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

Jiya doley jiya doley jiya doley re

Posted on: October 30, 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 :

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

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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.

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