Archive for January 2020
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 : | 4212 | Post No. : | 15413 |
“Anmol Moti”(1949) was directed by Shanti Kumar for Jaishakti Pictures, Bombay. This highly obscure movie had Shenprabha Pradhan, Indu, Umakant, Vimal Bai, Ramesh Sinha, Kesar Bai, C S Dubey, Om Prakash Gaud, Tribhuwan Sinha, Sharad Shukla, Tikaram, Shyama etc in it.
The movie had ten obscure songs in it. In case of nine out of ten songs, even the details of singers are not available. The one song whose singers are mentioned in HFGK is the one song that has been covered in the past in the blog.
Here is the second song from “Anmol Moti”(1949) to appear in the blog. Though its details are not mentioned in HFGK, listening to the song reveals that it is a duet song sung by Shamshad Begam and Shailesh Mukherji. Ramesh Gupta is the lyricist. Music is composed by Ram Ganguly.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
Song-Armaanon ka pyaala mera thhes lagi aur phhoot gaya (Anmol Moti)(1949) Singers- Shamshad Begam, Shailesh Mukherjee, Lyrics-Ramesh Gupta, MD-Ram Ganguly
Both
Lyrics
armaanon ka pyaala mera
thhes lagi aur phoot gaya
mera dil toot gaya
mere dil toot gaya
toote taar milen phir kaise ae ae
toote taar milen phir kaise
man ke phool khilen phir kaise ae
aur naseeba phoot gaya
phoot gaya aa aa
mera dil
mera dil toot gaya aa aa
mera dil toot gaya
ab kaise tumko samjhaaun
ab kaise tumko samjhaaun
kya munh le kar saamne jaaun
har ik sahaara chhoot gaya
chhoot gaya aa
mera dil
aa aa aa
aa aa aa
mera dil toot gaya aa aa
mera dil toot gaya
jisko man ka meet samajh kar
jisko man ka meet samajh kar
prem ka geet sunaaya thha aa
jisko man ka meet samajh kar
aa aa aa
aa aa aa
duniya ko begaana samajh kar
jisko apna banaaya thha aa
jisko apna banaaya thha
wo de ke bharosa loot gaya aa
loot gaya aa aa
mera dil toot gaya aa aa
mera dil toot 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 : | 4211 | Post No. : | 15412 |
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Blog 10-Year Challenge (2010-2020) – Song No. 6
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“Arpan”(1983) was produced and directed by J Om Prakash for Filmyug Private Limited, Bombay. The movie had Jeetendra, Reena Roy, Parveen Babi, Raj Babbar, Preeti Sapru, Shashi Puri, Sujit Kumar, Sulochana Latkar, Dina Pathak supported by Sudhir Dalvi, Ranveer Raj, Tom Alter, Vikas Anand, Sunder Taneja, Harjeet, Feroz, Vishwanath Shetty, Shafiq Pathan, R.R. Somaiya etc in it.
The movie had five songs in it. Three songs have been covered in the past.
The movie made its debut in the blog on 21 january 2010 with the song Pardes jaake pardesiyaa bhool na jaana piyaa . The second song was discussed one week later on 28 january 2010 and it was Likhne waale ne likh daale .
For the next ten years, no other songs from this movie were covered. Then there was sudden activity exactyly ten years later and the third song from the movie was discussed on 21 january 2020, exactly one decade after this movie had debuted in the blog. This song was Mohabbat ab tijaarat ban gayi hai Avinash Scrapwala, who is very enthusiastic about the “blog ten year challenge”.
Seeing that the second song from the movie was covered on 28 january 2010, today presents us with another “blog ten year challenge” opportunity as far as this movie is concerened. So here is another song from the movie. This song is sung by Lata and chorus. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.
This song is picturised as a stage dance song on Parveen Babi and others. Jeetendra is seen among the audience.
I find this song so reminiscent of “Asha”(1980) songs where too Jeetendra would be seen witnessing the stage dance performances. That movie had Reena Roy instead of Parveen Babi. This resemblence is not coincidence. Both these movies were by J OmPrakash. His stories used to be similar. Jeetendra used to be a fixture in his movies. and the titles of his movies would start from the letter A. He produced 23 movies in his career, styaring from “Aas Ka Panchhi”(1961) till “Afsaana Dilwaalon Ka” (2001). 22 of his titles started with A. Only exception being “Bhagwan Dada” (1986), after which he reverted back to his lucky letter A.
Music of his movies during that succeesful spell (Apnapan, Asha, Arpan) used to be by Laxmikant Pyarelal. That is the reason why the songs of these movies sound similar to me.
Here is this nice song from “Arpan”(1983). Incidentally, all the four songs that have been covered so far were quite popular and they have remained so till now.
Audio
Video
Song-Tauba kaise hain naadaan ghunghroo paayal ke (Arpan)(1983) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Chorus
Lata + Chorus
Lyrics
taubaa taubaa aa aa
taubaa taubaa aa aa
taubaa kaise hain naadaan ghunghru paayal ke
taubaa kaise hain naadaan ghunghru paayal ke
ik din lenge meri jaan ghunghru paayal ke
taubaa kaise hain naadaan ghunghru paayal ke
sharm ke maare laal pad gayaa rang meraa baadaami
chhanak chhanak ke gali gali mein karen meri badnaami
ghunghruu paayal ke
taubaa kaise hain naadaan ghunghru paayal ke
taubaa kaise hain naadaan ghunghru paayal ke
kaise koi bhed chhupaaye ae ae
ghar kaa bhedi lankaa dhaaye
kaise koi bhed chhupaaye ae
ghar kaa bhedi lankaa dhaaye
dede ke main haari saari raam raheem ki kasmen
aisaa lagataa hai ye nigode nahin kisi ke bas mein
hindu hai na musalmaan ghunghru paayal ke
taubaa kaise hain naadaan ghunghru paayal ke
taubaa kaise hain naadaan ghunghru paayal ke
chhup ke gali se kaise guzroon
chhat se main neeche kaise utroon
chhup ke galii se kaise guzroon
chhat se main neeche kaise utroon
kabhi kabhi main sochoon inko phenkoon abhi utaaroon
tokne waali usi padosan ke munh par de maaroon
bharte hain logon ke kaan ghunghru paayal ke
taubaa kaise hain naadaan ghunghru paayal ke
taubaa kaise hain naadaan ghunghru paayal ke
jab chham se ye baj uthhte hain
pag men kaanten chubhte hain haaye
jab chham se ye baj uthte hain
pag mein kaanten chubhte hain
meethhaa meethhaa dard nigodaa mere man se nikle
inhen nikaaloon pairon se to jaan badan se nikle
mere dil ke hain armaan ghunghruu paayal ke
ho mere dil ke hain armaan ghunghruu paayal ke
taubaa kaise hain naadaan ghunghru paayal ke
taubaa kaise hain naadaan ghunghru paayal ke
ik din lenge meri jaan ghunghru paayal ke
ho taubaa kaise hain naadaan ghunghru paayal ke
ik din lenge meri jaan ghunghru paayal ke
ho taubaa kaise hain naadaan ghunghru paayal ke
ik din lenge meri jaan ghunghru paayal ke
Raja hamen na nihaaro
Posted on: January 28, 2020
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.
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Blog Day : |
4211 | Post No. : | 14409 | Movie Count : |
4245 |
Today’s song is from the film Nav Jeevan-1939. It was a film made by Bombay Talkies, one of the heavyweight film making companies of those times. Bombay Talkies and Prabhat Film company of Poona were the companies that tackled offbeat and social reform issues through their films. They generally, combined social work with entertainment successfully and therefore their films became popular.
The owners of Bombay Talkies, Himanshu Roy and Devika Rani were Bengali. The company, no doubt, helped and gave opportunities to many capable Bangla artistes in different fields of film making, like cinematography, direction, acting etc. However, they were also known to recognise talents and offered opportunities to right persons irrespective of language, caste or religion – Bangla or non Bangla. Both the owners were foreign educated and Himanshu Roy had been in Germany to make films. Very few people know that his first wife was a German lady !
The couple had a soft corner for Germans because of their personal experiences. This was evident from the fact that Bombay Talkies had employed a team of German Technicians and other specialists like Director, Cinematographer etc. In the early stages of Bombay Talkies, from 1935 to 1939, almost all their films were directed by Franz Osten – a German.
Germany had a very good name in India during the olden days i.e. during the early part of the last century. I remember, my Grandfather ( who expired in 1975 at the age of 91 years) always praising Germany for so many things. In India, all things German were considered the Best- even better than the Vilayati or the British things !
Very few people know that Indian Cinema had a little known connection with the rise of Hitler in Germany in 1932-33. A group of men engaged in Cinema in Germany, flocked to India in the 30’s and played a vital role in Indian Cinema and the arts of that times. After Hitler took over Germany in 1933, the German Cine Studio’s glory days were over and they were turned into Nazi Propaganda Machines !
It was at this time that several of its men ( mostly persecuted Jews) left the studio and some arrived in India, and contributed to Indian cinema’s formative years.
The foremost among them is Frantz Osten, a German whom Himanshu Rai and Devika Rani met at the USA when they went to train there (they worked with Lang and Marlene Dietrich). Osten had already been directing films for the couple since 1925, when he made Light of Asia for them from Germany.
In 1934, he came to India and the next year, after Rai founded Bombay Talkies ‘the legendary film studio in Malad that now lies in ruins,’ Osten directed its first film.
He went on to direct the famous Devika Rani-Ashok Kumar starrer, Achhyut Kanya, without much knowledge of Hindi. The film, which featured the song “Main ban ke chiriya”, was shot by Cinematographer Joseph Wirsching; the sets were designed by Karl von Spreti, the laboratory was headed by Zolle, and the sound recordist was Len Heartley. This was Osten’s team of USA ex-members who worked for Rai’s state-of-the-art studio.
Osten and his fellow Germans directed 16 films for Rai. It was a remarkable feat for people who knew little Hindi mistaking the word “bulbul” once, for a pair of bulls.
“It’s not clear if they had anything to do with the Nazi ideology, either way,” said film historian Amrit Gangar.
“If they did, it did not show in their films. But there were two other people who almost certainly migrated to India because of the persecution of Jews.”
Franz Osten(23-12-1876 to 2-12-1956) Hindi director, was born in Munich as Franz Ostermayer, the elder brother of successful producer Peter Ostermayer. They set up a travelling cinema, Original Physograph (1907) and founded Munchner Kunstfilm (1909) after Osten had been making shorts for Pathé, Gaumont and Eclair. Their first feature: Die Wahrheit (1910). Osten’s début as director: Erna Valeska (1911). War correspondent in 1915. Joined Peter’s company Emelka (later Bavaria Film) in 1918. Made Der Ochsenkrieg (1920) with young cameraman Frank Planer of later Hollywood fame, one of Osten’s several contributions to a budding genre that after WW2 became known as the Heimatfilm. In fact, the Ostermayr/Osten brothers claimed to be the originators of the genre.
When Himanshu Rai and Emelka made a deal to produce Prem Sanyas aka Light of Asia, Osten was assigned to direct. Continued directing Rai’s productions, often shooting in India as well as in Europe, in addition to directing for numerous companies in Berlin. Moved with cameraman Josef Wirsching and set designer Karl von Spreti to India to work at Himansu Rai’s Bombay Talkies (1934).
While in Bombay, became a member of the Nazi Party (1936). He was interned by the British at the outbreak of WW2 while shooting his last film there, Kangan. Released and allowed to return to Germany (1940). Employed by Bavaria Film until 1945, for casting and setting up its film archive. In addition to Indian films, directed 33 silent features and 10 sound films.
After WW2 became manager of a Bavarian spa. His Indian films, following UFA tradition, were huge Orientalist spectacles with elephants, camels and expansive vistas often shot in deep focus. Effective authorship shared by producer Rai and scenarist Niranjan Pal. Adopted European conventions to introduce main actors, e.g. backlit mid-shots in soft focus gradually becoming more contrasted; also used mobile outdoor shots as in the railway-crossing sequence of Achhut Kanya. Strongly influenced younger Bombay Talkies film-makers Amiya Chakrabarty and Gyan Mukherjee, though they used his techniques for very different purposes.
Filmography-1925: Prem Sanyas, 1928: Shiraz, 1929: Prapancha Pash, 1935: Jawani Ki Hawa, 1936: Achhut Kanya, Janmabhoomi, Jeevan Naiya, Mamata, Miya Bibi, 1937: Izzat, Jeevan Prabhat, Prem Kahani, Savitri, 1938: Bhabhi, Nirmala, Vachan, 1939: Durga, Kangan, Navjeevan
In addition to the German team in Bombay Talkies, there were three more Germans who also came to India and worked in Hindi films. One was Walter Kauffman (1-4-1907 to 9-9-1984). The other was Wilhelm Haas (18-6-1915 to 30-3-1979), who was a writer. Both were Jews and friends. Kauffman, Haas and Bhavnani worked together in Premnagar (1940), Naushad’s first film as music director. Kauffman composed the background score; Haas wrote the screenplay.
“It is debatable, but Kauffman is probably also the person behind the All India Radio signature tune. Haas was a member of the Indian chapter of PEN,” Gangar said. Haas also wrote the script for Bhavnani’s Jhooti Sharam (1939).
The third German was Paul Zils ( 1-6-1915 to 30-3-1979 ). Zils, believed to be a Nazi sympathizer, turned up in India under strange circumstances: he was bound for Indonesia in a steamer that got torpedoed by an Indian naval ship during World War II and he was taken prisoner.
After his release, because of his film experiences, the leadership of the sales department in Ezra Mir led government documentary production company called him to join Information films of India. End of October 1945, he came to Bombay and started his work. Following the closure of the Information Films of India, Zils was freelancing and in 1948 founded his own company Documentary Films of India; in 1949 India created new state production company Films Division. To popularize the documentary he was supported in 1949 among others by Mulk Raj Anand , B.K.Karanjia , Vikram Sarabhai , Frene Talyarkhan and Jagmohan.
1950-1952 is Zils tried as a feature film director, turning three films with Dev Anand. Paul Zils directed 3 Dev Anand films, according to the documents. Hindustan Hamara-50 and Zalzala-52 are found in HFGK, but the third film called ‘ Shabash”, though listed in 1949, gives no details, except the film name.
Paul Zils was also active in organizations of filmmakers. From 1957 to 1959 he was president of the Indian Documentary Producers Association (IDPA). In March 1959 he returned to Germany.
As the studio system came to an end and individual producers took over, the days of the Germans in Indian cinema were over. Many, including Osten, went back to Germany. Set designer Spreti was appointed German ambassador to Guatemala and was later shot dead by terrorists.
Most of the others remained associated with the film world abroad.
Film Nav Jeevan-39 had music by Saraswati Devi (a Parsee). Amongst the first 3 women Music Directors of India – the first being Ishrat Sultana aka Bibbo, the second was Jaddanbai and then came Saraswati Devi (1912-10.8.1980) – she was the most consistent and prolific composer. She gave music to 31 films, composing 262 songs. She also sang 10 songs in 6 films.
The cast of the film was Hansa Wadkar, Rama Shukul, V H Desai, Mumtaz Ali, P F Peethawala, Lalita Deulkar and many others. Today’s song is written by J.S. Kashyap and this duet is sung by Lalita Deulkar and Balwant Singh.
LALITA was born in Bombay in 1924.She was not interested in acting or singing, but poor family conditions and father’s T.B. forced her to earn a living by singing and acting. During 1940-45, she recorded many songs. One Mr. Dulerai Pandya, a Gujarati, owned “The National Recording Co.Ltd.” in Bombay’s fort area. There was a Tricolour shown on the labels of the records,hence this company was known as Jhandewali record co.. V.Shantaram was also on its Board of Directors. Initially Prabhat and later Rajkamal film songs were issued on this Jhanda Chhap records only. The company had hired Datta Davjekar for Marathi and Avinash vyas and Lallubhai Bhojak for Hindi and Gujarati songs. She recorded many Darya songs and Bhavgeets in this company.Along with her, Gajanan Watwe, Jyotsna Bhole also recorded songs here. Some records named her as Lalita Devi. Once Saraswati Devi heard her and gave her chance to do small roles and sing in chorus of songs of Bombay Talkies films. Her Debut was made with the song ” Raja hamen na niharo”. It was a duet with Balwant Singh, in film Navjeevan-39.
After singing songs in films like Parbat pe apna dera-44,Valmiki-46 and Eight Days-46,she got a good break in film Saajan-1947. Her duet with Rafi, ” Humko tumhara hi aasra” is remembered even today. Film Nadiya ke paar-48 also had a duet with Rafi,”More raja ho,le chal nadiya ke paar” which was very popular. C.Ramchandra was MD for both these films. She sang in several other films like Bhakta Dhruv,Khidki,Jalan,Shaheed,Shakti,Vidya,Bedard,Daulat,Girls school,Jai Bheem,Roshni,Sanwariya,Shabnam,Apni Chhaya,Malti Madhav,Pahli Tarikh,Sajni etc.
In all she acted in 5 films and sang 79 songs in 36 films.
She got married to Composer Sudhir Phadke (25-7-1919 to 29-7-2002),on 29-5-1949 at Poona. Their common friend Mohd. Rafi sang a specially prepared and meticulously rehearsed ” Mangalashtak ” ( an eight stanza marriage song in Marathi), in their marriage. After marriage she sang only in films of Sudhir Phadke. After Sajni-56, she stopped singing completely and became a devoted housewife. She died on 25-5-2010. Their son Shridhar Phadke is a well known Marathi singer and composer.
The male voice in this duet belongs to Balwant Singh. BALWANT SINGH was born in Pandoga village of Hoshiyarpur on 9-12-1918 in a Jahagirdar’s family. He was quite rich.
After a training from Pt.Bhishmadev in classical music, he came to Bombay and joined Bombay Talkies at the age of 18 years. He first gave Playback in Jeevan Prabhat-37. In Nirmala-38 he acted and also sang a song. Then came Durga-39 where also he acted and sang.
V.Shantaram cast him in Padosi-41 and his songs in this film were hits.
He was Hero in Darpan, Swapna, Malan, Naukar, Paraya Dhan, Ashirwaad, Collegian, Dr.Kumar, Bhanwar, Hip hip hurray and Apni chhaya-50 etc. As a hero he sang less songs. His songs with Shanta Hublikar(Malan) and Parul Ghosh and Khan Mastana(Bhanwar) were very popular. He also acted in Nirmala,Vachan and Kangan.
In all, he acted in 18 films, sang 20 songs in 10 films and also wrote 6 songs in film Sumitra-1949.
He married a girl from the royal family of Palanpur, Gujarat. After leaving films, he worked in All India Radio for 4 years. The signature tune played just before the morning broadcast was composed by Balwant Singh, for A.I.R.
Then he settled in Ahmadabad, directing Dramas and Teaching music. Finally, he shifted to Ludhiana where, after a long illness, he died on 4-12-1985.
With today’s song, film Nav Jeevan-1939, makes its Debut here.
( Some information used herein is from the book ” The music that rings every dawn ” by Historian Amrit Gangar ji, The Record news Bulletins of S.I.R.C , Prof. Yogesh yadav ji’s book ” Hindi film singers ” and Encyclopedia of Indian Cinema. My thanks to these sources.)
Audio
Video
Song-Raja hamen na nihaaro (Navjeevan)(1939) Singers-Lalita Deulkar, Balwant Singh, Lyricist- Jamuna Swarup Kashyap ‘Natwan’, MD-Saraswati Devi
Both
Lyrics
Raja hamen na nihaaro
o raja hamen na nihaaro
hamen to lag jaayegi najariya
ho raam
hamen to lag jaayegi najariya re
tirchhi najariya patri kamariya
tirchhi najariya patri kamariya
chhedo hamen na sanwariya
haan haan
chhedo hamen na sanwariya
haan haan
chhedo hamen na sanwariya
hamaari baali umariya
ho raam
hamen to lag jaayegi najariya
ho raam
hamen to lag jaayegi najariya re
kaun des se aayi gujariya
kaun des se aayi gujariya
ka matki bhar laayi gujariya
ka matki bhar laayi gujariya
brindawan ?? aayi gujariya
prem preet ras aagi gujariya
brindawan ?? aayi gujariya
prem preet ras aagi gujariya
daasi tihaari rasiyaa
haan haan
daasi tihaari rasiyaa
haan
daasi tihaari rasiyaa
sang sang beete umariya
ho raam
hamaari beete umariya
ho raam
hamaari beete umariya re
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 : | 4210 | Post No. : | 15408 |
Recently “Baazigar”(1972) was introduced in the blog. But this introduction was rather different. The song that was used to introduce the movie was actually a song from an earlier movie and this song plays in “”Baazigar”(1972) only as a “recording” song. I thought that the music directors of the two movies must be common. But I was wrong. When I checked up, I found that the music team of “Baazigar”(1972) was entirely different from the music team of the songsong discussed.
“Baazigar”(1972) was directed by Thakur Karunesh for Mukul enterprises, Bombay. The movie had Vijaylalita, Roopesh Kumar, Bindu, Kamal Kapoor, Sanjana, Indrani Mukherjee, Jairaj, Dhumal, Birbal, Dinesh Hingoo, Rndhir, Ifthikhar, Samson, Chacha, Suraj Prakash, Kirti Kumar, Surinder Kohli, Master Vijay, Joker (horse), Johny (dog) etc in it.
The movie had four songs in it according to HFGK and all these songs were female solos. All of them are sung by Asha Bhonsle. The song discussed in the blog did not find mention in HFGK.
Here is a song that is actually created for “Baazigar”(1972). This song, like all four songs of the movie, is sung by Asha Bhonsle. Naqsh Llayalpuri is the lyricist. Music is composed by Sapan Jagmohan.
The song is picturised as a seduction song on Bindu who is seen performing her thumkas for the benefit of Kamal Kapoor.
Audio
Video
Song-Meri jhoom ke naachi jawaani (Baazigar)(1972) Singer-Asha Bhonsle, Lyrics-Naqsh Llayalpuri, MD-Sapan Jagmohan
Lyrics
meri jhoom ke naachi jawaani
to ghunghroo toot gaye
meri jhoom ke naachi jawaani
to ghunghru toot gaye
maine ae ae chhedi jo dil ki kahaani
to ghunghru toot gaye
meri jhoom ke naachi jawaani
to ghunghru toot gaye
ho ke deewaana
keh raha hai dil
hosh mein rehna
aaj hai mushqil
ho ke deewaana
keh raha hai dil
hosh mein rehna
aaj hai mushqil
aai ee ee rang pe raat suhaani
to ghunghru toot gaye
meri jhoom ke naachi jawaani
to ghunghru toot gaye
sochta kya hai
maine lahra ke
tera daaman
choom liya hai
sochta kya hai
maine lahra ke
tera daaman
choom liya hai
peehli ee ee baar hui naadaani
to ghunghru toot gaye
meri jhoom ke naachi jawaani
to ghunghru toot gaye
bana li manzil
teri baahon mein
chhod ke duniya
do raahon mein
bana li manzil
teri baahon mein
chhod ke duniya
do raahon mein
maine ae ae
pyaar mein ki manmaani
to ghunghru toot gaye
meri jhoom ke naachi jawaani
to ghunghru toot gaye
maine ae ae
chhedi jo dil ki kahaani
to ghunghru toot gaye
meri jhoom ke naachi jawaani
to ghunghru toot gaye
Hoti hai kisi se jab preet
Posted on: January 27, 2020
- In: Asha Bhonsle songs | Blog ten year challenge (2010-2020) | Boat song | Duet | expression of love | Feelings of heart | Guest posts | Kishore Kumar songs | Kishore Kumar-Asha Bhonsle duet | Post by Avinash Scrapwala | Rajesh Khanna songs | Rajesh Khanna songs by Kishore Kumar | Songs of 1970s (1971 to 1980) | Songs of 1978 | Yearwise breakup of songs
- 3 Comments
This article is written by Avinash Scrapwala, 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 : | 4210 | Post No. : | 15407 |
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Blog 10-Year Challenge (2010-2020) – Song No. 5
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Welcome all to this post, where, under the ‘Blog ten-year challenge’, we have another movie which has completed a ‘decade’ on the blog with only one of its song posted on the blog.
This movie is ‘Prem Bandhan-1978’*. And the song ‘main tere pyaar mein paagal’ from this movie was posted on the blog exactly ten years back i.e. on 27.01.2010.
Two more songs were posted on that day and the three songs posted that day were as given below;
| Song | Movie title-Year | Remarks |
|---|---|---|
| Door papeeha bola raat aadhi rah gayi | Gajre-1948 | |
| Husn bhi hai udaas udaas | Fareb-1953 | |
| Main tere pyaar mein paagal | Prem Bandhan-1978 |
Browsing other songs from ‘Prem Bandhan-1978’ it is clear that only the above-mentioned song of this movie was the most popular song from this movie. It ranked at number 14 in the ‘annual list’ of ‘Binaca Geetmala’ of the year ‘1979’. Since the movie was passed by the Censor Board on 26.12.1978 it must have been released in theatres in around year end 1978 or around first week of January’1979 I guess.
The title song from ‘Ankhiyon Ke Jharokhon Se-1978’ topped the annual list of ‘Binaca Geetmala’ of that year followed by ‘aadmi musaafir hai’ from ‘Apnaapan-1977’.
The other movies released in 1978 and where music was composed by Laxmikant-Pyarelal are as given below;
| SNo | Movie | Passed by Censor Board on |
|---|---|---|
| 01 | Aahuti | 25.04.1978 |
| 02 | Amar Shakti | 16.09.1978 |
| 03 | Badalte Rishtey | 03.11.1978 |
| 04 | Chakravyuha | 22.07.1978 |
| 05 | Daakoo Aur Jawaan | 22.11.1978 |
| 06 | Dil Aur Deewaar | 08.09.1978 |
| 07 | Kaalaa Aadmi | 23.02.1978 |
| 08 | Main Tulsi Tere Aangan Ki | 14.07.1978 |
| 09 | Phaansi | 04.03.1978 |
| 10 | Phool Khile Hain Gulshan Gulshan | 04.09.1978 |
| 11 | Prem Bandhan | 26.12.1978 |
| 12 | Saawan Ke Geet | 16.02.1978 |
| 13 | Satyam Shivam Sundaram | 22.03.1978 |
Songs from ‘Satyam Shivam Sundaram’(two songs), ‘Phaansi’(one song), ‘Main Tulsi Tere Aangan Ki’(two songs) made it to the annual list of ‘Binaca Geetmala-1978’.
Coming back to today’s movie, ‘Prem Bandhan-1978’ was directed by Ramanand Sagar for ‘Gouri Films Pvt. Ltd, Bombay’. It was produced by R.R. Nanda. It had Rajesh Khanna, Rekha, Moushami Chatterjee, Vikram, Keshto Mukherjee, Prema Narayan, A.K. Hangal, Lalita Pawar, Helen with Sheetal, Janki Dass, Bhagwan, Gopi Krishna, Mumtaz Begam, Birbal, V. Suri, Brahm Bharadwaj, Satyadev Dubey, Bhakatani, Surinder Bhatia, Manmauji, Ramlal, Kanwar Sarhadi, Dr. Jayant Abhyankar, Narbada Shankar, Chandru Atma, Sunder Taneja, Ram Avtar, Javed Khan.
This movie introduced Rippy Singh, Arvind Trivedi and Madhu Shah. Story of this movie was written by Suhridkar.
The screenplay was written by Ramanand Sagar, Satish Bhatnagar, Suhridkar. Satish Bhatnagar also wrote the dialogues of this movie. Editing of this movie was done by Lachmandass while C.L. Kavish wrote the script of this movie.
Lyrics of this movie were written by Anand Bakshi and music was composed by Laxmikant-Pyarelal.
HFGK Vol-V (1971-1980) lists total six number of songs in this movie. The voices of Lata Mangeshkar, Kishore Kumar, Asha Bhosle, Mahendra Kapoor, Manna Dey and Chandru Atma were used for the songs in this movie).
(HFGK Vol V mentions the voice of Pankaj in today’s song however in the movie credits his name is not appearing among the list of Singers).
This movie was passed by Censor Board on 26.12.1978.
Only one song from this movie has been posted earlier and the today’s song is the second song from this movie to be posted on the blog.
Today’s song is sung by Pankaj, Asha Bhonsle, and Kishore Kumar. Rajesh Khanna and Rekha are lip syncing in the voices of Kishore Kumar and Asha Bhonsle respectively. Prema Narayan and many others are also seen in the picturization of this song.
The song is interesting and nice to listen to and watch. (I think if the video of the full song would have been available it would have been more enjoyable to watch. None the less we can still listen and enjoy this beautiful composition).
As mentioned above I could not locate the full video of this song. However, the audio of the full song is available and the lyrics are noted as per the audio link of this song. I guess that this song was also edited in the movie or maybe it is edited in the online version of this movie.
I have not watched this movie and I would request knowledgeable readers to throw more light on the movie and its songs …
This song is also a nice one and I am sure readers will also like this song like me.
Let us now enjoy the today’s song …
Audio (Full)
Video (Partial)
Song-Hoti hai kisi se jab preet (Prem Bandhan)(1978) Singers- Pankaj, Kishore Kumar, Asha Bhonsle, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Asha Bhonsle+Kishore Kumar
Chorus
Male chorus
Female Chorus
Lyrics
Hoti hai kisi se ae jab preet
Janam leta hai ae koi nayaa geet
Haiyya haiyya
Haiyya ho
Haiyya haiyya
Haiyya haiyya
Haiyya ho
Haiyya haiyya
Didhim naatim didhim naatim
didhim naatim
Daiyya
(Haiyya haiyya
Haiyya ho
Haiyya haiyya)
Haiyya haiyya
Haiyya ho
Haiyya haiyya
Ho o o o o o naiyya ka maanjhi
Maanjhi ki naiyya
(Haiyya haiyya
Ho ho
Haiyya haiyya)
Haiyya haiyya
Haiyya ho
Haiyya haiyya
Hoti hai kisise jab preet
Janam leta hai koi nayaa geet
Jise gaate hain galiyon mein log
Rama
Lagtaa hai ishq ka rog
Ho lagtaa hai ishq ka rog
Haiyya haiyya
Haiyya ho
Haiyya haiyya
Hoti hai kisise jab preet
Janam leta hain koi nayaa geet
Jise gaate hai galiyon mein log
Rama
Lagtaa hai ishq ka rog
Ho lagtaa hai ishq ka rog
Ghar mein gali mein ae ae ae ae ae ae
jee nahin lagtaa
Jee nahin lagtaa
Achchha buraa kuchh nahin lagtaa
Jee nahin lagtaa
Oye
Jee nahin lagtaa
Kuchh iska kaaran
Hota hai saajan
Kaahe lete hai
Kaahe lete hai jogi jog
Rama
Lagtaa hai ishq ka rog
Ho lagtaa hai ishq ka rog
Ho ho ho o
Ho ho ho ho o
Ho ho ho o
Ho ho ho ho o
Aa haa aa aa
Ho ho ho o
Ho ho ho ho o
Ho ho ho o
Ho ho ho ho o
Ho ho ho o o o o o
Aa
Ho ho ho o
Ho ho ho ho o
Aa
Aa
Ho ho ho o
Ho ho ho ho o
Aa haa
Ho ho ho o
Ho ho ho ho o
Aa haa
Jaane kahaan se chalti hai dhaaraa
Jaane kahaan se chalti hai dhaaraa
O ho o o
Jaane kahaan se chalti hai dhaaraa
Jaane kahaan milta hai kinaaraa
Kab kaise dekho do premiyon ko
O o o o
Milaa dete hain
Milaa dete hain ye sanjog
Ramaa
Lagtaa hai ishq ka rog
Ho lagtaa hai ishq ka rog
Sach kehti hai duiyaa ye saari
Sach kehti hai duiyaa ye saari
Ye preet aisi ek chingaari
Ye preet aisi ek chingaari
Lagti nahin ye
Bujhti nahin ye
Jal jaate hai
Jal jaate hain isme log
Rama
Lagtaa hai ishq ka rog
Ho lagtaa hai ishq ka rog
Hoti hai kisise jab preet
Janam leta hai koi nayaa geet
Jise gaate hain galiyon mein log
Rama
Lagtaa hai ishq ka rog
Ho lagtaa hai ishq ka rog
Lagtaa hain ae ae ae ae
O lagtaa aa aa aa aa
Rog
Lagtaa hai ae ae
Ishq ka aa aa aa rog
Ho ishq ka rog
Rama aa haan aa
Ho o Rama
Ho o Rama
Lala Lala Gulle Lala
Posted on: January 27, 2020
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 : | 4210 | Post No. : | 15406 |
Today’s song is from film Indrasabha-56.
From the title of the film, one can conclude easily that this was based on a Mythological story. However, it was not so. It was a remake of the film Indrasabha-1932, made by Madan Theatres, Calcutta. That film had Master Nissar and Jahanara Kajjan in the lead. That film had a world record of having the maximum songs-69 songs- details of which are given in the HFGK Volume-I. (It was suggested in the HFGK that there were 2 more songs also in the film, thus making a total of 71 songs).
The film was based on an Urdu play “Inder sabha, written by Syed Agfha Hasan “Amanat Lakhnavi” ( 1815-1859). This was probably the second play on imaginary story involving Mythological characters. The first one was Vishakha Datt’s play ” Mudra Rakshas “, written somewhere in the 9th century. Amanat’s play was written in 1853 and was first performed on stage in Lucknow in 1854. The original play had 46 songs, consisting of 8 geets of folk genres, 8 thumaries and 30 Gazals. When I was searching for information on the story or review of this film. I came across an article in http://www.bihartimes.com, from which I quote the relevant portion…
” “Indar Sabha” draws from both the rich tapestry of Persian dastans/masnavis and folklore as well as Hindu mythology. But it goes much further – amalgamating the strands of Urdu literary tradition, North Indian nautanki (folk theatre), Hindu devotional theatre/dance (Ram Lila, Ras Lila), classical Sanskrit drama and Wajid Ali Shah’s court pageants, contends Afroz Taj, professor of South Asian Languages, Literatures and Cultures at the University of North Carolina at Chapel Hill.
In fact, Prof Taj has translated and extensively analysed the work in “The Court of Indar and the Rebirth of North Indian Drama” (Anjuman Taraqqi Urdu (Hind), 2007).
The story is that Indar (Hindu celestial king Indra) organises a concert for his court. His court dancers, the Pukhraj (Yellow/Topaz), Nilam (Blue/Sapphire), and Lal (Red/Ruby) Paris (fairies) dance and sing for him in a variety of styles. Amanat showcases his craft here with their songs corresponding to their colour motif – the Pukhraj Pari presents basant songs, Nilam mentions blue flowers and jewels, and Lal Pari incorporates the red of the twilight, gems and blood in her lyrics.
When it is the Sabz (Green) Pari’s turn, Indar falls asleep. She storms out and meets an old friend, the Kala Dev (dev here not the gods of the Indian mythology, but demons of Persian folklore) and confides she saw a sleeping human prince on her way and fell in love with him. She orders him to bring him before her and he complies.
Awoken to see a beautiful woman confessing she is in love with him, Prince Gulfam of Akhtarnagar (an obvious reference to Lucknow of Wajid Ali Shah “Akhtar”) is confused and then angry at being abducted. Learning he is at Indar’s fabled court, he is now most keen to see its legendary dancers. The Sabz Pari warns him of the peril but he is adamant and threatens to commit suicide. She gives in and smuggles him in before resuming her performance. Unfortunately, Gulfam is discovered and a furious Indar orders he be imprisoned in a deep well in the Koh-i-Kaf (Caucasus).
The Sabz Pari, herself humiliated and cast out of the court, wanders through fairyland in the guise of a “jogan (female hermit)” in search of the prince. Reports of a new singing talent reaches Indar, who summons her for a performance. He is moved so much that he offers to give her her heart’s desire – and it is hard not to guess what she wants – and gets.
Encapsulating the refined aestheticism of Wajid Ali Shah’s reign, the play, surviving British annexation of Nawabi Awadh and the horrors of 1857-59, got a new lease of life as it was taken up and performed by theatre companies, mostly Parsi troupes, all over British India. It was first performed in Bombay in 1864, hit Lahore and Calcutta in 1875, and overseas – Singapore (1913) and Rangoon (1927). And it was these Parsi troupes that eventually formed the nucleus of the Hindustani film industry.
Amanat’s play is significant in other respects too. Not only is it a linguistic kaleidoscope with ghazals in polished Urdu and folk songs in Awadhi/Braj, but it also reflects the composite multicultural ethos – by conscious mixing of Hindu and Muslim cultural traditions or featuring Persian/Urdu words in a Braj lyric and vice versa.”
Film ‘Indrasabha’-56 was directed by a veteran of such films – Nanubhai Vakil. He was one of the highly educated persons of those times (B.A.LL.B), who joined films in the silent era and successfully continued into the Talkie era till the 70’s decade. The film was made under the banner of Shah Pictures, and the producer was its owner Ramniklal Shah (husband of actress Indurani- a heroine in the 30’s decade) The MD was A R Qureshi aka Tabla Maestro Alla Rakha. His assistant for this film was Damodar Sharma – himself a Music Director of the early Talkie films. The cast of the film was, Chitra, Daljit, Heeralal, Ameeta, W M Khan, Al Nasir (husband of actress Veena), Sadiq, Rajan Haksar, Ranjana Shukla and many others.
How many names a person can have ? 2 – 3 – 4 ? Film actress Ameeta had 5 names. She was born Qamar Sultana. Her mother called her Indira, friends called her Indu, In film Thokar-53, she appeared as Jai jaiwanti and finally she was named Ameeta by Vijay Bhatt. Total 5 names. Ameeta was born on 11-4-1940 to Riaz Ahmed and Shakuntala Devi , in Calcutta. After her father’s death, they shifted to Bombay.
She started acting in Kaafila-52, Anmol Sahara-52 and Thokar-53. In 1953, she became Heroine of film ” Shri Chaitanya Mahaprabhu”, for which she got the name Ameeta. The film was a flop. After roles in popular films like Munimji-55 and Hum sab chor hain-56 she was selected as a lead actress, opposite Shammi Kapoor in film “Tumsa nahin dekha”-57. The film was a great Hit and she became a Star !
Though she acted in some good films like Dekh kabeera Roya-57 and Goonj uthi Shehnai-59 etc, she remained all the time a B grade Heroine. Till her last film Kisan aur Bhagwan-74, she acted in 47 films and then she left films. Her mother died soon after. Her daughter Sabeeha acted in few films, but shifted to a more successful business of Jewellery designing. (adapted,with thanks, from the book ” Beete hue din” by Shishir Krishna Sharma ji).
One more interesting name in the cast is Ranjana Shukla. Once upon a time, she was the Heroine of Dilip Kumar in film ” Milan”-46, made by Bombay Talkies, now relegated to ordinary roles in films.
Ranjana’s real name was Ratan Shantaram Deshpande. She was born in Nagpur on 20-10-1927. While studying in St. Ursula High School, she learnt dancing and music from well known ustads. After passing her 6th standard examination, she came to Bombay to her elder sister, Kusum Deshpande, who was already working as actress with Minerva Movietone films. Kusum married Vasant Thengadi, a handsome actor in Hindi films of those times.
Kusum arranged for specialised dancing for Ratan in the holidays. Later Ratan was taken to Vijay Bhatt of Prakash pictures for an interview. She was immediately selected and got a role in the famous film Ramrajya-1943. In this film she was Chitralekha, Sita’s sakhi. Vijay Bhatt also changed her name to Ranjana. She was on pay roles of Prakash for Rs. 2000 pm. She acted in films like police-44, Vikramaditya-45 and Hamara Sansar-45. Next films were Nai Maa-46 and Zamin Asman-46.
Ranjana was called by Bombay Talkies to do Heroine’s role opposite Dilip kumar in film Milan-46. This film was based on Bangla film Nauka Doobi written by Tagore. She did the role of Hem Nalini in this film’s Hindi version. The same role was done by Meera Sircar in the Bangla film Nauka Doobi.
After this film, Ranjana was in great demand, but she wanted to quit films and get married to live a simple life. She married a young and handsome writer Arvind Shukla. But after few months he fell sick and there was no income. So, she had to continue working in films till 1975. She also worked in many Marathi films. In all, she worked in about 35 films or so. Ranjana worked with many big stars of her times like, Prem Adeeb, Prithviraj Kapoor, Jairaj, Dilip Kumar, Jeevan, Umakant etc etc
It is interesting to note that her sister and her brother in law acted with her in few films. Some such films were Zamin Asman-46 and Shadi se pehle-47. In film Saajan ka Ghar-48 all three had worked together. We have many families like this in Hindi films. I remember Zubeida and her mother and sisters, Sitara Devi and her 2 sisters, Nargis,her mother and brothers, Kapoor family, Dilip kumar, his brother and sister in law, many film couples and families of several film people are examples. Ranjana was perhaps one early example. Thank God, this Ranjana was not around when yet another Ranjana came to Hindi films. She was Ranjana Deshmukh, niece of actress Sandhya(nee Vijaya Deshmukh). This Ranjana, however , worked mainly in Marathi films and did only 4 Hindi films starting with the famous film Chaani-77. Unfortunately, she first met with an accident and then died of Heart attack at the age of just 40 years or so.
Today’s song is sung by Asha, Geeta and chorus. The lyrics are by Shevan Rizvi. This is the 3rd song from this film to appear here.
Song-Laala laala Gulle laala pyaar kare hai kismetwaala (Indrasabha)(1956) Singers- Asha Bhonsle, Geeta Dutt, Lyricist- Shevan Rizvi, MD- A R Qureshi
Asha Bhonsle + Geeta Dutt + Chorus
Lyrics
Laala Laala Gulle laala
Laala Laala Gulle laala
pyaar kare hai kismat waala
pyaar kare hai kismat waala
Laala Laala Gulle laala
jisne kiya na pyaar
ho jisne kiya na pyaar
uska jeena hai bekaar
uska jeena hai bekaar
Laala Laala Gulle laala
Laala Laala Gulle laala
pyaar kare hai kismat waala
pyaar kare hai kismat waala
Laala Laala Gulle laala
agar koi haseen qaatil
jo kabhi maange tumse dil
ajab se kehna lotar(?) ka
ajab se kehna lotar (?) ka
shaida tum par har dil waala
lalar lala lallar lalla
Laala Laala Gulle laala
Laala Laala Gulle laala
pyaar kare hai kismat waala
pyaar kare hai kismat waala
Laala Laala Gulle laala
ke jab tak ?? na karna
ham kahaan phir tum kahaan phir hum
ke jab tak ?? na karna
ham kahaan phir tum kahaan phir hum
ye mausam aaye na har baar
ye mausam aaye na har baar
rang hai sab ka udne waala
Laala Laala Gulle laala
Laala Laala Gulle laala
pyaar kare hai kismat waala
pyaar kare hai kismat waala
Laala Laala Gulle laala
haseenon ke ishaaron par
lutaa do din jhukaa do sar
haseenon ke ishaaron par
lutaa do din jhukaa do sar
warna jeena hi bekaar
warna jeena hi bekaar
pyaar ki duniya Gulle laala
Laala Laala Gulle laala
Laala Laala Gulle laala
pyaar kare hai kismat waala
pyaar kare hai kismat waala
Laaala Laaala
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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