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

Archive for November 2019


This article is written by Sadanand Kamath, 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 :

4139 Post No. : 15301 Movie Count :

4215

By now, I must have watched/heard about 20 Hindi songs from the Bangla films of 1950s-1970s. I have a feeling that there may be a few more Hindi songs in Bangla films which I have yet to explore.

A question came to my mind as to why some Bengali film directors have fascination to incorporate Hindi songs in Bangla films. Is it something to do with realism or the personal preferences of the film directors? After watching some of the videos of the Hindi songs in Bangla films, I have come to the conclusion that it is for the realistic depiction of the situations in the films. Almost, all the Hindi song situations in Bengali films that I have so far watched, belongs to semi-classical genre. The Hindi song situations mostly comprises of mujra dances, a teacher of Hindustani classical vocalist rehearsing with his student, actors in the role of Hindustani classical vocalists giving stage performances etc.

Today, I am presenting a semi-classical traditional dadra, ‘jiya mein laagi aan baan’ from the Bangla film ‘Atithi’ (1965). The film directed by Tapan Sinha is based on a short story of the same title by Gurudev Rabindranath Tagore. The dadra set in raag Gara has been sung by Meera Banerjee whose name I heard for the first time. A search on the internet revealed that Meera Banerjee was Hindustani classical vocalist belonging to Patiala Gharana. A brief profile of Meera Banerjee culled out from an article in ‘The Hindu’ July 5, 2012 issue is presented below:

Vidushi Meera Banerjee (28/03/1930 – 28/06/2012) was born in Meerut (Uttar Pradesh). Her father, Shailendra Kumar Chatterjee was a musicologist who gave her the initial training in music. Later she was trained by Pandit Chinmay Lahiri. She became the listed artist of All India Radio at the age of 14.

Pandit Harishchandra Bali of Jalandhar (see my note below) who was the Guru of Meera’s father saw her potential as a vocalist and gave her training in some rare bandishes composed by him. From 1950 onward, Meera Banerjee became the disciple of Ustad Bade Ghulam Ali Khan and remained so until his death in 1968.

Meera Banerjee attained the status of one of the prominent Hindustani classical vocalists in the genre of Khayal and Thumri in the 1950s. She participated in the National Programme of Music and other musical festivals in India. She travelled abroad as a part of cultural delegation of Government of India to give performances in various countries. She had won numerous awards for works.

In 1957, she married Pandit Prasoon Banerjee, also a Hindustani classical vocalist who also became the disciple of Ustad Bade Ghulam Ali Khan.

At the later stage of her life, due to poor health, she stopped giving public performances. Meera Banerjee left for her heavenly abode on June 28, 2012 in Kolkata.

———————————————————————————————–

Note : Pandit Harishchandra Bali is the same person as H C Bali who was the music director for about 25 Hindi films during 1930s and 40s. His disciples included Pandit Amarnath Chawla, Husnalal and Bhagatram.

Probably, this may be the only song Meera Banerjee sang for a film. In the film, the song has been partially picturised as part of a medley of three songs which follows one after another. The situations in the film seem to be many families travelling in boats. While the first song is a dadra, the second is a folk song and the last one is the Bangla song.

This dadra song in raag Gara is in the traditional lyrics which was first recorded in 1916 in the voice of Gauhar Jaan. Later, many prominent Hindustani classical singers have rendered this dadra including Meera Banerjee and Rasoolan Bai in a more elaborate way. The music director for the film was Tapan Sinha.

Video Clip (Partial):


Audio Clip

Song-Jiyaa mein laagi aan baan (Atithi)(Bangla)(1965) Singer-Meera Bannerji, MD-H C Bali

Lyrics

aaaaaaaan aa
aaaa..n baaaa..n
aaaa..n baaaa..n
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein
jiya mein laagi aaaa..n baaaa..n
jiya mein laagi aaaa..n baaa..n
jiya mein laagi aan baan
jiya mein laagi aan
o pyaari chitwan aa ??
jiya mein basi kaise phansi
jiya mein basi kaise phansi
aan baan
jiya mein laagi aan baan
jiya mein laagi aan
jiyaa…aa mei…n laaa..gi
aan baan re
aan baan
aan baan
jiya mein laagi aan baan

pairan laagi jhuk ke saiyyan
pairan laagi jhuk ke saiyyan
koi na meherbaan saiyyan
koi na meherbaan saiyyan
tum bin mohe kal na pade
tum bin mohe kal na pade
tumhre kaaran jaa..gi re
tumhre kaaran jaa..gi
aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan baan
jiya mein laagi aan

1965

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This article is written by Avinash Scrapwala, 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.

This is the 15300th song post in the blog

Blog Day : 4138 Post No. : 15300

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Blog 10-Year Challenge (2009-19) – Song No. 49
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Welcome all to this post under this series where I am presenting yet another song from the Seventies. The last post presented in this series was also presented by me that too was a song from the year 1973.

The song under discussion is also from a movie of 1973.

Ever since Atul ji started this series it has become my routine to regularly check for movies which are eligible to be discussed in the series in the forthcoming month. I try to find movies that triggers long dormant memories of those days, associated either with the movies or their songs.

I may not necessarily have watched all those movies. In some cases it is only the songs from these movies, frequently being played on the radio or loudspeakers may have left lasting memories in my mind.

The movie for today’s song is a case inn point. I have not watched this movie till now, but I remember its song ‘tere naam ka deewaana, tere dar ko dhoondhtaa hai’ which was arguably the most popular of all the songs of this movie, as it was frequently played on the radio then. I did not like this song those days. Nevertheless this was the song and not any other songs that I associate with its movie.

After many years I listened to ‘honi to hoke rahegi anhoni naa hoye’ and liked it very much.

One more song from this movie which was popular and was played on radio and loudspeakers is the song being presented today. It was only after I browsed the list for the pending songs from this movie that I get to know that this song was from this movie ‘Suraj Aur Chandaa’.

I was surprised when I find that this song has not been posted on the blog till now.

As mentioned above I had not watched this movie or its songs till now. It was during the preparation of this post that I watched the video of this song for the first time.

Despite their popularity, popular none of these songs made it to the annual list of ‘Binaca Geetmala’ of that year.

Before going into the song let us have a look on the movies represented on the blog ten years ago this day 16th November 2009;

Movies represented on the blog on 16.11.2009 (in descending order);

Song Movie title-Year Remarks
Gaaon mein peepal peepal ki chhainyya Suraj Aur Chandaa-1973 03 of 06 songs posted
Sajanwaa bairi ho gaye hamaar Teesri Kasam-1966 All Songs Covered in the blog

‘Sooraj Aur Chandaa-1973’ or ‘Suraj Aur Chandaa’ was directed by T. Madhava Rao for ‘Suraj Films, Madras’. (It was a costume drama movie as mentioned in HFGK Vol V). It was produced by A.V. Subramaniam. It had Sanjeev Kumar, Meeta (new discovery), Sujeet Kumar, Jagdeep, Lakshmi Chhaya, Shyama, Jairaj, Sajjan, Krishna Kant, Mukri, Ram Mohan, Herucles, Lalita Kumari, Sujata, Mona, Kamal, Bhimraj, Arun Kumar, Prem Kumar, Ravindra and others. Banda makes a special appearance in this movie.

Story of this movie was written by B. Vittalacharya, and dialogues were written by Raj Baldev Raj. Editing of this movie was done by G.G. Krishna Rao.

The movie was passed by Censor Board on 22.05.1973.

This movie had total six songs penned by Anand Bakshi and composed to music by Laxmikant-Pyarelal. Lata Mangeshkar, Mohd Rafi, Mukesh and Suman Kalyanpur had given their voices to the songs in this movie.

Three out of the six songs have been posted on the blog earlier.

Today’s song is the fourth songsfrom this movie to appear on the blog. The song is picturized on Bindu and Sanjeev Kumar where Bindu is lip syncing in Lata Mangeshkar’s voice. Also, there are snakes around in the picturisation of this song.

I would request knowledgeable readers to throw more light on the movie and its songs.

Editor’s note:-This song was quite a well known and hummable song of 1970s. It was a song which one heard without necessaily being aware of its details.

From the lyrics, one would guess that a lady is singing about her beloved who has come from far off.

When one watches the picturisation, all such assumptions get thrown out of the window. What one watches in the picturisation is something mind blowing, inadvertently so.

The song is a “naagin” song, in which a “naagin” is singing this love song to her beloved. “Naagin” is played by Bindu and Sanjeev Kumar is her beloved.

“Naagin”(1954) provided the template of all “Naagin” movies, but this movie “Suraj Aur Chanda” (1973) takes that template to a different plane altogether.

In all other “Naagin” movies, a snake charmer (Sapera) plays the been and the female snake (invariably ichhaadhaari naagin) would turn into a human female and would then perform a dance.In this song, it is different. Here it is the snakes who play the “been” (yes seriously, just watch the picturisation). The snakes do not just play the been, they play the whole orchestra including instruments like Dholak, Tabla, Sitar etc as well. 🙂 And the lead snake Bindu performs the dance.

Snakes playing the music ! It is something unprecedented in the annals of Hindi movies ! I am not aware of any such instance in any other movie.

What an idea ! In my younger days, I would laugh at such a picturisation, but now, I can only be amused at the weirdly imaginative brain of the person behind the picturisation of this song.

This song deserves special recognition, especially for its picturisation.

We in this blog hereby make this song the century song of the blog.

THIS song is the 15300th song post in the blog. This song, marking the 153th century post of the blog is a “special” song in its own way. Picturisation of this song can keep people amused for hours ! 🙂

It appears that Laxmikant Pyarelal had specialised in being music directors of “Naagin” movies of that era. He would compose music for such well known “Naagin” movies like “Nageena”(1986)and “Nigaahen”(1989)” as well. These movies had Sridevi as the ichchaadhaari naagin. Remember ‘balma tum balma ho mere khaali naam ke’ 🙂 ?

So, with this amusingly picturised song, the blog completes another century. An agonisingly slow century that took 72 days. Very much in line with the slowing economy. 🙂

But on a different note, as many as 35 movies made their debut and three movies got YIPPEED during this period.

Thanks are due to all the supporters, well wishers, contributors, regulars and visitors whose continues support ensures that this musical bandwagon keeps chugging along on and on.


Song-Poorab disha se pardesi aaya (Suraj Aur Chanda)(1973) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Chorus

Lyrics

Poorab dishaa se pardesi aaya
Nainon ke raste man mein samaaya
Purab dishaa se pardesi aaya
Nainon ke raste man mein samaaya
Man ka wo meet ban ke ae
pritam ki preet ban ke
Preet ka geet ban ke
honthhon pe aaya
Poorab dishaa se pardesi aaya
Nainon ke raste man mein samaaya

Jab se wo aaya aa aa
neend naa aayi
Jab se wo aaya aa aa
neend naa aayi
neend jo aayi o Ram duhaayi
sapnon mein aa ke mujhe
neend se jagaaya aa aa
neend se jagaaya
Poorab dishaa se pardesi aaya
Nainon ke raste man mein samaaya

Aa aa aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa aa aa aa

O o o o o o o
O o o o o o o

O o o o o o o o
O o o o o o o o

jhoom ke maine ae li angdaayi
jhoom ke maine ae li angdaayi
jab sapere ne been bajaayi
naagin pe jaane kaisa jaadu chalaaya aa
jaadu chalaaya
Poorab dishaa se pardesi aaya
Nainon ke raste man mein samaaya

Poochho naa meri ee prem kahaani
Poochho naa meri ee prem kahaani
Ban gayi main to o aisi deewaani
Saara zamaana uski yaad mein bhulaaya aa
Yaad mein bhulaaya
Poorab dishaa se pardesi aaya
Nainon ke raste man mein samaaya
Man ka wo meet ban ke ae
preetam ki preet banke
Preet ka geet ban ke
honthhon pe aaya
Poorab dishaa se pardesi aaya
Nainon ke raste man mein samaaya

—————————————————
(Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————————–
पूरब दिशा से परदेसी आया
नैनों के रस्ते मन में समाया
पूरब दिशा से परदेसी आया
नैनों के रस्ते मन में समाया
मन का वो मीत बनके ए
प्रीतम की प्रीत बनके
प्रीत का गीत बनके
होंठों पे आया
पूरब दिशा से परदेसी आया
नैनों के रस्ते मन में समाया

जब से वो आया आ आ
नींद ना आयी
जब से वो आया आ आ
नींद ना आयी
नींद जो आयी ओ राम दुहाई
सपनों में आ के मुझे
नींद से जगाया आ आ
नींद से जगाया
पूरब दिशा से परदेसी आया
नैनों के रस्ते मन में समाया

आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ आ आ

ओ ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ

ओ ओ ओ ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ ओ ओ

झूम के मैंने ए ली अंगडाई
झूम के मैंने ए ली अंगडाई
जब सपेरे ने बीन बजाई
नागिन पे जाने कैसा जादू चलाया
जादू चलाया
पूरब दिशा से परदेसी आया
नैनों के रस्ते मन में समाया

पूछो ना मेरी ई प्रेम कहानी
पूछो ना मेरी ई प्रेम कहानी
बन गयी मैं तो ओ ऐसी दीवानी
सारा ज़माना उसकी याद में भुलाया
याद में भुलाया

पूरब दिशा से परदेसी आया
नैनों के रस्ते मन में समाया
मन का वो मीत बनके ए
प्रीतम की प्रीत बनके
प्रीत का गीत बनके
होंठों पे आया
पूरब दिशा से परदेसी आया
नैनों के रस्ते मन में समाया


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 : 4138 Post No. : 15299

“Warrant”(1961) was directed by Kedar Kapoor for Shanti Niketal Films, Bombay. The movie had Ashok Kumar, Raj Kumar, Shakila, Cuckoo, Helen, Dhumal, Raj Mehra, Baburao etc in it.

The movie had six songs in it. One song has been covered in the past.

Today (16 november 2019) is the remembrance day of Roshan (14 July 1917 – 16 November 1967). On this occasion, here is the second song from “Warrant”(1961) to appear in the blog. This song is sung by Asha Bhonsle. Anand Bakshi is the lyricist. Music is composed by Roshan.

Only the audio of the song is available. It sounds like a club dance song to me. I request our knowledgeable readers to throw light on the movie as well as the picturisation of this song.


Song-Le gaya dil nikaal ke (Warrant)(1961) Singer-Asha Bhonsle, Lyrics-Anand Bakshi, MD-Roshan

Lyrics

le gaya dil nikaal ke
bin poochhe
o bin poochhe anaari
anaari
de gaya gham kamaal ke
bin maange
o bin maange anaari
anaari
hic
haaye

kal sadak par mil gaya thha ek begaana aa
kal sadak par mil gaya thha ek begaana aa
mujhse bola maangta hoon tujhko apnaana
dar gayi main
mar gayi main
kar gayi main haaye
khel khela kamaal ke
hic
khel khela kamaal ke
nainon ka
ho nainon ka khilaari
anaari
de gaya gham kamaal ke
bin maange
o bin maange anaari
anaari

roop mera phir milaaya chaand taaron se ae
roop mera phir milaaya chaand taaron se ae
pyaar apna phir milaaya gulbahaaron se
maine jaana
hai deewaana
thha sayaana haaye
rakhte kab tak sambhaal ke
haan
rakhte kab tak sambhaal ke
khud ko main
ho khud ko main bechaari
anaari
de gaya gham kamaal ke
bin maange
o bin maange anaari
anaari
aan
hic
haaye

aankhon aankhon maine bheji pyaar ki arzi
aankhon aanhkon maine bheji pyaar ki arzi
baaton baaton maine poochhi pyaar ki marzi
majnu chhaila
dil ka maila
bola laila haaye
maana bulbul ko daal ke
hic
maana bulbul ko daal ke
pinjre mein
ho pinjre mein shikaari
anaari
hic
haaye


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 : 4138 Post No. : 15298

Today’s song is from film Manzil-1936.

The film was made by Calcutta’s New Theatres. It was directed by P C Barua – who also acted in the film. P C Barua (24-10-1903 to 29-11-1951) had acted in 8 Hindi films and directed 14 films in Hindi. In film Jawab-42, he even sang one song. The lyricists for this film were Arzoo Lucknowi and A H Shor. The music was composed by R C Boral, duly assisted by Pankaj Mullick. Though there were 9 songs in the film, it seems only 4 songs were issued on commercial records. 2 songs are already discussed and today’s song will be the 3rd song from Manzil-36. The cast of the film was Jamuna, Molina Devi, P C Barua, Prithvirasj Kapoor, Nimo, K C Dey, Harimati, Sitara, Shor etc.etc.

In the first decade of Talkie films, films made by New Theatres, Calcutta were more popular than Hindi films made in Bombay. There were 3 reasons. One- Bangla films were strong on story content. Two- music was appealing – especially of Saigal films and three- their distribution network was very wide and strong, thereby reaching a larger audience. It covered, South, West, North, in addition to East and Burma.

The story content was strong, because almost every film was based on famous Bangla novels. This ensured that the audience was familiar with the theme and now they wanted to see and hear the characters from the book. Film makers from Bengal were all well educated and rarely resorted to made up stories. They invariably made films on famous novels. Films from Bombay were made either from folk tales, Parsi-Gujarati- Marathi stage dramas or on stories cooked up by the so called ” story Departments” of the studios.

While there were films based on stories by authors from many languages, the most such films were based on works from Bengal.The reasons were simple. The film makers from and in Bengal were educated and secondly,those film makers who shifted from Calcutta to Bombay, followed the same pattern. Thus many films were made on novels from Bengal. One name stands out ,whose works outnumber all other authors on whose novels Hindi films were made and that name is SARAT CHANDRA CHATTOPADHYAYA (Chatterjee)-1876-1938.

Other famous authors like Bankimchandra Chatterjee etc. were also used, but to my knowledge, more films were based on Sarat Babu’s novels. Except perhaps Devdas, his novels generally were spun around misunderstandings between Lovers,friends, relatives etc. and ended with happy events. These were entertaining, surely.

Some of his novels on which films were made are…

1. Devdas…1935,55,2002 and 2009. 16 films in 7 languages
2. Parineeta…1953 and 2005
3. Swami…1977(H) and 2008(B) (Antaratma)
4. Apne paraye…1980 (Nishkriti)
5. Chhoti Bahu…71 and 84 (Bindur Chhele)
6. Iti Shrikant…2004 (Shrikant)
7. Khushboo…54 and 75 (Pandit Mashai)
8. Majhli Didi…67 (Mejdidi)
9. Manzil…36 (Grihdaah)
10. Biraj Bahu…54 (Biraj Bahu)
11. Mana Desam…49 NTR’s Debut…Telugu (Vipradas)
12. Vagdanam-61 Telugu (Datta)
( This list is only indicative and not exhaustive)

Today we will listen to a song from film MANZIL-1936, produced by New Theatres, Calcutta. This film is based on Sarat’s “GRIH DAAH” (The inflammed Home).

The novel Grih Daah was first serialised in Bangla paper ‘Bharatbarsha’ in 1919. The novel was published on 20-3-1920 in Calcutta. The central theme of the novel was the conflict between the Bramho Samaj and the Traditionalists in those days.

To understand this theme one must know the background. In the late 19th century BRAMHO SAMAJ was established in Bengal by those Bramhins/ Bhadraloks who thought that it was now time for the Renaisance of the Bramhins who were stuck in the age old outdated customs and rituals. But there was a large group who strongly believed in Traditional ways, values and the customs. In the end of 19th century and the begining of 20th century this battle between these two groups became fierce. Bramhos wanted to be upto date with modern times.

Saratchandra belonged to the Tradionalists. Most of his novels advocated this. Ofcourse,his novels had captivating situations, literary values and very firm and strong Heroines which made his novels very popular. His stories were mostly woman-centric.

One point I must admire in Bengali film makers and that is that they were very loyal and true to the storylines on which the films were made. There was neither compromise nor ” Cinematic liberties” taken at all.

Manzil-36 was a story of this conflict.

MAHIM (Pramathesh Barua) is a poor but educated young man. His friend Suresh (Prithviraj Kapoor) is a rich playboy. ACHALA ( Jamuna ) is brought up in a modern Bramho family, who has the liberty to choose her own life partner. Both Suresh and Mahim love Achala. She chooses Mahim, impressed with his intellectual power and education, though she is also impressed with the riches of Suresh. After marriage, both move to another town. In a short time Achala gets disillusioned about Mahim, due to his poverty. She remembers Suresh. Once Mahim gets this doubt and they fight. Their relations become strained. Mahim falls ill seriously. Meanwhile Suresh arrives in that town and meets Achala. While treating and nursing Mahim, Achala is in two minds.

One day she elopes with Suresh, but in a month’s time she realises her blunder. She sees the playboy ways of Suresh and realises that he is not loving her truly. With remorse, she shows the courage to return to her husband Mahim. He also,with great magnanimity,forgives her and accepts her. Thus the traditional principals have won over the modern outlook.

The cast of this film includes Jamuna and Molina Devi, about whom, not much information was available here. Jamuna’s name is a ” same name confusion” case. I know atleast 3 Jamunas, who worked in Hindi films. Luckily, they all operated in almost different time periods, still Internet makes lot of mistakes in their Filmographies.

Jamuna ( 10-10-1919 to 24-11-2005) was the fourth of the six daughters of Puran Gupta, a resident of a village near Agra, India. Each of the sisters was named after an Indian river like Ganga, Jamuna, Bhagirathi etc. As destiny would have it, Jamuna came to reside in Calcutta, a leading film producing city in India. Originally from Gauripur of Assam’s Goalpara district (undivided), Jamuna was married to the legendary actor director Pramathesh Barua, or P.C. Barua, who died in 1951. She began her acting career in her husband’s famous production Devdas in 1936 and was the film’s lead character Parvati or Paro. She went on to make a number of memorable movies in Assamese, Bengali and Hindi, notably Amiri, Mukti, Adhikar and Sesh Uttar. She stopped acting after Barua died.

Jamuna made her film debut in the 1930s and played a small role in Mohabbat Ki Kasauti (1934), Hindi version of Rooplekha (Bengali), directed by P.C. Barua. A romance started although Barua, hailing from the native Indian state of Gauripur, Assam, was already twice married. As the actress, who was to play Parbati in Barua’s next venture Devdas (1935) reported inability to attend the studio on the very first day of shooting, Jamuna was called from Barua’s residence (she was living with him by then) and was asked to get down to work straight away without any preparation whatsoever. Thus she came to be the first Parbati of Indian talkies- Miss Light had played the role in the silent version of the enormously popular Sarat Chandra novel. Aishwarya Rai happens to the last so far and Devdas has been made and re-made a number of times. Jamuna played the same role in the Hindi version also and was accepted in this very first proper exposure as an actress in her own right.

She continued to act in Barua’s films like Grihadaha (1936), Maya (1936), Adhikar (1939), Uttarayan (1941), Shesh Uttar (1942), Chander Kalanka (1944) and the respective Hindi versions of each film. Barua had left the prestigious New Theatres in 1940 and was directing as well as producing his films. Thereafter she acted in a number of Barua directed Hindi movies like Amiree, Pehchan and Iran Ki Ek Raat. These films however did not add to the prestige of either to Barua or to Jamuna. Jamuna also acted outside Barua direction in three Bengali films Debar (1943) and Nilanguriya (1943) where she proved herself without Barua’s influence. Her last film Malancha (1953) was also outside Barua’s direction. She also starred in its Hindi version Phulwari (1953).

Barua’s death in 1951 when he was only 48 changed Jamuna’s life altogether. She had three sons by Barua, Deb Kumar, Rajat and Prasun. They were all minors at the time and the Gauripur estate refused to take any of their responsibilities. She had to wage a legal battle with the powerful and influential royal family to get her and her children’s dues and recognition. Time settled the matters and she was allowed ownership of the house with its vast adjoining land and also an allowance. Jamuna spent the rest of her life after Barua as a housewife, busy in bringing up her minor sons. She had to complete the unfinished film Malancha of course but bid adieu to the film industry soon after. Later in her life she did attend a number of functions to celebrate the centennial year of husband P.C. Barua and received felicitations from the Government of India and the state Government of Assam as the first Parbati of Indian talkies.

Her last days were not very comfortable and she was bedridden for more than six months prior to her death. She is survived by her three sons and their families and a host of relatives. According to her family members, she had been ill for some time, and the cause of death was illness related to old age. She died at her residence in South Kolkata. She had acted in 13 Hindi films. Her last film was Phulwari-51.

Molina being an uncommon name there was no other actress of this name. Molina Devi was born in 1917. She received training in acting from Aparesh Mukherjee, and made her debut, at the age of 8, in a silent movie. She was acknowledged as one of the leading actresses of the Bengali stage, with her professional career spanning more than three decades.

In 1924, she debuted in a silent film while at the age of 8 and thereafter worked as dancer mainly in the mythological and historical plays. She performed some memorable roles in Bengali as well as Hindi films. She got a break through in Puran Bhagat and, Molina played the title role in the movie, Rani Rasmani. She took various roles, even vamps in her early career such as in Pramathesh Barua’s Rajat Jayanti in 1939. She also directed a Kolkata based theatre troupe, M. G. Enterprises.

Molina worked in Rangana theatre as chief artist. She performed as a singer on radio and contributed for formation of Mahila Silpi Mahal, a welfare association for female artists of Bengal. Molina Devi’s high creative excellence had found expression in such diverse media as the stage, the film and the radio. As a founder of the M. G. Enterprise, now in its twenty-third year, she had been responsible for the success of such well-known plays as ‘Thakur Sri Sri’, ‘Rani Rasmoni’, ‘Jagatbandhu’ and ‘Bholagiri’.

She had been honoured and decorated by many eminent organisations and learned bodies. For her eminence in the field of Drama and her contribution to its enrichment , Molina Devi received the Sangeet Natak Akademi Award for Acting.

Her first husband was Jolu Boral and the second husband was actor Gurudas Banerjee.

Molina died on 13 August 1977 in Kolkata. She acted in 22 Hindi films. Her first Hindi film was Raaj Rani Meera-33 and last film was Babla-53. She also sang 11 songs in 4 Hindi films.

The singer of today’s song, Harimati Dua was one of the three singers of the First playbback song in Hindi Film History recorded for film Dhoop Chhaon-1935, along with Parul Ghosh and Suprova Sarkar.

She acted in 2 films and sang 9 songs in few films like, Manzil, Dhoop chhaaon, Maya, Ananth Ashram and Khudai khidmatgar.


Song-Aaye sajni shubh din aaye sab ki bigdi Raam banaaye (Manzil)(1936) Singer- Harimati, Lyrics- Aarzoo Lucknowi, MD- R C Boral

Lyrics

Aaye sajni
shubh din aaye
Aaye sajni
shubh din aaye
sab ki bigdi raam banaaye
sab ki bigdi raam banaaye
dekh dekh ke man lalchaaye
dekh dekh ke man lalchaaye
aankh mili
dil bhi mil jaaye
aankh mili
dil bhi mil jaaye
moh ka rasiya ras barsaaye
moh ka rasiya ras barsaaye
jalti agni maar bujhaaye
jalti agni maar bujhaaye
Aaye sajni
shubh din aaye
Aaye sajni
shubh din aaye
sab ki bigdi raam banaaye
sab ki bigdi raam banaaye

?? nahin hansi ye ro dena
?? to nahin hansi ye ro dena
na apni na wo kahin aap hi se ro dena
na apni na wo kahin aap hi se ro dena
sadabahaar bane ye tumhaara raaj suhaag
sadabahaar bane ye tumhaara raaj suhaag
jo sukh dukhon se mila hai
wo phir na kho dena
jo sukh dukhon se mila hai
wo phir na kho dena
ye rog wo hai jo dil ?? ke jaan leta hai
ye rog wo hai jo dil ?? ke jaan leta hai
usi ki jeet hai jo haar maan leta hai
usi ki jeet hai jo haar maan leta hai
Aaye sajni
shubh din aaaaaaaye


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 :

4137 Post No. : 15297 Movie Count :

4214

The date today is 15 november 2019. It was on this day thirty years ago (on 15 november 1989) that Sachin Tendulkar made his test debut. By a remarkable coincidence, it was on this day fifty years ago (viz on 15 november 1969) that Gundappa Vishwanath made his test debut as well.

A test match is being played today (15 november 2019) by India at Indore. It was while watching this match that I became aware that it was exactly thirty and fifty years ago that two Indian batting legends made their test debuts.

These batting legends enhanced the stature of Indian batting. Seeing their batting, lots of batting talents came up in India. If today Indian batting is regarded as the strongest among all test playing nations then Gundappa Vishwanath and Sachin Tendulkar have played inspirational and important roles in that. It was appropriate that Indian batsmen “celebrated” the occasion by dishing out a memorable batting performance today- they hammered 406 runs in one day of test cricket. Last one hour saw more than one hundred runs being scored as T20 rate.

This occasion needs to be celebrated in the blog too, with a suitable song. While searching for a suitable song, I became aware that “Awwal Number”(1990) was a movie that centered around cricket.

“Awwal Number”(1990) was produced and directed by Dev Anand. This movie had Dev Anand, Aamir Khan, Aditya Pancholi, Neeta Puri, Ekta, Sudhir Pandey, Vikram Gokhale, Parikshat Sahni, Ram Mohan, Anjan Srivastava, Bharat Bhushan, Birbal, Sameer Khakkar, Kulbhushan Kharbanda, Raj Kishore, Manmouji, Mac Mohan, Asha Sharma, Subbiraj, Ajit Vachchani, Aftab Shivdasani etc in it.

I was aware about the movie, but I was not aware that this movie was about cricket. It was not only about cricket, it even had a song about cricket. Just what the doctor ordered, as Ravi Shashstri, in his commentating avatar would have said.

Here is this song. It is sung by Udit Narayan, Amit Kumar and Bappi Lahiri. Amit Khanna is the lyricist. Music is composed by Bappi Lahiri.

With this song, “Awwal Number”(1990) makes its debut in the blog.

Thanks to Prakashchandra, I have been able to watch the video of this song. The picturisation shows that this song is picturised on Dev Anand (lip syncing in Bappi Lahiri’s voice), Aditya Pancholi (Amit Kumar’s voice) and Aamir Khan (Udit Narayan’s voice).

Video


Audio

Song-Maidaan hai hara bheed se bhara (Awwal Number)(1990) Singers-Bappi Lahiri, Amit Kumar, Udit Narayan,Lyrics-Amit Khanna, MD-Bappi Lahiri
All
Chorus

Lyrics

maidaan hai hara
bheed se bhara
khelne chal diye gyaarah
wicket hain gade
taiyyaar hum khade
khel shuru hoga paune gyaarah

maidaan hai hara
bheed se bhara
khelne chal diye gyaarah
wicket hain gade
taiyyar hum khade
khel shuru hoga paune gyaarah

ye hai cricket
hows that
ye hai cricket
out
ye hai cricket
not out
ye hai cricket
sixer
hahahahaha

once more
once more

koi run out hai
koi not out hai
koi team se hi baahar bechaara
ye ball ghoomti
hawa choomti
hua LBW besahaara

ye hai cricket
sixer
ye hai cricket
boundary
ye hai cricket
LBW
he he
ye hai cricket
century
hooooo
ho ho ho

googly yahaan to bumper wahaan
gend ki ajab chaalbaaziyaan
behtareen catch
jeetna hai match
fielder ki dekho kalaabaaziyaan

maidaan hai hara
bheed se bhara
khelne chal diye gyaarah
ye hai cricket
hmm hmm hmm
ye hai cricket
hmm
ye hai cricket
hmmm
ye hai cricket
hmm hmm

aap hain jahaan
hoonga main bhi wahaan
maidaan mein milenge kahin

kyun nahin
kyun nahin
shauk aur lagan ho to
mumkin hai sab kuchh yahin
gale mein roomaal hai
kalaayi ka kamaal hai
har ada bemisaal hai
hmmmm
zara daad de
aasheerwad de
hoga naam raushan yahin

kal ki kis ko khabar
aaj ki baat kar
humse badh kar hai koi nahin

hmm
kal ki kis ko khabar
aaj ki baat kar
humse badhkar hai koi nahin

ye hai cricket
hmm hmm hmm
ye hai cricket
hmm hmm
ye hai cricket
haan haan haan
ye hai cricket
hmm hmm hmm

maidaan hai hara
bheed se bhara
khelne chal diye gyaarah
wicket hain gade
taiyyaar hum khade
khel shuru hoga

paune gyaarah
paune gyaarah
paune gyaarah


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 : 4137 Post No. : 15296

Today’s song is from the film Maya Bazar-49.

There can not be a single person in India who does not know stories from Ramayan and Mahabharat. Whether the person is educated or uneducated, belonging to any religion or Caste, knows about these Epics. People other than Hindus, may not know much, but every Hindu knows Ramayan and Mahabharat stories.

We have heard and read various stories from these Epics, which were written several thousand years ago. The Mahabharat, which is approximately four times bigger than Ramayana has stories which are full of Adventure, Human qualities and Magic. These stories are more interesting than Ramayana stories, anyday.

The very fact that these Epics are age old, is also the cause of many newer stories getting added to the original ‘ Historical Document ‘ over several generations. Some highly imaginative and enterprising playwright of Yore created a new character in Mahabharat. This was supposed to be the daughter of Balram, the elder brother of Shri Krishna, and got her married to the son of Arjuna, in a very thrilling way. In the original epic, she is non-existent.

This first started in Maharashtra, where stage dramas were very popular. Different drama companies gave the imaginary daughter different names, to prove that their story was authentic. Thus two names- Surekha and Vatsala came into the stories for this fictitious character. Addition of Krishna and a Rakshas- Ghatotkach also added the required humour and magic. These dramas became very popular.

When Silent film era began, the then famous Maharashtra Film company of Kolhapur, belonging to Baburao Painter, made not one, but three silent films on this story. The first film was Vatsala Haran-1919, the second was Surekha-Abhimanyu alias Surekha Haran-1921 and the third film was Maya Bazar alias Vatsala Haran-1923.

The South was not to lag behind. They too staged dramas on this story, but the name of the daughter was changed to Sasirekha, to claim that their story was the original.The famous ” Surabhi Drama Troupe” of south made the play- one of the most crowd pulling popular show. In south a silent film on this story was made as ” Maya Bazar”-1925.

When the Talkie films started in 1931, in the very next year, film ” Maya Bazar”-32 was made by Sagar Movietone. Subsequently, movies on this title were made in 1949, 1958, 1971, and 1984 also. The south made a Talkie film Maya Bazar in 1936 with a title ‘ Sasirekha Parinay’, because Surekha/Vatsala was known as Sasirekha in south. However, one of the best ever films on this story was made by Vijay Vauhini Studios, Madras as ” Maya Bazar” in 1957 in Telugu and Tamil. The Kannada version- as dubbed film- came in 1958. This film was on Top in the list ” 100 greatest films made in India “, by CNN-IBN, for the period of 100 years-1913 to 2013. I have seen this wonderful film and enjoyed it thoroughly.

Our today’s film Maya Bazar-(Vatsala Haran)-49 was made by Manik Studios, Bombay. All songs of this film as well as the story and screenplay was done by Pt. Mukhram Sharma and the music was by Sudhir Phadke. The film was made Bilingual-in Hindi and Marathi. The cast was Durga Khote, Shahu Modak, Baby Shakuntala, Balakram, Kusum Deshpande and Vasant Thengadi ( they were Husband-wife pair in real life), Ganpatrao Bakre (one time a famous, popular and handsome Hero of silent films), Usha Marathe ( she changed her name to Usha Kiran and became famous in Hindi and Marathi films,later on), Master Chhotu etc.etc.

The film was directed by Datta Dharmadhikari. This was his first independent film as a director. Earlier he had joined Raja Nene for directing film Shadi se pehle-47. Datta Dharmadhikari was born on 2-12-1913 at Kolhapur in a lower middle class family. He studied up to Matriculation and started working in various film studios of Kolhapur. He first worked with Baburao pendharkar and then joined Prabhat. He learnt from almost every department of film making, except the Music department. He even acted a small role in film Sant Gyaneshwar -40, a bilingual in Marathi and Hindi. Having worked as an assistant director, he became joint Director with Raja Nene for film ‘Shadi se pehle ‘-47. Simultaneously, he directed some very successful films in Marathi.

He established his own production company “Alhad Chitra “. Alhad ( means joy ) was his son, who worked as a child artiste in all his films- Hindi and Marathi.Datta re-made some of his successful Marathi films in Hindi, like Nanhe Munne-52 ( Chimni Pakhare in Marathi), Mahatma-53 in 3 Languages- Marathi, Hindi and English and Suhagan-54 ( Suwasini in Marathi ).

When he produced film Mahatma-53 in Hindi and Marathi with an English version,he lost heavily and was forced to sell everything he had. Things were so bad that his wife had to cook Tiffins for people to run the house. However Datta came out of this all. He started accepting Directorial work from other producers, both in Marathi and Hindi. His last film was in 1982. Datta Dharmadhikari died on 30-12-1982.

He directed 21 Marathi and 11 Hindi films. His films in Hindi are Shadi se pehle-47, Maya Bazar-49, Nanhe Munne-52, Mahatma-53, Bhagyawan-53, Savdhan-54, Sudarshan Chakra-56, Deep jalta rahe-59, Subhadra Haran-64, Mujhe seene se lagaa lo-69 and last film Daulat ka Nasha-82. He gave break to a pair of Composers- Vasant-Ramchandra ( Vasant Pawar and Ramchandra Wadhavkar ) for 5 of his films in Hindi, but they could not get any work from other banners and their career in Hindi, as a pair, ended with these 5 films only.

The story of film Maya Bazar-49 was….

Subhadra (the sister of Balarama and Krishna) marries a Pandava- Arjuna. Their son Abhimanyu falls in love with Balarama’s daughter, Vatsala. The families consent to their marrying when they reach adulthood. When Abhimanyu and Vatsala have grown up, Krishna introduces them to each other. One day, the Pandavas are invited by Duryodhana, the eldest of the Kauravas to join in a game of dice. Duryodhana’s uncle, Shakuni, manipulates the results of the game, thereby costing the Pandavas their wealth, their liberty and their wife Draupadi. Duryodhana’s brother, Dushasana, attempts to disrobe Draupadi. He is seen by Krishna, who, furious, comes to her rescue.
On hearing what happened to the Pandavas, Balarama decides to teach the Kauravas a lesson and travels to their capital Hastinapuram. Shakuni and Duryodhana approach Balarama with an insincere respectful manner, then seek his approval of a marriage between Vatsala and Duryodhana’s son Lakshmana Kumara. Their true goal is to force Balarama and Krishna to support them if the Pandavas wage war. Unaware of their real intentions, Balarama agrees to the marriage.

Because of the ruined financial state of Pandavas, Balarama’s wife, Revati, refuses to honour her commitment to marry Vatsala and Abhimanyu and expresses her support for the alliance with the Kauravas. Krishna, who is aware of Duryodhana and Shakuni’s real intentions, orders his charioteer Daaruka to take Subhadra and Abhimanyu through the forests to Ghatotkacha’s hermitage.

Ghatotkacha, who happens to be Abhimanyu’s brother, at first thinks they are intruders in his forest and attacks them but later apologises for the misunderstanding. When Subhadra explains the change in the marriage arrangements, Ghatotkacha decides to wage war against both the Kauravas and Balarama. At the urging of his mother, Hidimbi, and Subhadra, Ghatotkacha abandons his plans and is advised instead to try some trickery in Dwaraka.

With the knowledge of Krishna and Vatsala’s servant, he carries the sleeping Vatsala in her bed from Dwaraka, and flies to his hermitage. Assuming Vatsala’s form, he returns to Dwaraka and, with the help of his assistants, wreaks havoc on her wedding to Lakshmana Kumara, preventing the marriage from being carried out.

With the help of assistants, Ghatotkacha creates a magical town consisting of an illusory marketplace and palace. He names the town Mayabazar and invites the Kauravas to stay there. Assistants introduce themselves to the Kauravas as servants appointed by Balarama to look after them. They manage to trick Shakuni’s lackeys. Ghatotkacha (in Vatsala’s form) makes Duryodhana’s wife rethink the marriage arrangement and teases Lakshmana Kumara. He plans the wedding of the real Vatsala and Abhimanyu in his hermitage which is attended by Krishna. Using his divine powers, Krishna also attends as a guest for the marriage taking place in the Mayabazar.

On the wedding day, Ghatotkacha appears before Lakshmana Kumara in various tantalising forms while, at the hermitage, Vatsala marries Abhimanyu. When Shakuni discovers what has really happened, he blames Krishna. Satyaki, Arjuna’s disciple, asks Shakuni to speak standing on a magical box. He proceeds to stand on the box, which makes him involuntarily explain the Kauravas’ real intentions behind the marriage proposal. Ghatotkacha then reveals his identity. After humiliating the Kauravas, Ghatotkacha sends them back to Hastinapur. Vatsala’s parents accept her marriage. They thank Ghatotkacha, who credits Krishna as the mastermind behind everything, including Abhimanyu and Vatsala’s marriage. ( just for information…. this Laxman Kumar is killed by Abhimanyu on the 13th day of the Mahabharat war).

Today’s song is a ‘Sales Pitch’ song- one of the earliest in its category. The singer is Sudhir Phadke, whose voice is so fresh. This was the first Hindi film, in which he sang a song. Same year he also sang in film Sant Janabai-49. That way, this is a rare song. Thanks to Sadanand kamath ji, who uploaded this song on my request.

(I also thank book “Silent Cinema” by Dr. R K Varma, baklol.com and The Hindu article of 30-4-2015 on this film, for information used herein.)


Song-Phatey puraane kapde phenko naye naye tum le lo (Maaya Baazaar)(1949) Singer- Sudhir Phadke, Lyrics- Pt Mukhram Sharma, MD- Sudhir Phadke

Lyrics

Ho o
Nagarvasiyon suno
dhyaan de kar suno
aisa swarn awsar phir kabhi haath na aayega
puraana do
naya lo
puraana
do naya lo

phate puraane kapde phenko
phate puraane kapde phenko
naye naye tum le lo
naye naye tum le lo
gaya samay phir haath na aaye
soch rahe kya le lo
soch rahe kya le lo
soch rahe kya le lo
makhmal pahno
resham pahno
mor mukut peetaambar pahno
maile chithhde phenko phenko o
maile chithhde phenko phenko
naye naye tum le lo
naye naye tum le lo
soch rahe kya le lo
aasmaani ?? chunariyaan
indrdhanush ki lagi chunariyaan
lagi chunariyaan
angiya mein hain chaand sitaare
aawo
le lo
le lo
aao le lo le lo
aao le lo le lo
soch rahe kya le lo
saadi le lo
hanse jawaani
hanse jawaani
hanse jawaani
phoohad pahne
bane sayaani
bane sayaani
bane sayaani
dhaani dhaani jaali waali
kaali peeli choli le lo
le lo
le lo le lo
aao le lo le lo
aao le lo le lo
soch rahe kya le lo
toote phoote bartan phenko
nakkaashi ke bartan dekho
toote phoote bartan phenko
nakkaashi ke bartan dekho
daan dharm ki lagin dukaanen
lagin dukaanen

daan dharm ki lagin dukaanen
lagin dukaanen
lagin dukaanen
muft maal hai le lo
muft maal hai le lo
soch rahe kya le lo
maanik moti heere pehno
ratan jadaau gehne pehno
maanik moti heere pehno
ratan jadaau gehne pehno
Laxmi ka bhandar khula hai
Laxmi ka bhandar khula hai
nagarwaasiyon aao le lo
nagarwaasiyon aao le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo
le lo le lo


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 :

4136 Post No. : 15295 Movie Count :

4213

Happy Children’s Day to Atuldom

“Makdee” means spider. This was also the title of a movie in 2002 which was directed by Vishal Bharadwaj who was also the music director. This was one of the movies in recent times that portrayed children the way they actually should be – as bright, intelligent, naughty and playful. I am put-off when children are portrayed as miniature adults and made to mouth huge sentimental dialogues which I am 100% sure kids from normal upbringing would not even dream of. My definition of kids from a normal upbringing is where the only thing that a child has to do is finish their school, come home -play in the ground or backyard, do their studies for the next day, help around the family as per necessity, play mischief and be active through the day so that they sleep peacefully and wake up fresh to have their routines all over again. In between all this they should have time to read comics, novels, have memorable time with their grandparents and friends which will stay with them for their life as pleasant memories. ‘Makdee’ was one such movie.

It had Shweta Prasad play 10-year-old twin sisters – Chunni and Munni. Chunni who was a prankster and Munni the timid, studious kind. Chunni keeps fooling around the village and constantly gets into trouble with the local butcher Kallu along with her friend ‘Mughal-e-azam’ and on one occasion Kallu chases them around the village and in the melee Munni runs into a mansion which is famous around the village as to being haunted. Then what follows is Chunni’s struggle to find her sister, save her from the clutches of the witch who resides in the haunted mansion, and in the process solve the case of all the persons from the village, who went missing, when they ventured into the mansion. She also is felicitated by the collector of the district as she finds the reason for the witch (Shabana Azmi) making the mansion her home- a hidden treasure.

‘Makdee’ had all the elements that would was needed in a children’s film- fun/ fantasy and a moral – which is the essential of any story telling session with kids. The moral being that “you cannot cry wolf always, as a time will come when people will stop believing you.”

14th November is celebrated as children’s day in India in memory of Pandit Jawaharlal Nehru. He was fondly called chacha Nehru and it is said that he was fond of children. I remember my father used to tell me about his school trip to Delhi when he was in class 8 or 9 and they were fortunate to have an audience with the then Prime Minister Pandit Nehru and what an experience it was – today’s youngsters would use the word AWESOME. My father was also proud about nearly sharing birth dates- his birthdate was 15th November. In fact, he used to say that it was not difficult to remember chacha Nehru’s death anniversary as that was the date he landed in Mumbai from Ahmedabad for his job and found all available forms of transport had stopped as a mark of respect to the departed leader. But that is not the purpose of this post.

Let us move on and enjoy this lively song which shows the exact emotion a child will have when it is a holiday from school or vacation or there is an unexpected holiday declared due to rains, bharat bandh, or death of some trustee or anyone remotely important. Here I will confess that I see myself as Chunni, Munni, Mughal-e-azam and all the kids in this movie. I identified with them.


Song-Kukdoo koon chhutti hai (Makdee)(2002) Singer-Upagna Pandya, Lyrics-Gulzar, MD-Vishal Bhardwaj
Chorus

Lyrics

kukdu koon oo
kukdu koon oo
chhutti hai
he chhutti hai
he chhutti hai
kukdu koon oo

ghanti bajaao paape
ghanti bajaao re
bastaa uthhaao paape
bastaa uthhaao bhaago re
hai kitaabon se kutti
chhutti hai
arre chhutti hai chhutti
chhutti hai
hai kitaabon se kutti
kutti hai
arre chhutti hai chhutti
chhutti hai
he chhutti hai
he chhutti hai
kukdu koon oo

jhum tanakum tanakum
jhum tanakum tanakum
tara tara tara
la la la lala

somwaar susti mein katataa hai
mangal ko mood kahaan banta hai
arre somwaar susti mein katataa hai
mangal ko mood kahaan banta hai

budh ki chintaa mein veer ki fikar
shukkar ka tambu shani ke ghar
monday ko sunday ki chhutti hai
hai kitaabon se kutti
chhutti hai
are chhutti hai chhutti
chhutti hai

arre monday ko sunday ki
arre chhutti hai chhutti
chhutti hai
he chhutti hai
kukdu koon oo

ghanti bajaao paape
ghanti bajaao re (he he he he)
bastaa uthaao paape
bastaa uthaao bhaago re
da da daa da da
pom pom pom
da da daa da da
pom pom pom
da da daa da da
pom pom pom
da da daa da da
pom pom pom
master jee
bhaago


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 : 4135 Post No. : 15294

Today (13 november 2019) is the birthday of Juhi Chaawla (DoB 13 november 1967). Juhi Chawla, alongwith the likes of Madhuri Dixit, Sridevi, Jayaprada etc was from my generation viz born in 1960s). 🙂

Indian actresses holding their own in inernational beauty pageants and they going on to become popular matinee idols was not all that common those days. Juhi Chawla became Femina Miss India in 1984. She then participated in Miss Universe competition, winning the best costume award there.

Though she did not win the Miss Universe title or even finish among runners ups, it is interesrting to note that she was perhaps the most successful among all Miss Universe contestents of that year. While most other contestents did not have any reat careers, Juhi Chawla had a very successful movie career beginning from 1986, when se made her debut with “Sultanat”(1986).

“Qayamat Se qayamat Tak”(1988) launched her (and Aamir Khan) in Hindi movies.

1990s was the prime decade for Juhi Chawla. when she, alongwith Madhuri Dixit ruled the roost as the leading lady in Hindi movies.
Nowa days, she is still active, not in movies but in IPL, as co owner of Kolkata Night Riders.

Whenever I think of Juhi Chawla, the first movie that comes to my mind is “Hum Hain Raahi Pyaar Ke”(1993).

I have watched this movie. But now I cannot recall where I watched the movie. I was posted in Purna (Maharashtra) during those days. Purna had no movie halls. Going to Nanded or Parbhani to watch movies during weekends used to be my modus operandi. Did I watch this movie in one of these two places, or did I watch the movie somewhere else (like say Secunderabad) I am not sure now. It happens with growing age. I (alongwith the birthday girl) have become older by 26 years. 🙂

I loved the movie. Both lead actors were in my age group, making it easy for me to identify with their characters. 🙂

Three songs from this movie have been covered. The third song from the song was covered exactly two years ago for the same occasion, viz Juhi Chawla’s birthday.

Here is another song from the same movie (Fourth out of six), to celebrate another birthday of Juhi Chawla. The song is sunng by Alka Yagnik and Kumar Sanu. Sameer is the lyricist. Music is composed by Nadeem Shrawan.

The song is picturised on Juhi Chawla and Aamir Khan, who imagine themselves falling in love with each other, while the two kids (playing Aamir Khan’s nephew nd niece) have no clue.

We wish Juhi Chawla a very happy birthday and many happy returns of the day.


Song-Mujhse muhabbat ka izraar karta (Ham Hain Raahi Pyaar Ke)(1993) Singers-Alka Yagnik, Kumar Sanu, Lyrics-Sameer, MD-Nadeem Shrawan

Lyrics

mujhse mohabbat ka izhaar karta
mujhse mohabbat ka izhaar karta
mujhse mohabbat ka izhaar karta
kaash koi ladka mujhe pyaar karta
kaash koi ladka mujhe pyaar karta
mujhse mohabbat ka izhaar karti
mujhse mohabbat ka izhaar karti
kaash koi ladki mujhe pyaar karti
kaash koi ladki mujhe pyaar karti

o o o
meri maang mein chaand taare sajata
jo main roothh jaati mujhe wo manaata
meri maang mein chaand taare sajaata
jo main roothh jaati mujhe wo manaata
haalat meri ee wo jaanta
dhadkan meriee pehchaanta aa
apni bhi chaahat ka ikraar karta
apni bhi chaahat ka ikraar karta
kaash koi ladka mujhe pyaar karta
kaash koi ladka mujhe pyaar karta
mujhse mohabbat ka izhaar karti
mujhse mohabbat ka izhaar karti
kaash koi ladki mujhe pyaar karti
kaash koi ladki mujhe pyaar karti

ho o o
wo bechain hoti
main betaab hota
nigaahon mein uski
mera khwaab hota
wo bechain hoti
main betaab hota
nigaahon mein uski
mera khwaab hota
sharma ke wo lagti gale
rakhta usey palkon tale ae
chori chori wo mera deedaar karti
chori chori wo mera deedaar karti
kaash koi ladki mujhe pyaar karti
kaash koi ladki mujhe pyaar karti

mujhse mohabbat ka izhaar karta
mujhse mohabbat ka izhaar karta
kaash koi ladka mujhe pyaar karta
kaash koi ladka mujhe pyaar karta


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 : 4134 Post No. : 15293

“Tarang”(1952) was produced by Basudev Sinha and directed by I C Kapoor for Solar Films, Bombay. The movie had Munawar Sultana, Ajeet, Jeevan, Manorama, Baby Rehana, Master Raja, Manju, Lalita, Bhagwan Ji, Niranjan Sharma etc in it.

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

Here is the seventh song from “Tarang”(1952) to appear in the blog. This joyous expression of love song is sung by Shamshad Begam, Chitragupta and chorus. I C Kapoor, the director doubles as the lyricist while Chitragupta doubles up as the music director.

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


Song-Aayi jhoom ke jawaani kahe dil ki kahaani (Tarang)(1952) Singers-Shamshad Begam, Chitragupta, Lyrics-I C Kapoor, MD-Chitraagupta
Chorus

Lyrics

aayi jhoom ke jawaani ee
aayi jhoom ke jawaani
kahe dil ki kahaani
suno suno ji
suno suno ji
sunaaun tumhen aankhon ki jabaani
aayi jhoom ke
ho o aayi jhoom ke
ho o aayi jhoom ke
ho o aayi jhoom ke

aayi jhoom ke jawaani
kahe dil ki kahaani
suno suno ji
suno suno ji
sunaaun tumhen aankhon ki jabaani
aayi jhoom ke
ho o aayi jhoom ke

dekho aayi hai bahaar r
naya naya hai nikhaar r
dekho aayi hai bahaar
naya naya hai nikhaar
meri aankhon mein
ho meri aankhon mein hai pyaar
ab na karna tu inkaar
hogi
hogi
hogi teri meharbaani
aayi jhoom ke
ho o aayi jhoom ke
aayi jhoom ke jawaani
kahe dil ki kahaani
suno suno ji
suno suno ji
sunaaun tumhen aankhon ki jabaani
aayi jhoom ke
ho aayi jhoom ke

sun lo yaaron
yaaron ulfat hai janjaal
jo na jeb mein tere maal
ek rupaiyya wo bhi khota
yaaron ulfat hai janjal
jo na jeb mein tere maal
aankhon mein aankhen na daal
sar ke ud jaayenge baal
sar ke
sar ke
sar ke ud jaayenge baal
yaad aayegi tujhko naani
aayi jhoom ke

ho o aayi jhoom ke
aayi jhoom ke jawaani
kahe dil ki kahaani
suno suno ji
suno suno ji
sunaaun tumhen aankhon ki jabaani
aayi jhoom ke
ho o aayi jhoom ke

ho o o
gore gaal pe
gore gaal pe kaala til il il
kaaboo mein na mera dil
ho o
gore gaal pe kaala til
kaaboo mein na mera dil
seene pe rakhi hai sil
raaja jaldi aake mil
ho raaja
ho raaja
ho raaja jaldi aake mil
hai ye duniya aani jaani
aayi jhoom ke
ho o aayi jhoom ke
aayi jhoom ke jawaani
kahe dil ki kahaani
suno suno ji
suno suno ji
sunaaun tumhen aankhon ki jabaani
aayi jhoom ke
ho o aayi jhoom ke

kahna jo kuchh ham bhi chaahen
to kah do na
ama yaar darte hain
kyon
darte hain wo sun na paayen
achcha jee
hum to unse ishq nibhaayen
jo mere ghar pe chal ke aayen
chaahe
chaahe
chaahe langdi ho ya kaani
aayi jhoom ke

ho o aayi jhoom ke
aayi jhoom ke jawaani
kahe dil ki kahaani
suno suno ji
suno suno ji
sunaaun tumhen aankhon ki jabaani
aayi jhoom ke
ho o aayi jhoom ke
ho o aayi jhoom ke
ho o aayi jhoom ke


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 :

4133 Post No. : 15292 Movie Count :

4212

Today’s song is from a bilingual ( Hindi/Gujarati) film Krishna Bhakta Bodana-44. I was not aware of who Bodana was. I was knowing about films Krishna Bhakta Sudama-80, as well as films Krishna-Sudama-1933, 1947, 1957, and 1979, but Bodana was an unfamiliar name to me. I came to know about this film first time in 2014, but I just ignored it.

Recently, when one of my friends from another country sent me a rare song from this film, I got curious about it and started searching for information about the film, about Bodana and the making of this film.

During my last 6 years of writing on old films and music, I was fortunate to discover some rare “Pearls”, like singer Abhram Bhagat or singer Tamancha Jaan from Lahore’s Heera Mandi. I had heard the bhajans of Abhram Bhagat when I was about 9-10 year old, when my father brought home a record of his Bhajan – “Haath chakra trishul Sadashiv, alakh jagaate hain nagari mein”. This Bhajan became a favourite in our family and we had that record for many years.

In the year 2012 – after over 60 years – I bumped into this song on You Tube, but before I could download it, the song disappeared, only to reappear in 2013. This time, I noted that it was uploaded by a music lover from Australia. Anyway, I got that song, collected information about Abhram Bhagat and wrote a detailed article on him, which was posted here on 20th April 2013.

The other name Tamancha Jaan, was first noticed by me when I read a book by Pran Neville, on his memoires of Lahore, namely “Lahore – A sentimental journey”. By coincidence, her name popped up again in another book by Anupama Dutt also. This aroused my interest and I collected information oh her. Based on it, I wrote an article on Tamancha Jaan of Lahore, which was posted here on 21-6-2014.

The third singer I discovered was Master Vasant Amrit of Surat – a revolutionary poet singer , when I read a book “Aap ki Parchhainyan” written by five times winner of state Academy Awards of Gujarat- Shri Rajnikumar Pandya ji of Ahmedabad. I wrote a detailed article on the singer, which was posted here on 20-7-2014. The book had mentioned that Master Vasant Amrit had acted in only one Hindi film – Krishna Bhakta Bodana-44. Now, when I received the rare song of this film, from my friend, I remembered this reference and felt very glad.

Film KBB (Krishna Bhakta Bodana-44) was a Wadia movietone film, directed by JBH Wadia. Wadia brothers were actually famous for making Stunt/Action, Fantasy and Costume drama films. JBH Wadia, who was the elder of the two, judged that Genres of such films had a short life, whereas the Genres of Social films had a longer life. So, he proposed that Wadia Movietone start making Social films, rather than making only stunt films hereafter. The younger brother Homi Wadia, had opposite opinions. He insisted on continuing with stunt films.

On this issue, the brothers separated and Homi Wadia started his own “Basant Pictures”, in 1942. All the action film artistes, including their Heroine Fearless Nadia joined Homi Wadia and he blissfully continued making stunt films with Nadia. JBH Wadia, true to his belief, made social films. Film KBB was also one of such films advocated by JBH Wadia. It was based on a folk tale of Gujarat, about a staunch devotee of Krishna – Vijayanand Bodana, who is credited as one responsible for establishing the Ranchhod Rai temple at Dakore in Kheda district (about 30 kms away from Anand-the seat of AMUL).

The film was made in Gujarati and Hindi. For the main lead role, Master Vasant Amrit of Surat was chosen, because he had become a legendary revolutionary poet singer , in those years, in Gujarat. For detailed information on Master Vasant Amrit, please read my article on this Blog. JBH Wadia had directed the film. Pt. Indra had written all the 9 songs and the music was composed by Avinash Vyas and Shankar rao Vyas. The cast of the film consisted of Master Vasant Amrit, Rani Premlata, Meera, Badripershad, Gulab, Nayampalli etc.etc.

The female lead in this film , Rani Premlata was a well known Gujarati stage and film actress of Gujarat. She had acted only in 2 Hindi film. The first was film “Prem ki Devi”-36, made by Star Films of Calcutta. The other one was KBB-44 in Bombay. She also acted in 11 Gujarati films, starting from Janeta-47 to Raja Bhartruhari-49. No further information is available on her anywhere. The above information is given by Harish Raghuwanshi ji, whom I must thank heartily. Now, let us know who was Bodana and how the temple at Dakore got established.

The present Dakor owes its raison d’etre not to Dank Rishi but to Bodana, a great devotee of Lord Krishna. In his previous birth, he is supposed to have lived in Gokul and been a cowherd called Vijayanand. On one ‘Holy’ day, all the cowherds except Vijyanand worshipped Lord Krishna. His wife too worshipped Lord Krishna. But Vijayanand was proud and stayed at home. Lord Krishna came to his house in disguise of his friend and sent him to perform ‘Holi’ puja. Coming back, he realised that his friend was none else but Lord Krishna. Next day they fought a battle of colour. Lord Krishna lost and fell into the river. Vijyanand went after him where Lord Krishna revealed his true self. Vijyanand begged forgiveness. Lord Krishna took pity on him and solaced him with a boon that he would be born in Gujarat again in Kaliyug after 4200 years as Vijayanand Bodana in the house of a Kshatriya and his present wife Sudha would again be his wife, called Gangabai, when he will give them a glimpse (darshna) and relieve them by offering them emancipation (Moksha).

So as the legend would have it, ‘Vijayanand Bodana’, a Rajput of Dakor, becomes a staunch devotee of Lord Krishna. He used to let the basil plant (Tulsi) grow in an earthen pot with him on his palm and used to go every six months to Dwarika to worship Lord Krishna with the said Tulsi leaves. He did this continuously, unfailingly and untiringly till he was 72 years he then began to find it increasingly difficult to pursue this ritual. Seeing his plight, Lord Krishna told him that on his ensuing visit to Dwarika, he should bring a bullock-cart with him and Lord Krishna would accompany him to Dakor as he was exceedingly pleased with his devotion.

Accordingly, Bodana went with bullock-cart to Dwarika. Hindu Vaghers who were the 1st hereditary priests of Dwarika handled over the temple to gugli Brahmins due to their indulgence in fighting freedom wars against British empire. So these 2nd priest tribe of Dwarika (Gugli Brahmins) asked Bodana as to why he had brought a cart with him. Whereupon, Bodana replied that he had done so to take away Lord Krishna. Looking to the ramshackle cart, they did not believe him but nevertheless locked and sealed the sanctum sanctorum of Dwarika Temple for the night. At midnight, Lord Krishna broke open all the doors, awoke Bodana and told him to take him to Dakor. Shortly afterwards, Lord Krishna called upon Bodana to rest in the bullock-cart and drove the cart himself till they reached the vicinity of Dakor. Here (near Bileshwar Mahadev on Dakor-Nadiad road) they rested for some time, touching and holding a branch of Neem tree. He woke up Bodana and asked him to take over. Since that day, this Neem tree is found to have one sweet branch though the rest of the branches are bitter and it forms the subject of a well-known Gujarati song (bhajan).

In Dwarika, the Gugli Brahmins finding the image missing chased Bodana and came to Dakor in pursuit. Bodana was frightened but Lord Krishna told him to hide the idol of the deity in the Gomti tank and meet the Guglis. Accordingly, Bodana hid the idol and went to meet the Guglis with a pot of curd to pacify them. They became angry and one of them threw a spear at him. He fell down dead. While hurting Bodana with a spear, it also hurt the image of the deity hidden in Gomti tank and the water turned red with Lord Krishna’s (Ranchhodraiji’s) blood. It is said that even today the earth of Gomti tank where the image lay is red while rest of the tank is of brown mud.

In the midst of Gomti tank, over the place where Lord Krishna was hidden, a small temple having the Lord’s foot-prints is constructed and this temple is linked with the bank of Gomti Tank by a bridge. Even with the death of Bodana, the Guglis were not appeased. Requesting Lord Krishna to return to Dwarika, they sat on the bank of Gomti tank and went on a hunger strike.

At last, Lord Ranchhodraiji (Krishna) directed Gangabai, wife of Bodana, to give gold equivalent of his weight and ask the Guglis to return to Dwarika. Poor lady, the widow of Bodana, was a pauper and could not afford to do so. By a miracle, the idol became as light as a golden nose-ring (1, 1/4 val i.e.1/2 gram in weight) which was all that the widow of Bodana Gangabai had.

The Guglis were disappointed but the Lord mercifully directed that they would find after six months an exact replica of the idol in Savitri Vav at Dwarika. The impatient Guglis looked for the idol sometime earlier than they were told and as a result, found an idol which, though similar to the original one, was smaller, Pilgrims to Dakor still visit the places stated to have been associated with the legend viz. Where the branch of Neem tree under which Lord rested while coming to Dankpur subsequently turned sweet; where the idol was hidden in the Gomti tank; whereon the balance was set up to weigh the original idol which Bodana had enshrined. ( thanks to blessingsonthenet.com and wiki for above adapted information.)

So, here is the rare song from film Krishna Bhakta Bodana-44. It is sung by Manna Dey. Thanks to Sadanand Kamath ji for uploading this song, on my request. I do hope you will all like this song.


Song- Sambhal sambhal pag dharna baaba (Krishnbhakta Bodana)(1944) Singer-Manna Dey, Lyrics- Pt Indra, MD- Shankar rao Vyas
Chorus

Lyrics

Sambhal sambhal pag dharna aa baaba
Sambhal sambhal pag dharna baaba
chala chali ke jag mein baaba
Sambhal sambhal pag dharna baaba
Sambhal sambhal pag dharna
chala chali ke jag mein baaba
Sambhal sambhal pag dharna baaba
Sambhal sambhal pag dharna

garv abhimaan kare kyun moorakh
garv abhimaan kare kyun moorakh
ant sabhi ko marna baaba
ant sabhi ko marna baaba
chala chali ke jag mein baaba
Sambhal sambhal pag dharna baaba
Sambhal sambhal pag dharna

daata tera hisaab lega
daata tera hisaab lega
bande tu kya jawaab dega
bande tu kya jawaab dega
jhoothh kapat ka bhaar hai sar par
jhoothh kapat ka bhaar hai sar par
kaise paar utarna baaba
kaise paar utarna baaba
chala chali ke jag mein baaba
Sambhal sambhal pag dharna baaba
Sambhal sambhal pag dharna

sundar kanchan kaaya teri
sundar kanchan kaaya teri
ik din hoye bhasam ki dhheri
ik din hoye bhasam ki dhheri
saadhu sant ki sewa karna
saadhu sant ki sewa karna
paap karam se darna baaba
paap karam se darna baaba
chala chali ke jag mein baaba
Sambhal sambhal pag dharna baaba
Sambhal sambhal pag dharna


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

What is this blog all about

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

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

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

Total number of songs posts discussed

15301

Number of movies covered in the blog

Movies with all their songs covered =1180
Total Number of movies covered =4215

Total visits so far

  • 12,578,157 hits

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Active for more than 4000 days.

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