok Kumar in the film Saajan-47- a duet with Lalita Deulkar ( Humko tumhara hi aasra). After this Ashok Kumar sang one song each in film Chalti ka naam Gaadi-58, Aashirvad-68, Kangan-72, Khoobsurat-80 and finally in Shaukeen-82.

Look at his energy level in the above chart. As he grew up in age, his demand increased, he worked in more and more films till he was 86 year old. He was simply unique in this respect. May be Amitabh Bachhan is a match to him or even better than him because nowadays more films are made than before. I hope some contributor does this comparison in the same way.

When Ashok kumar started acting, he had a great problem. He did not know what to do with his hands. in all his early films, you will find him acting very awkwardly, because of this problem. When he acted in film Anjaan-41, this problem was solved. In this film he did a Doctor’s role, who is accused of a murder- which he did not commit. He had to be a detective to collect proof of his innocence and argue in the court also. During this period, he started smoking cigarettes and his ‘Hand’ problem was solved once for all. After this film, Ashok Kumar and his smoking became inseparable in every film ! (and also in private life) .

Ashok Kumar was one of those actors who did Natural acting in their films. Initially, that was not so, but after solving his ‘Hand’ problem in film Anjaan-41, he was one of the best such actor. Motilal, Sanjeev Kumar, Amol Palekar, Farooq Shaikh and Paresh Raval are some other names that came to my mind in this category.

For actress Smriti Biswas, film Daaka-59 was her last film. She quit films and married actor, director, producer and studio owner S D Narang.

Actress Smriti Biswas was born on 17-2-1932, in Calcutta in a middle class family. She was educated at home and she worked as child star in Bangla films, Sandhya and Dwandwa in the 1930s.

Hoping to make a better career, she shifted to Lahore. Here Pancholi studio gave her a break with the film Dhamkee-45. The film shooting started in 1943, but it was released in 1945. She got Raagini-45 in the same year. Its Director was Shanker Mehta. Two more of her films, viz Nek Dil-48 and Roop rekha-48 were also released there.

After Partition she returned to Calcutta. S.D.Narang, actor, producer and director also shifted to Calcutta along with her. He established his own Bengal National Studio and made Bangla and Hindi films with Smriti. Their ‘Ek Aurat’-48 was quite popular.

New Theatres cast Smriti in their film “Pehla Aadmi”-50 based on the story of Subhash Chandra Bose. It was directed by Bimal Roy. Both Smriti and Narang came down to Bombay. In the decade of 1950’s, she did about 21 films there. Daaka-59 was her last film. In 1960, she married S.D.Narang and retied from films, though she was still in demand. She has 2 sons. S.D.Narang died on 25-1-1986. She is in her 80s but enjoys life with family and friends.

Smriti Biswas did only about 27 films in her career, but her vivacious looks, sweet face and speaking style still reminds us of her roles.

Some of her more well known films are, Arab ka Saudagar-56, Bhai saheb-54, Lakhon mein ek-55, Samsheer-53, Aab e Hayat-55, Hum Safar-53 (opposite Dev Anand), Dilli ka Thug-58, Teen batti chaar Rasta-53, Baap re Baap-55 and Bhagam Bhag-56.

Recently I saw an article in Maharashtra Times of 14-4-2017. It was mentioned that She was living in a barely 500 square feet flat in Nashik, along with her two grown up, unmarried sons. All the property, Gold and money left by S D Narang was looted by other relatives and Smriti finds it difficult to pull on.

The Heroine of this film Nirupa Roy was a very unconventional actress of Hindi films. Her repertoire of roles was so varied that she could not be stamped with any one type of roles.

Nirupa Roy (4-1-1931 to 13-10-2004) was an enigma of Hindi Cinema. She has been a Heroine in 110 films,a mother in over 50 films,has been a Goddess in 50 Mythological films, a suffering wife in over 30 films and a Stunt girl in about 10 films.( I remember our Raja ji once said that it was difficult to imagine Nirupa Roy in any other dress than a Saree.) She sang Bhajans,romantic songs,Comedy songs,qawalis,sad songs and peasant folk songs on the screen.

She changed her Heroes like “Badalate huwe saathi”. She did 18 films with Trilok Kapoor ( 50-65), 12 films with Balraj Sahni ( 53-72), 16 films with P.Jairaj ( 53-78), and 21 films with Ashok Kumar ( 56-89). She was Amitabh’s mother in 12 films and a stunt Girl in 8 films. She even wrote a popular film song for film Samrat Chandragupta-58 ( Mujhe dekh chaand sharmaye – Lata).

Today’s song is a sweet duet of Lata and Hemant Kumar. Listening to some of their duets is a divine experience. Some of their duets like “yaad kiya dilne kahan ho tum”, “ye raat ye chandni phir kahan”, “gupchup gupchup pyar karen”, and ” Sanware salone aaye din bahar ke ” are some of the songs they made immortal in HFM. Lata’s voice never sounded sweeter with any other singer.

Today’s song is not as well known as the songs mentioned above, nevertheless this song has the hallmark of a Lata-Hemant Kumar duet song. It is a song that is best heard at night time- a “chhaayaageet” category song.


Song- Chaand ne kuchh kaha taaron ne kuchh suna (Daakaa)(1959) Singers- Hemant Kumar, Lata Mangeshkar, Lyrics- Prem Dhawan, MD- Chitragupta
Both

Lyrics

chaand ne kuchh kaha
taaron ne kuchh suna
baat hi baat mein jaane kya ho gaya
aankhen jhuk jhuk gayin
dhadkanen ruk gayin
kya bataaun mera dil kahaan kho gaya

chaand ne kuchh kaha taaron ne kuch suna
baat hi baat mein jaane kya ho gaya

hum to khud se hi nazren churaane lage
jaane kya soch kar muskuraane lage
hum to khud se hi nazren churaane lage
jaane kya soch kar muskuraane lage

ab to dil na kisi bhi bahaane lage
baat hi baat mein jaane kya ho gaya
aankhen jhuk jhuk gayin dhadkanen ruk gayin
kya bataaun mera dil kahaan kho gaya

raat aayi hai zulfen sanwaare huye
aankhon aankhon mein kya kya ishaare huye
raat aayi hai zulfen sanwaare huye
aankhon aankhon mein kya kya ishaare huye
bas hai itni khabar
hum tumhaare huye
baat hi baat mein jaane kya ho gaya

chaand ne kuchh kaha
taaron ne kuchh suna
baat hi baat mein jaane kya ho gaya


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 : 4107 Post No. : 15258

“Gunjan” (1948) was a Nalini Production movie. It was directed by V Desai. The movie had Trilok Kapoor, Nalini Jaiwant, David Abraham, Pande, Balraj Sahni, Veena Kumari, Purnima, Narmada Shanker etc in it.

The movie had nine songs in it. hree of these songs have been covered.

Here is the fourth song from “Gunjan” (1948) to appear in the blog. This song is sung by Nalini Jaiwant. S R Saaz is the lyricist. Music is composed by Ashok Ghosh.

Only the audio of the song is available. It is clear that the song was picturised on Nalini Jaiwant herself who was not only the leading lady of the movie but also the producer of the movie. Nalini Jaiwant is considered an occasional singer but she has sung this song like an accomplished singer. This song is arguably the best of all the Nalini Jaiwant songs that she has sung in HFM.


Song-Jal barsaaye nainwa man mein kaisi aag lagi(Gunjan)(1948) Singer-Nalini Jaiwant, Lyrics-S R Saaz, MD-Ashok Ghosh

Lyrics

aa
jal barsaaye nainwa
man mein kaisi aag lagi
man mein kaisi aag lagi
man mein kaisi aag lagi
kyun aa gayi jawaani mujhpar
liye dukhon ka haar aar
gaya kahaan wo bhola bachpan
kit gayen laado pyaar
uljhan mein hai jaan phansi
phir ye kaisi aag lagi
man mein kaisi aag lagi
man mein kaisi aag lagi

aa aa
main samjhi thhi prem kali se
mahak uthhegi kyaari
jaane ekaaek hua kya
kali bani chigaari
hey
ghar ke deepak se ghar jalta hai
dhuaan nikal na paaye
ae
ghut ghut kar marti abla sa
nikle na munh se haay
uljhan mein hai jaan phansi
phir ye kaisi aag lagi
man mein kaisi aag lagi
man mein kaisi aag lagi ee
man mein kaisi aag lagi


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 : 4106 Post No. : 15257

Today’s song is from the film Gokul ka Chor-1959. My last post was from film Gokul ka Raja-54. Its now time to get out of Gokul Town – after this post. Not that there are no more films on Gokul. There are still 2 more films with same title ” Gokul”, one of 1946 and the other of 1985. I always wondered why there were no films on Mathura or Vrindavan… two more places closely connected to Krishna. As far as Dwarka is concerned, there is a sole film ” Dwarkadheesh”, made in 1956.

During my school days, we boys always used to have 2 groups, one each who like Ram and Krishna. In our school annual functions,in the debating contest, boys from each group vehemently and enthusiastically spoke about their Group God – Ram or Krishna. From the young age itself, personally, I always adored Krishna. In my opinion, Krishna is more relevant in Kaliyug.

There were 4 Yugs
1. Satyug – 17,28,000 years
2. Tretayug – 12,96,000 years
3. Dwaparyug – 8,64,000 years
4. Kaliyug – 4,32,000 years

Shri Ram was the 7th incarnation (Avtar) of Lord Vishnu and he was born in the middle of Tretayug.
Krishna was the 8th Avatar and was born in the end part of the Dwaparyug.
The 4th yug is Kaliyug in which we are living.

Shri Ram ruled for 11000 years. He existed 1.75 million years ago.

Shri Krishna ruled for 125 years and died just one month before Dwaparyug ended and Kaliyug started. That is only 5122 years BCE, before Today. So mathematically also Krishna was closer to Kaliyug of today.

Shri Ram presented an ideal to follow Raj-Dharma, and all rules, regulations, Laws and Social Norms, irrespective of the sufferings. During his times, Praja used to follow the King. That is why there was a Ram Rajya, where ultimately the Evil paid for its misdeeds.

In Shri Krishna’s times, the world had changed and Krishna taught us how to live in today’s Yug, by Tit for Tat, not tolerating injustice, being street smart, using Chanakya type Neetis to achieve Goals. He provided lessons through his own behaviour, how to survive and be successful with Tact and Intelligence, how Karma is more important than Dharma, when it come to destroying the Evil. The whole Bhagwadgeeta is full of worldly advise.
That is why I feel Krishna is more relevant in today’s times. Ram is respected, Krishna is loved.

So much for the Ram and Krishna philosophies. Anyway, To Each His Own. I only expressed my views.
Interestingly, at a cursory count, I find that out of films on Ram (Ramayan and related) and Krishna (Mahabharat and related), 70% films are on Krishna and 30% films are on Ram. Even the film makers seem to consider Krishna as a better entertainer !

Now, coming to today’s film Gokul ka chor-59, it was made by Roopvani films for producer Sharad Pai. He was the son of Baburao Pai, one of the leading Film Distributors of yore and a partner of Prabhat Films. He joined after Keshavrao Dhaiber had to leave Prabhat, because he married the company Heroine Nalini Tarkhad, breaking the directorial agreement rule. For the same reason, V.Shantaram had also to leave Prabhat when he married Jayashree kamulkar, another Prabhat Heroine. But , funnily, S.Fattelal escaped this rule, because he had married Gulab aka Kamlabai, Prabhat Heroine of the Silent Era, before this rule was formulated ! (This Gulab aka Kamlabai is in the Prabhat Logo)

This film was directed by Vasant Painter and the music was by Sudhir Phadke. Information in details about Sudhir Phadke is already given by Sudhir ji, few years back and by me recently, so I will not repeat it.

However, Vasant Painter is a name not known to many Hindi film watchers.

Vasant Anandrao Painter was born in a village near Kolhapur on 13-8- 1913. His father Anandrao, along with cousin Baburao Painter wanted to make films. Anandrao had bought a second hand Projector, which he turned into a Camera and shot a short film also. Unfortunately, Anandrao Mistry aka Anandrao Painter died suddenly in 1916 and Baburao Painter went on to become the famous founder of Marathi films in the Silent Era.

By the time Vasant became 20 year old,the Silent film era was in full swing and many films were made in Kolhapur,Poona and Bombay.He had a liking for painting,so he picked up poster painting work,first in Maharashtra Film company and later in Prabhat film company when it was started in Kolhapur. He did all jobs,including assisting in cinematography and direction.

His first break came when he was 33 year old. He got an opportunity to direct Prabhat’s film ” Gokul”-46 and later on “Seedha Raasta”-47. After V.Shantaram had left Prabhat to start his own Rajkamal, Vasant Painter remained in Prabhat loyally, so he got the reward. Actress Kamala Kotnis had floated a production company,Kamala Chitra Ltd. She invited Painter to direct her film,’Sati Ahilya’-49. Snehal Bhatkar was the MD. Painter directed ‘ Bhishma Pratignya ‘-1950. This was,probably,the only Mythological film Nargis had acted in, with Shahu Modak. His other films were,Murliwala-51, Devyani-52, Sajni-56, Patit paawan-55, Gokul ka chor-59, Pyar ki jeet-62 and Dagaa-77. Meanwhile he was producing and directing several Marathi films too. He had won 9 awards,including the prestigious ” V.Shantaram Award”.

Vasant Painter died on 31-5-2006, leaving behind him 6 daughters and 1 son.

The cast of the film consisted of Kumkum. Romi, Manorama, Mohan Choti (real name Mohan Gorakshkar from Amaravati, Maharashtra) Ratnamala, Vasantrao Pehelwan, Madhav Kale, Madhu Apte, Polson etc.etc.

In any star cast of any film, after the names of main and known actors, there will be a line of names of actors who are not familiar and they can not be identified in the film, except by a few handful such experts. Information on these actors is neither collected nor compiled, leave alone their Bios being available. They are just names in the list. One such name in this list is Madhav Kale.

Madhav Kale was born in Nashik in 1903. After his school education at Nashik, he joined Deccan college at Poona and passed Intermediate course. He was interested in playing in dramas, which was opposed by his mother. But he used to take part in dramas while in college. He was a good singer too. Wanting to join films, he sent applications to many companies. Saroj and sharda companies responded. He acted in several silent films like Mukti sangram, Kanak kesari etc. He entered the Talkie films with Vikram Charitra-32, Mera Imaan-34 and Vishnu Bhakti-34. During this period, he got married in 1934.

He acted in 21 films. His last film was Gokul ka chor-59 (today’s film). He even directed one film, Sacha Sapna-42. He sang 13 songs in 7 films till 1942.

There is no information about him after this.

Another name in the cast is of Madhu Apte. His full name was Madhukar Shankar Apte. He was a Marathi stage and film actor predominantly, who successfully used his handicap of stammering to advantage, in delivering dialogues and creating humour by mistiming the dialogues. He was born on 1-3-1919 at Poona and died on 25-2-1993 at Poona.

Today’s song is sung by Sudha Malhotra and chorus. This is perhaps the first time I am presenting a song of Sudha Malhotra. Whenever her name comes up I remember her popular bhajan, ” Darshan do Ghanshyam nath more, aankhiyan pyaasi re”. I also remember that she is one of those few cine artistes, who try to hide that their debut in the films is through a non-descript film and who insists that a leading Music Director was responsible to launch her in films.

Sudha Malhotra first sang few songs in film “The Last message ( Aakhri paigham)”-1949, under MDs Abid Hussain Khan and Sushant Bannerji. However, in every interview, she has insisted that she debuted in film Arzoo-50 under Anil Biswas. The facts are available in HFGK for anyone to see.

(Some information for this post is taken, with thanks, from The Premier of Hinduism by D S Sarma, Marathi Cinema in Retrospect by Sanjit Narvekar and The Lost Treasure by Kamlakar P.)


Song-Aaya ri kaun sakhi apni nagariya (Gokul Ka Chor)(1959) Singer- Sudha Malhotra, Lyrics- Madhukar Rajasthani, MD- Sudhir Phadke
Chorus

Lyrics

Aaya ri kaun sakhi apni nagariya
apni nagariya
apni nagariya
praanon mein baaj rahi
meethhi baansuriya
meethhi baansuriya
meethhi baansuriya
padte hi paanv sakhi
dharti pe salone
chhalki umang bhari
man ki gagariya
man ki gagariya
o o o o
jeewan ke angna
aasha ka jhoolna
jhoole hain krishn kanhaai
jhoole hain krishn kanhaai
jeewan ke angna
aasha ka jhoolna
jhoole hain krishn kanhaai
jhoole hain krishn kanhaai
baanto badhaai
baanto
baanto badhaai
aaye krishn kanhaai
aaye krishn kanhaai
hohohohohohoho

sooraj ka tej laaya nainon mein bhar ke
sudh budh dev bhoole dekho tadke
maaya hansi ?? koi naya roop dharke
mukh par chaand khila nandkumar ke
dukh se ubaarne
dharti sanwaarne
jyoti nayi jagmagaayi
jhoole hain krishan kanhaayi
jeewan ke angnaa asha ka jhoolna
jhoole hain krishn kanhaayi
jhoole hain krishn kanhaayi
baanto badhaayi
baanto
baanto badhayi
aaye krishn kanhaayi
aaye krishn kanhaayi
ho ho
hohohohoho

baadal ka rang liye
paaras ka tan hai
bali bali jaaye sakhi
baanka man hai

gyaani ka gyaan laayi paawan kiran hai
bade bade jhoomen sakhi
ye to rain hai

jyoti ye karm ka
deepak hai dharm ka
vedon ki hai ye sachchaai
jhoole hain krishn kanhaayi
baanto badhaayi
baanto
baanto badhaayi
aaye krishn kanhaayi
aaye krishn kanhaayi
ho ho
hohohohoho


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 : 4105 Post No. : 15256

“Shole”(1953) was directed by B R Chopra for Hira Films. The movie had had Ashok Kumar, Bina Rai, Purnima, Jeevan, Mohana, Manmohan Krishna, Mirza Musharaf, Romi, Naaz, Uma Dutt etc in it.

The movie had eight songs in it, including two multiple version songs.

Seven songs from the movie have been covered in the past.

Here is the list of the songs of the movie that have been covered in the past:

S N Song Song number in blog Date of posting
1 Mera dil kabhi roye kabhi gaaye re MD-Dhaniram 2216 4-Dec-09
2 Anokhaa jaadoogar Bhagwaan Multiple version song MD-Dhaniram 3519 13-Feb-11
3 Nigaahen mila MD-Dhaniram 9527 5-Mar-14
4 Ghadi ghadi bhar jiya bekaraar ho…aaja gali baalma MD-Dhaniram 14706 20-Oct-18
4 Ae dil tu kahin le chal Multiple version song MD-Nareshwar Bhattcharji 15189 27-Aug-19

Here is the eighth and final song from “Shole”(1953) to appear in the blog. This song is sung by Geeta Dutt. Majrooh Sultanpuri is the lyricist. It is the only song in the movie penned by Majrooh Sultanpuri. Other songs were penned by Kamil Rashid (4), Saraswati Kumar Deepak (2) and Sahir Ludhianvi (1).

Music is composed by Dhaniram.

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

I have not been able to get one (may be more) word right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

With this song, “Shole”(1953) joins the list of movies that have all their songs covered in the blog.


Song-Bala se hasraten mit jaayen (Shole)(1953) Singer-Geeta Dutt, Lyrics-Majrooh Sultanpuri, MD-Dhaniram

Lyrics

bala se hasraten mit jaayen
dil barbaad ho jaaye
hamen manzoor hai sab kuchh
jo tu aabaad ho jaaye

jo chaahe sahenge door se gham
ab yoon hi pyaar nibhaayenge hum
ab yoon hi pyaar nibhaayenge hum
kismat ne dhaaya hai wo sitam
tujhe paa ke bhi chain na aayenge hum
ab yoon hi pyaar nibhaayenge hum
jo chaahe sahenge door se gham

khush hoke hamen karen dil se juda
khush hoke hamen karen dil se juda
ye bhi to hai ik andaaz e wafa
ye bhi to hai ik andaaz e wafa
samjhenge muhabbat ka ??
tujhe kis roz yaad na aayenge hum
ab yoon hi pyaar nibhaayenge hum
jo chaahe sahenge door se gham

ujdi hui is mehfil ki qasam
toote huye saaz e dil ki qasam
jinse ?? dhadkan jaag uthhe
ab aise bhi geet na gaayenge ham
ab yoon hi pyaar nibhaayenge hum
jo chaahe sahenge door se gham


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 :

4104 Post No. : 15255 Movie Count :

4192

Today’s song is from film ‘Gokul Ka Raja’ (1954). This is the first song of this film to be discussed here. I am surprised how this film was not featured on the blog so far, because songs of this film have been on You Tube for quite some time. May be, because the entire team of this mythological film was from Marathi film industry and the names of producer, director, MD, or the cast were not familiar to the most people. It is because this was a bilingual film, made first in Marathi as ‘Gokulcha Raja’ (गोकुळचा राजा) way back in 1950 and the Hindi version was released only in 1954.

Made by Yashodhan Chitra, Bombay for producers Nana Bapat and Haribhau Guruji, the film was directed by a well known Marathi Director – Bal Gajbar. He had earlier directed another bilingual Hindi-Marathi film ‘Sandesh’ (1952) and before that yet another bilingual ‘Mere Laal’ (1948) (माझं बाळ in Marathi). Bal Gajbar had directed few Kannada films too, like ‘Vichitra Prapancha’ (1955). Before becoming a director, he was an art director with V Shantaram’s Rajkamal Kala Mandir.

All songs of the film were written by YN Joshi. The Music Director was Shridhar Parsekar – a name very few people will remember. I wrote about him first time in my series “Less Known Composers”, on 17-12-2012, seven years ago. Not much was known about him then. In January 2017, Sadanand Kamath ji wrote on him. In last nearly 3 years, some new information has become available on him, so his bio data is now updated further. As the new sources give new information, the history keeps on updating itself. This is a regular process of nature.

Hindi film music is like an ocean. As many rivers merge into the ocean at various stages, regional music from various parts of India is assimilated in HFM (Hindi Film Music).

Initially it was the Marathi stage/natya sangeet and Parsee Theatre which influenced HFM. In the East, it was Robindra Sangeet and Nazrul Geeti made the basis of film songs. In the Lahore centre it was the Punjabi style after ‘Khazanchi’ (1941).

After Partition and polarisation of film production language wise, it was BOMBAY, which became the centre for HFM and it was a wonderful mixture of music specialties from all over the country. There were many successful Music Directors in India. I remember a famous quotation – “Behind every successful man there is a woman.”

Can you tell me,who is behind every successful Music Director ? I am sure many of us do not have the answer.

The answer is THE ARRANGER.

Now, who is this arranger? Some have a vague idea, some may even think, he is the person who arranges song recordings and the musicians.

An arranger is the SOUL of film music. Once the composer conceives the tune for a song, he tells it to the arranger, who immediately makes its notations (writing music or Swar Lipi), which a properly schooled musician can read and play. Arranger also decides the instruments and their placements in the song. Most of the arrangers in the Film Industry were from Goa, where traditionally Jazz music was very popular.

A typical Goan likes to live life – ‘sushegaat’– which loosely means ‘araam se‘ or a carefree life. Their philosophy is eat, drink and be merry. This merry part includes Music.

Goa has given many musicians to India. Lata/Asha are  from Mangeshi – Goa, though the family had shifted to Kolhapur, MDs Dattaram (Wadkar) and N Datta (Datta Naik), Singers Kishori Amonkar, Kesarbai Kerkar, Shobha Mudgal, Hema Sardesai, Prabhakar Karekar, Remo Fernandez, Lorna are from Goa. (The list is only indicative, not exhaustive).

Most Arrangers were from Goa —-

Anthony Gonsalves from Majorda, Goa. He worked for Naushad,OP Nayyar and LP. The famous song “My Name Is Anthony Gonsalves” is a tribute by LP to him. He had taught Pyaarelal so many things including notations.

Chic Chocolate aka Anthony Vaz from Aldona, Goa. He worked for C Ramchandra mainly.

Chris Perry worked for Khayyam, RD Burman, Kalyanji Anandji, and Laxmikant Pyaarelal.

Frank Fernando – Anil Biswas, Kishore Kumar, Roshan, C Ramchandra.

Sebastian D’Souza from Bicholim, Goa – worked for Shanker Jaikishen from 1952 to 1975, and also OP Nayyar.

Most of the players of western instruments in the orchestras were from Goa.

From this crop of musicians from Goa, there was one outstanding musician – SHRIDHAR PARSEKAR, who was a singer, a famous violin player, composer of many Marathi songs/films/dramas and few Hindi films. He was an expert in playing almost 10 different instruments.

SHRIDHAR PARSEKAR was born in 1920 in Goa. From the childhood he was a lover of music and learnt classical music, first from his uncle Parshuram Buwa Parsekar and he was trained by him in playing various instruments like harmonium, jaltarang, tabla and violin. He was a disciple of Gajanan Buwa Joshi a noted musician. He operated a vand in Bardez, Goa and played violin, clarinet, harmonium and many other instruments. He was a genius and soon became famous for playing violin.

He came to Bombay and continued learning music here under many well known gurus, like Khadeem Hussain Khan, Natthan Khan and Anwar Hussain. Soon he was performing in stage shows doing jugalbandis with stars of the day like Ravi Shanker, Vilayat Khan and Akbar Ali Khan. Kishen Maharaj was very pleased with him. For some time he joined AIR Bombay as a musician and got friendly with Ustad Alla Rakha who also worked in AIR. RG Ramnathkar, who got him the AIR job, also taught him many Raaga/Raaginis. Parsekar worked at AIR for 6 years.

Later he worked as asst. to Music Director Annasaheb Mainkar and then started as MD for Marathi Films and stage dramas. His music in dramas like ‘Bhakta Damaji’, ‘Paisa Bolto Ahe’, ‘Kuber’ and ‘Kanyadaan’ was very popular. He also recorded many bhavgeets and natyageets from reputed singers in Marathi. HMV and Odeon published his records. Singers like Jyotsna Bhole, Saraswati Rane, Hirabai Badodekar, Vatsala Kumthekar and Master Krishnarao Chonkar also sang for him. One of his songs- “Vithal Vithal Gajari, Awaghi Dum Dumali Pandhari” ( “विठ्ठल विठ्ठल गजरी, अवघी दुमदुमली पंढरी” ) from ‘Bhakta Damaji’ is so popular that it is sold even today.

With Marathi films, recording of private songs, stage shows with prominent musicians, Shridhar had every happiness with him. He had a bungalow, cars, bank balance, name, fame and plenty of demand. He wrote a book on music – ‘Swar Ninad‘.

And then it happened !

He became an alcoholic. Normally, a person becomes alcoholic when he is unsuccessful. But this was an opposite case. While on the top of success he became an alcoholic. He used to drink day and night.

Once there was a jugalbandi programme with Ustad Vilayat Khan. Shridhar came fully drunk to the theatre. Vilayat Khan scolded him and left the show. Such things kept on happening, leading to his downfall. He stopped getting work and all his wealth, house, cars etc. was sold for liquor. His condition was such that he would play violin on streets and earn money. Lata Mangeshkar has narrated an incident, which I read in a book ‘From Noorjehan to Lata’ by Isak Mujawar. The book says…

“One day Lata’s car stopped in the traffic. Out of curiosity she peeped out to see what happened. There was a person in tattered clothes playing a violin beautifully and people had gathered to listen to him. Some people gave him alms. She asked the driver if he knew that person. The driver replied that it was Parsekar Buwa. She got down, went to Parsekar and told him to come with her. She will look after him now. On this, Parsekar replied that her father had asked him to look after their family, which he could not do, so why should she look after him. If she wanted to help, just give some money. She gave him 50 rupees and he almost ran away from there – probably to the wine shop !“

Finally Shridhar Parsekar died of liver cirrhosis on 10-9-1964 !  He was only 44 years old !!  Such a brilliant artist wasted by alcohol. So sad ! Pt Ravi Shankar and Vilayat Khan had personally met his family after his death, so much was the respect for his talent !!

In addition to 7 Marathi films, Shridhar Parsekar gave music to five Hindi films – ‘Nagad Narayan’ (1943), ‘Mahakavi Kalidas’ (1944), ‘Meri Amanat’ (1947), ‘Andhon Ka Sahara’ (1948) and ‘Gokul Ka Raja’ (1954). He composed 45 songs in these films. He sang 5 songs in 2 films, ‘Andhon Ka Sahara’ and ‘Gokul Ka Raja. Many famous singers sang for him, like, Minakshi, Khan Mastana, Rajkumari, Master Krishnarao, Mohantara, Vinodini Dikshit etc.

(Information from these sources also used herein- Marathi Chitrapat Sangeetkar Kosh, Marathi Cinema in Retrospect by Sanjit Narwekar, Purvasurinche Soor by Dr. Suresh Chandvankar and the book ‘Kalatmak Gomantak’ – Kala Academy, Panji – 1972) .

The cast of the film consisted of Dwarakanath, Ratnamala, Chandrakant, Gauri, Hanumanta, Angre etc.

I do not know anything about actor Dwarakanath. Never heard of his name before or after this film ever. Actor Chandrakant was Chandrakant Mandhare (real name Gopal) – the elder brother of the more popular brother Suryakant. These two brothers ruled the Marathi cinema from the late 40s to the 60s.

Gauri was originally Tanibai Dawari, who was active in Prabhat from the silent era. She became famous because of her role of Awali – the shrew wife of Sant Tukaram in that film in 1936. I have recently written in details about her, only last month. As far as the heroine Ratnamala is concerned, how many of us really know anything about this actress. It is surprising that a very lovely and beautiful actress, who was heroine of about 20 films in the 40s and has about 300 films to her credit, remains practically unknown. She was the heroine with Saraswati Cinetone, Prabhat Film Company, Sagar, Ranjit, Prakash Pictures etc. – all well known banners. She was in films for 50+ years and was a famous name in Marathi films of Dada Kondke.

Its a great pity that hardly any or no information about her is available in books, encyclopedias, wiki or on internet. When all sources of information come to a dead end, I turn to Harish Raghuwanshi ji of Surat and I am never disappointed. Here, I provide a short bio-data of Ratnamala, based principally on the articles given by Harish ji. Thanks, Harish ji.

She was born as Kamal Bhivandkar on 22-6-1923 in Bombay. Her father was Auditor of Central Bank, Bombay. She was good looking and could sing well. From the age of 14 years, she went on the stage of several Ganesh Melas prevalent in those times. She earned 5-10 rupees per performance. Due to family’s financial problems, she started looking for work. She was proficient in Marathi, Gujarati, English and Urdu languages. In 1938, she was picked up by Dada Torne of Sarswati Cinetone, Poona, who cast her as Heroine in Marathi film ‘Bhagwa Zenda’. Seeing her performance, she was taken by Prabhat Film Company for the Marathi version of their film ‘Das Baje’ (1942). Torne had renamed her as Ratnamala.

Vijay Bhatt of Prakash Pictures offered her a role in film ‘Bharat Milap’ (1942), when Kusum Deshpande selected for the role of Bharat’s wife fell ill. Seeing her performance, she was selected as a heroine for film ‘Station Master’ (1942). Here too the original heroine Jyoti fell ill. Then came ‘Panghat’ (1943), ‘Police’ (1944), ‘Kavita’ (1944) etc. She acted in many mythological films also. Some of her well known films were ‘Dholak’, ‘Maya Bazaar’, ‘Sasural’, ‘Bhabhi Ki Chudiyan’, ‘Faulad’, ‘Woh kaun thi’, ‘Nishaan’, ‘Bahu Beti’, ‘Mera Saayaa’, ‘Raaz’, ‘Saraswati Chandra’, ‘Brahmachari’, ‘Upahaar’, ‘Seeta aur Geeta’, ‘Nastik’ etc.

She acted in 130 Hindi films and many more Marathi films. Later she did side roles. She became famous as mother of Dada Kondke in 11 of his films. She was called ‘Aaye’ (आये )  in the Marathi films of Kondke.

Ratnamala was married to Raja Pandir, producer director of Marathi films, when she was very young. As Ratnamala became successful and Raja became a failure, their marriage came on rocks. She had one son – Jaikumar, who had also acted in one film. Unfortunately, he died suddenly in an accident. Ratnamala lived in her own bungalow in Andheri, Bombay, along with her foster son – Ramesh. Ratnamala died of heart attack on 23rd January 1989.

Today’s song is the first song sung by Shridhar Parsekar that is being presented. One can easily make out from his clear voice, impeccable pronunciations and the classical singing style that the singer is trained in classical music and is a knowledgeable person. With this song the film ‘Gokul Ka Raja’ and singer Shridhar Parsekar are making their debut on this Blog.

Song – Mangal Prabhat Jaage Surya Kiran Sang (Gokul Ka Raja) (1954) Singer – Sridhar Parsekar, Lyrics – YN Joshi, MD – Sridhar Parsekar

Lyrics

jaa..aa..aa..aage ae ae ae
jaage ae ae ae

jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
surya kiran sang
gokul mein rang
surya kiran sang
gokul mein rang
navjeevan anuraage
jaage
navjeevan anuraage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage

go dhan amrit varsha karta..aa..aa
aaaaa aaaa aaaa aaaa
go dhan amrit varsha karta
sukh saurabh gokul mein jharta
sukh saurabh gokul mein jharta
baal gopal
baal gopal charaayen gaayen
madhu murli jiya laage
laage
madhu murli jiya laage
laage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage

surya kiran sang
gokul mein rang
navjeevan anuraage
jaage
mangal prabhat jaage
jaage
mangal prabhat jaage
jaage
jaa..aa..aa..aage

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

जा॰॰आ॰॰आ॰॰आ॰॰आगे ए ए ए
जागे ए ए ए

जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
सूर्य किरण संग
गोकुल में रंग
सूर्य किरण संग
गोकुल में रंग
नवजीवन अनुरागे
जागे
नवजीवन अनुरागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे

गो धन अमृत वर्षा करता॰॰आ॰॰आ
आsss आsss आsss आsss
गो धन अमृत वर्षा करता
सुख सौरभ गोकुल में झरता
सुख सौरभ गोकुल में झरता
बाल गोपाल
बाल गोपाल चराएं गाएँ
मधु मुरली जिया लागे
लागे
मधु मुरली जिया लागे
लागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे

सूर्य किरण संग
गोकुल में रंग
नवजीवन अनुरागे
जागे
मंगल प्रभात जागे
जागे
मंगल प्रभात जागे
जागे

जा॰॰आ॰॰आ॰॰आ॰॰आगे


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 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 :

4104 Post No. : 15254 Movie Count :

4191

First of all, my apologies for my infrequent appearances here. Even calling it a cameo is unfair to a cameo, because, to be honest, it is not even that. It is more like, a “blink and you miss” situation.

Anyway, here I am today, back with a post. The occasion is the Remembrance Day of someone very special to the Hindi film industry, and also to me. He has millions of fans around the world and is easily one of the legends of the industry.

I am talking about Kishore Kumar, of course.

I’ve written about Kishore Kumar many times in the past. And yet, when Avinash ji requested me to write a post for this occasion, I immediately agreed. Such is my love for Kishore Kumar that even if I repeat myself and bore my readers in the process 🙂 , I could not bring myself to say no.  🙂

The problem then was to get the required writing mood back. What they say about writing is very true. If you don’t write for an extended period of time, you gradually lose the ability to do so. That is why many writers practise their writing everyday, by writing at least a minimum number of words.

When I wrote to Avinash ji saying “Mere thoughts gather nahin ho rahe. I have lost the ability to write”, he replied “Aap Kishore Kumar ke gaane suniye aur din bhar sunte rahiye. Thoughts will come, I am sure.” 🙂

So I did listen to a few songs – predictably songs of ‘my’ era. “Khizaan Ke Phool”, “Jeevan Se Bhari Teri Aankhen”, “Teri Duniya Se”, “Hum Bewafa Hargiz Na The”, “O Mere Dil Ke Chain”, “Ye Shaam Mastaani” and a few others.

I think that might have helped a bit, because here I am.

Anyway, coming to Kishore Kumar.

The years just roll by – it is already 32 years since he left us.

He was just 58 at the time – far too young to go.

But like they say, it is not the years in your life that count, it is the life in your years.

And Kishore Kumar had plenty of life in his years.

No one will dispute that Kishore Kumar was the No.1 all-rounder in the industry. There have been a few others who have had multiple skills. Manoj Kumar was actor, writer, director, producer. Mehmood was also quite an all-rounder.

But Kishore was in a league of his own, because in each of his roles, he left a mark. Of course he is best-known as a singer, but even today many remember his acting, especially in comedy roles like in ‘Dilli Ka Thug’, ‘Chalti Ka Naam Gaadi’, ‘Half Ticket’ and many other films.

But there was so much more to Kishore Kumar than just comedy. And probably to prove this point, he produced and directed films like ‘Door Gagan Ki Chhaon Mein’ (1964) and ‘Door Ka Raahi’ (1971). I was stunned when I saw both these films – they have tremendous depth and philosophy, uncommon for the times.

His versatility was not limited to singing, acting, producing and directing though. Kishore Kumar also composed music, for some of his films.  Like the two films mentioned above, whose songs are quite popular to this day. As are the songs of  ‘Jhumroo’ (1961).

This is why I call Kishore Kumar the Gary Sobers of the Hindi film industry. 🙂 He could take on any role, and make a success of it.

But beyond even his multifarious talents, there was Kishore the person. And even as a person, he is quite an inspiration for me. His attitude towards life is something I can only admire.

Those who worked with Kishore Kumar, especially Lata Mangeshkar and Asha Bhosle, vouch  for his ability to enliven a recording session with his sense of humour, his cracking a joke or pulling someone’s leg. Some people are like this – never a dull moment with them around.

It is not as if Kishore didn’t have low moments, or tough times. Everyone has these – Kishore was no exception. But he never let this affect his professionalism. He was very clear about himself, his philosophy towards life – and he never allowed others to define it for him.

Like he said “Duniya samajhti hai main paagal hoon….main samajhta hoon duniya paagal hai”.

I think, whatever his conflicts with the world might have been, especially later in his life, he was at peace with himself. And that is most important for a human being. Like he told Lata Mangeshkar in an interview in the fag end of his career “I am quite happy”. He expressed a desire to run away from it all, and go to a place which was calling out to him.

Today, on his Remembrance Day, I feel Kishore Kumar found that place and left us in order to go there.

And left us with SUCH a treasure of songs and memories that we are indebted to him for life.

So thank you, thank you, thank you, Kishore Kumar for what you have given us. Speaking purely for myself, as someone who has been part of my life from my very early years, when I listened repeatedly to songs like “Mere Sapnon Ki Raani” and “Ye Shaam Mastaani” on the radio, your impact on my life cannot be described.

Now onto the song for today.

It is a totally new song for me. In fact I have never even heard of the film. Details, including lyrics of the song, have been sent to me by Avinash ji.

This is what he says :

“Zindagi Jeene Ke Liye-1984’ was directed by K.S. Sethumadhavan for ‘Tirupati Chitra Mandir, Bombay’. It was produced by Hastimal.

It had Rakhi Gulzar, Suresh Oberoi, Vijay Arora, Manmohan Krishan, CS Dubey, Krishan Dhawan, Shobhha Khote, Birbal Raj, Raj Kishore, Rakesh Roshan, Tina Munim, Master Rinku, Shah Chaturvedi, Raghvaiyya, Santosh Kumar, Lata Kashmiri, Dolphin and others. Deepa and Ramu make a guest appearance in this movie.

This movie was passed by Censor Board on 06.06.1984. However, the movie was re-certified by Censor on 15.12.1987 with a UA certificate (as mentioned in HFGK).

The movie has total seven songs, including the three-part song being presented today (as per HFGK Vol-VI 1981-1985) composed by Rajesh Roshan. HFGK mentions Rajesh Roshan as the lyricist for this movie and the same is mentioned on the vinyl cover of this movie available on online sources, which I guess is correct. (myswar.co also mentions the same). Asha Bhonsle, Kishore Kumar, Pankaj Udhas and Yesudas had given their voices to the songs in this movie.”

This film, ‘Zindagi Jeene Ke Liye’ (1984), makes its debut entry on this blog today.

The song itself is amazing. I’d never heard it before, but when I heard it for the first time a few days ago, it touched my heart. It also suits this occasion, as it talks of a person who feels he is ready to move on.

Please do listen to this wonderful song. Quite a gem, it is, especially in Kishore Kumar’s voice. Thanks for the song, Avinash ji.

Audio, All Parts

Video, Partial

Song – Udte Udte Pyaase Panchhi (Zindagi Jeene Ke Liye) (1984) Singer – Kishore Kumar, Lyrics – Indeevar, MD – Rajesh Roshan

Lyrics (Provided by Avinash Scrapwala)

Part 1

hmmm mmmm mmmm mmmm mmmm
hmmm mmmm mmmm mmmm mmmm

udte udte pyaase panchhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye
armaan pyaase chhaayi udaasi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye

ek nadi thhi pyaar ki
saari duniya byopaar ki
ek nadi thhi pyaar ki
saari duniya byopaar ki ee
raah roke apni khadi thhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye

zindagi ke ae baaki thhe kuchh lamhe
shaayad ke ho milna phir hamen
zindagi ke ae baaki thhe kuchh lamhe
shaayad ke ho milna phir hamen
maar daalegi ye bebasi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye
armaan pyaase chhaayi udaasi
pyaase panchhi thhak gaye

Part 2

door jaa rahe hain
ke nainaa ro rahe hain
door jaa rahe hain
ke nainaa ro rahe hain
saanson ki na toote ladi ee
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye

Part 3

haathon ne hamesha waar kiya
kabhi naa kisiko pyaar kiya
haathon ne hamesha waar kiya
kabhi naa kisiko pyaar kiya
nas nas basi buzdili thhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye ae

————————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
————————————————————

भाग १

हम्मम मम्मम मम्मम मम्मम मम्मम
हम्मम मम्मम मम्मम मम्मम मम्मम

उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए
अरमां प्यासे छायी उदासी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए

एक नदी थी प्यार कि
सारी दुनिया ब्योपार कि
एक नदी थी प्यार कि
सारी दुनिया ब्योपार कि ई
राह रोके अपनी खड़ी थी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए

ज़िन्दगी के ए बाकी थे कुछ लम्हे
शायद के हो मिलना फिर हमें
ज़िन्दगी के ए बाकी थे कुछ लम्हे
शायद के हो मिलना फिर हमें
मार डालेगी ये बेबसी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए
अरमां प्यासे छायी उदासी
प्यासे पंछी थक गए

भाग २

दूर जा रहे हैं
के नैना रो रहे हैं
दूर जा रहे हैं
के नैना रो रहे हैं
साँसों की ना टूटे लड़ी ई
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए

भाग ३

हाथों ने हमेशा वार किया
कभी ना किसीको प्यार किया
हाथों ने हमेशा वार किया
कभी ना किसीको प्यार किया
नस नस में बसी बुज़दिली थी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए ए


This article is written by Arunkumar Deshmukh, 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 : 4103 Post No. : 15253

Today’s song is from film Ajamil-1948. This was the maiden venture of Sanskar Chitra, Bombay, of owner Moolraj Kapadiya, who was also the producer of this movie. The film was directed by his close relative-Jamnadas Kapadiya, for whom this was his only film as a director. The film was made in Gujarati and Hindi simultaneously. The story, screenplay and songs for the Gujarati version were by Kavi Prabhulal Dwivedi and for Hindi version it was S P Tripathi, who wrote all the 12 songs of the film. While HFGK mentions name of Dwivedi as the Lyricist, according to Girdharilal Vishwakarma ji, the famous Music Historian and Record collector, the records of the songs of Hindi version carry the name of Tripathi. The Music Director of this film was Master Mohan Junior.

In the history of Hindi Cinema, besides the biggest problem of Same name artistes causing confusion, there were many other smaller, but irritating unsolved mysteries like…
1. Who sang the song ” Dilli se aaya bhai Tingu” in film Ek thi ladki-49 ?
2. Who was the artiste who sang on screen,” Hawa mein udta jaaye” from film Barsat-49 ?
3. Who were the composers ” Vasant Ramchandra” ?
4. Are they one person or two – Shyam ji Ghanashyam ji and Hemant Kedar ?
5. Who said ” Yahoo” in film Junglee-64 song ?
6. Who sang ” Leke pehla pehla pyar’ on screen ?
7. Why composers Jaidev and C Ramchandra gave music in different names ?
8. Whose voice is in the ” Mehboob production” ‘s logo ?
9. Who was the artiste in Prabhat’s logo ?
10. What happened to actresses Latika and Mrudula ? etc.etc.

I have listed only a few here, but there are many more such riddles,puzzles and unsolved (as yet) mysteries in Hindi cinema world.
Since the time I started writing on old films, I tried relentlessly to get the right answers, with proofs,for some of these riddles. I was successful in solving some mysteries too. As far as the Same name artiste’s confusions are concerned, I had dug out information on 50 such artistes and published this in my book. From time to time even my articles here also contained them. Presently, I have information on another 20 such same name artistes with me, which will be published in my next book,after adding few more pairs.

One mystery connected with today’s film is about its Music Director – Master Mohan Junior. As per a note in HFGK,under the film “Daana paani”-53, it was composer Madan Mohan, who gave music in this name. There was no reason to doubt this claim as it came from HFGK, but one day…..
One day in 2012, I received a query from Shri Girdharilal Vishwakarma ji, asking about Mohan Junior, who, according to him was a different person. He wanted to know if I had some information.

I had no such information. I was actually floored with this query. After receiving this query, I immediately got in touch with Madan Mohan’s son Sanjeev Kohli ji and daughter Sangeeta Gupta ji and asked them this question. Sanjeev ji promptly responded saying that in all probabilities, Mohan Junior was a different person and that is why they have not included film Dana Pani-53 in Madan ji’s filmography.
Then I contacted Harish Raghuwanshi ji of Surat. We did a hard work and then found out that Mohan Junior indeed was different. He was a Gujarati Music Director. Further Harish ji found that one Dr. Vipin Kikani had done his Ph.D. on ” Gujarati stage and its artistes” and that he had written about Mohan Junior in his book. Harish ji got the book, translated the relevant portion in Hindi, made its PDF and sent it to me with his Gujarati Filmography.

By now, the mystery was almost solved, but still, to get a first person confirmation, I requested Girdharilal ji to talk to Madhubala Jhaveri,because she had sung some songs for Mohan Junior. He did it immediately and Madhubala ji confirmed that Mohan Junior was a Gujarati person and he was NOT Madan Mohan.

At last, it was conclusively proved that Master Mohan Junior was not a pseudo name for Madan Mohan but he was a different person. Here is his full information…….

Master Mohan Junior was born in 1908 in a Bhurji Rajpoot family at Masuda, near Ajmer. When he was 5 year old, the great Plague epidemic killed all members of his family and he became an orphan. His cousin sister took him to Idar and he grew up there. He had inherited the singing ability of his father.When he was 13 year old, Raghunath-his brother in law- sent him to ” Morvi Subodh Arya Natak Mandali “, in 1921. Later he also worked with Imperial,Laxmikant Natak Mandali and Arya Naitik drama company from 1926 to 1930. His brother in law was quite attached to him.

He started with Gujarat Kala Mandir as a Music Composer from 1930 onwards. His attempts to become an actor failed in 1932. He was now owner of the company Arya Natak Mandali, in which Ramlal was a Music composer. His music became famous with many famous dramas.Raskavi Raghunath Brahmabhat has praised his music capabilities.

He gave music to 6 Gujarati films, namely- Ajamil-48, Vadilon naa vaanke-48, Bhakta Pooran-49, Vevishat-49, Choodi Chaandlo-50 and Bhakta Narsaiyo-52. He also gave music to 2 Hindi films- Ajamil-48 and Daana Paani-53.

Even after all clarification about Mohan Junior, still 2 questions remained –

1.Why did Begum Akhtar say that Madan Mohan gave music. The answer to that is-she was right, that Gazal (in film Dana Pani-53) was composed by Madan mohan and it was used in the film. It was concluded therefore that the entire film music was given by Madan Mohan. I think HFGK went overboard in this.

2.Why that composer called himself Junior, because in 48, and 49 Madan Mohan was not a composer as yet. He debuted with Aankhe-50. I found out that during that period there was yet another Mohan-a Mohan Sharma, a Music director for Jai Hind-1949(unreleased) and Chocolate-1950.

May be to distinguish himself,he called himself as Mohan Junior.

Sanjeev Kohli ji has also now agreed that he must be a different person. However Sanjeev ji has requested me NOT to quote his name elsewhere in this connection.,as he does not want any controversy now. so let us keep him out of this.

Although all this search for truth took place back in 2012- 7 years ago, I have recounted all this now, only to stress the difficulties one faces in breaking an old myth or decoding a mystery. Further, all this was never brought before readers any time. Additionally Mohan Junior’s bio data is published first time here.

Film Ajamil was also made in silent era in 1922 by Kohinoor film company, Bombay. Kanjibhai Rathod had directed it. Next, it was made in 1934 as a Talkie, by Saroj Movietone. It’s director was Abdul Rehman Kabuli, about whom I just wrote in my previous post. The role of Ajamil was done by Ashraf khan – who himself became a Sufi Saint in his later life.

The story of Ajamil has been taken from the 6th chapter of Bhagwat Puran. It stresses the value of Naam smaran or Jaap and how it can make a Saint out of a bad man. The story of Ajamil is…

Ajamila was once a very noble Brahmin, performing his duties and prescribed rituals most sincerely and was also a good husband, good son and good father. Once when he was in the forest to gather the fuel-wood for his rituals, he fell for a woman, heart and soul. Actually the woman was one of very low morals. From that time onwards he lived with her, abandoned his family and his own parents. He got ten children by her, made a living and supported this large family by blackmailing rich people, by cheating, fraud and gambling. He was particularly fond of the youngest child, Narayana, by name. The attachment to the child was so pronounced that whether he was eating, drinking, relaxing or working, he would always want Narayana to be by his side and partake of his food or participate in his enjoyment. When finally the call from Yama, the God of Death, came, it came suddenly and in his agony he called his child to his side and cried: O Narayana. He called aloud with great fear.

The messengers of Yama who almost got him in their noose suddenly found from within his heart four well-clad beautiful angel-like figures, each with four hands, preventing the messengers of Yama from discharging their duty. An intense conversation ensued between the messengers of Yama on the one side and the messengers of Narayana – because that is what they were – on the other side. They asked: You are the emissaries of Dharma-raja; then you should know what dharma is and what rules apply for punishment. The messengers of Yama replied: (VI – 1 -40 to 68):

What is declared by the Vedas is dharma. What is prohibited by Vedas is adharma. The one God who has created this entire world and who has allotted the different duties to varnas and ashramas is Lord Narayana. He has ordained that our Lord Yama take the lives of people when their time is over and punish them according to sins committed by them. There are several witnesses to whatever a man does in his life.

They are the Sun, Agni the Fire-God, Space, the Wind-God, Animals, the Moon, the God of SandhyA the twilight, Day, Night, the eight quarters, Water, Earth, Time and the God of Dharma, who is Yama himself. Nothing can be hidden from any of these. . We are doing our duty ordained by our boss.

Back came a pretty long rejoinder from the messengers of Vishnu: Your Master who must show to the world what right action is, has sent messengers like you who do not seem to know the rules! This Ajamila, though he has forgotten his real divine nature, has pronounced the four-syllabled name of God Narayana at the time of death and by that very action has done the Prayaschitta – प्रायश्चित्त (repentance act) for all his sins.

A thief of gold, a drinker of wine, a betrayer of a friend, a killer of a brahmin, one who commits adultery with the wife of his Guru, a killer of a woman or of a king, or of a cow or of his father — all these worst sinners have been declared to be absolved by the recitation of God’s name because by that very act he becomes God’s protege and deserves to be under His care.

After all this explanation by the messengers of Vishnu the messengers of Yama felt overpowered and they went back to their overlord. In the meantime Ajamila came back to his senses and remembered all the conversation that went on in the presence of his subtle body between the messengers. He was about to say something, when the messengers of Vishnu also disappeared. It was quite a while before he could take stock of the situation.

Here he was. alive and kicking, by the mercy of God Narayana, whose name he had just taken on the point of death, not in remembrance of the Lord but in passionate affection of his child. If this single act of the utterance of a four-syllable word Narayana can make such a difference to life after death, what larger worlds of fullness and majesty he may not conquer by really leading a noble life of Dharma in the memory of the Lord? — so thought Ajamila. And that very moment he renounced everything to which he was attached, went to Benares and engaged himself in austerities and meditation and in due time reached the abode of the Lord. (adapted and abridged from krishnamurthy’s.com, with thanks)

Today’s song is by Amirbai Karnataki and chorus. it is a melodious song. This is the second song from this film to be discussed on this Blog.

(I thank, Harish Raghuwanshi ji, Girdharilal Vishwakarma ji, family of Madan Mohan ji and Dr. Vipin Kikani ji for information used in this post. I also thank Sadanand kamath ji for uploading the song video on my request, promptly – as always.).


Song-Aaya aaya mehmaan man bhaaya (Ajaamil)(1948) Singer-Amirbai Karnataki, Lyrics- S P Tripathi, MD- Master Mohan Junior
chorus

Lyrics

Aaya aaya
mehmaan man bhaaya
Aaya aaya
mehmaan man bhaaya
kaun nainon se dil mein samaaya
kaun nainon se dil mein samaaya aa aa
Aaya aaya
mehmaan man bhaaya
Aaya aaya
mehmaan man bhaaya

kalpana ne dil mein jinki
khenchi thhi rekha
nainon ne aaj wahi
nainon ne aaj wahi
?? roop dekha
sudh budh ko bhool gayi
harsh mein magan bhai

dekho dekho ye nachti hai chhaaya
dekho dekho ye nachti hai chhaaya
Aaya aaya
mehmaan man bhaaya
Aaya aaya mehmaan man bhaaya

yug yug ki aas meri
haan aan aan
man ki madhur saadh mori
ho o ho
naach uthhi haan
naach uthhi
naach uthhi haan
naach uthhi

dekh to main aaya
aur dil mein samaaya
dekh to main aaya
aur dil mein samaaya
Aaya aaya
mehmaan man bhaaya

na na na
aaya aaya
sajan man bhaaya
Aaya aaya
mehmaan man bhaaya

na na na
aaya aaya
sajan man bhaaya
kaase(??) sajoon
jhoom uthhi
jhoom uthhi
jug jug se jhoom uthhi
jhoom uthhi
jhoom uthhi
jug jug se jhoom uthhi
kya
kaaya meri
P? phir chhaaya
kaaya meri
P? phir chhaaya
Aaya aaya
sajan man bhaaya
Aaya aaya
sajan man bhaaya
Aaya aaya


This article is written by Peevesie’s mom, 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 :

4102 Post No. : 15252 Movie Count :

4190

The Dadasaheb Phalke Award is India’s highest award in cinema. It is presented annually at the National Film Awards ceremony by the Directorate of Film Festivals, an organisation set up by the Ministry of Information and Broadcasting. The recipient is honoured for their “outstanding contribution to the growth and development of Indian cinema” and is selected by a committee consisting of eminent personalities from the Indian film industry. The award comprises a Swarna Kamal (Golden Lotus) medallion, a shawl, and a cash prize of ?1,000,000 (US$14,000). Presented first in 1969, the award was introduced by the Government of India to commemorate Dadasaheb Phalke’s contribution to Indian cinema. Phalke (1870–1944), who is popularly known as and often regarded as “the father of Indian cinema”, was an Indian filmmaker who directed India’s first full-length feature film, Raja Harishchandra.

The first recipient of the award was actress Devika Rani, who was honoured at the 17th National Film Awards held in 1969. As of 2017, there have been 49 awardees. Among those, actor Prithviraj Kapoor (1971) and actor Vinod Khanna (2017) are the only posthumous recipients. Raj Kapoor accepted the award on behalf of his father Prithviraj Kapoor at the 19th National Film Awards in 1971 and was himself a recipient in 1987 at the 35th National Film Awards ceremony. Bommireddy Narasimha Reddy (1974) and Bommireddy Nagi Reddy (1986); Raj Kapoor (1987) and Shashi Kapoor (2014); Lata Mangeshkar (1989) and Asha Bhosle (2000) along with B. R. Chopra (1998) and Yash Chopra (2001) are the siblings who have won the award.

Note:- all of the above information I have extracted from Wikipedia and apologize for any wrong information therein.

October 11th 1942 was the date when Teji Bachchan- wife of Shri. Harivansh Rai Bachchan gave India the Shahenshah of Bollywood. He goes by the name Shri. Amitabh Bachchan. Anyone who has even the faintest knowledge about Indian movies -anywhere in the world- would have heard about this actor. He may have not been India’s first mega-superstar, that title will always be associated with Rajesh Khanna. The reason I have used the term Mega-Superstar for Rajesh Khanna is because Dilip Kumar- Dev Anand-Raj Kapoor were equally big stars of their generation and the trio were inspiration for the next set of actors like Manoj Kumar, Dharmendra, Rajendra Kumar, Rajesh Khanna, Jeetendra, Amitabh Bachchan etc. The popularity and fan-following that Rajesh Khanna achieved was much more than what the trio of the 50s and 60s may have experienced collectively. Amitabh Bachchan had a long journey to reach the level of popularity that was Rajesh Khanna’s; but even at the height of his superstardom one has never heard of girls writing letters to Amitabh with blood, or throwing themselves at his car or trying to commit suicide at the news of his marriage to Jaya Bhaduri etc.

What Amitabh experienced was a different kind of affection from his fans. There were people who prayed for his life in 1982 when he had an accident during the shoot of “Coolie”. There are accounts of people walking barefoot from far-flung places to the hospital where AB was admitted and battling for life after the accident; people offering prayers at various places of worship cutting across religious differences. AB has always thanked his fans for all the love they showered on him during that period. In fact, he always greets them on Sunday evenings (whenever he is in Mumbai i.e.) for which there is a huge crowd of fans waiting outside his Mumbai residence.

He may have been dubbed the angry-young-man in the early phase of his career but he was equally adept at emotional, romantic or comic roles. “Mahaan” (1983) had him in three roles where we had him as an emotional father/ husband, serious-faced inspector and comic stage artist. The turn of the century saw him change his style and take on a variety of roles and characters- strict father who will not accept his son marrying against his wishes (Kabhi Khushi Kabhi Gham), strict principal who wanted all his students to adhere to the ‘parampara’ ‘pratishtha’ etc laid down by the college (Mohabbatein), friendly-indulgent father to Akshay Kumar (“Ek Rishtaa: the bond of love” and “Waqt: the race against time”) etc. etc. etc. We saw him as a rustic near-bumbling cop in “Bunty Aur Babli”; aging teacher of a deaf-blind girl in “Black”; these successful experiments have seen him through 50 years in an industry which has many talented actors but no one has been given epithets like “Shahenshah of Bollywood”, “Big B” or “Star Of The Millennium”. He continues his reign over the hearts of his fans in spite of the next generation and the one after it giving movies that gross over 100 crores per film. He still gets author backed roles that befit his age and many-a-times is the central character of the story as in “Baghban” and “Baabul”. His detractors may feel that he is the most off-key (besura) singer (and I believe he agrees that he is mostly off-key) but the songs that he has sung (from the first full song “mere pass aao mere doston”) have been well received by his die-hard fans-yours truly included. 🙂

Coming back to the opening para of this post- here is the connection- Amitabh Bachchan is the recipient of this prestigious award for this year. He joins an august list of personalities who have had a major influence on the Indian film industry beginning from Devika Rani who is acknowledged as the first lady of Indian cinema.

This is the latest feather in AB’s cap in addition to the Padma awards – Padma Shri, Padma Bhushan and Padma Vibhushan; 4 National Awards for best actor and 15 Filmfare awards and numerous other awards from various national and international organisations.

Today he turns 77 and I am confused as to which is an appropriate song that should go with this post- I have a big collection to choose from- the blog has about 20 songs which have had Amitabh Bachchan in the recording room as a singer or uttering a few words with the main singer.

Today’s song is from the BR films produced 2006 release “Baabul”. It had AB play an indulgent and friendly father to Salman Khan and a loving father-in-law to Rani Mukherjee. The movie had a simple story of the loving father-in-law, fighting the opposition from his own wife and other family members, against his decision of getting his son’s widow remarried. The song comes at the fag end of the movie. It was on my list of songs under consideration for this post. What clinched the matter in its favour is that the song has two versions to it. The version in the movie is in the voice of Amitabh Bachchan and the album version is in Jagjit Singh’s voice. And only this morning I saw a message on our WhatsApp group that yesterday was Jagjit Singh’s anniversary.

So, we wish our Big B a long and healthy life and lots more years of entertaining us along with remembering Jagjit Singh and his smooth voice.

Video (Amitabh Bachchan voice)

Audio

Song-Kehta hai baabul o meri bitiya (Baabul)(2006) Singer-Amitabh Bachchan/ Jagjit Singh, Lyrics-Sameer, MD-Aadesh Srivastava

Lyrics

kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
daakiya koyi jab aayega
tujhko churaa ke le jaayega
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
katega kaise lamha tere bina bata aa aa
jiyuga kaise tanha tere bina bata

tu suhaagan rahe sang saajan rahe raat din
iss khushi ke liye har sitam main uthha loonga aa
tere jaane kaa gham mujhko hoga magar laadli
leke iss dard ko main sada muskuraaoonga
baabul toh dil se de raha duaa yahi
khushi ke saaye mein ho zindagi teri
baabul toh dil se de raha duaa yahi ee
khushi ke saaye mein ho zindagi teri

waqt ke saath zakhm yeh bhar jayega
pal guzar jayega tu meri baat maan le ae
yaadon ke aasre umr kat’ti nahin
hai haqeeqat yahi abb too jaan le ae ae
samundaron ka paani koyi naa pi saka
akela khaara jeevan koyi naa jee saka aa
samundaron ka paani koyi naa pi saka
akela khaara jeevan koyi naa jee saka

kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
daakiya koyi jab aayega
tujh ko churaa ke le jaayega
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata


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What is this blog all about

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

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

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

Total number of songs posts discussed

15261

Number of movies covered in the blog

Movies with all their songs covered =1179
Total Number of movies covered =4192

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Active for more than 4000 days.

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