Naseeba mera chamka jo sabak loon tumse
Posted on: February 26, 2020
This article is written by Arunkumar Deshmukh, a fellow enthusaist 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 : | 4240 | Post No. : | 15453 |
Today’s song is from the early era of Talkie films. The film is Desh Deepak-1935. The film was made by Wadia Movietone – the pioneers and Flag bearers of Stunt and Costume films. The film was directed by J B H Wadia, the elder brother of the owners. The screenplay, story and Lyrics were by Joseph David and the music was given by Master Mohammed. The cast included Master Mohammed, Shareefa, Iqbal, Sayani Atish, Sardar Mansoor, Husn Bano, Nadia, Boman Shroff, John Cavas, Jaidev(composer), Jijibhai and many more.
When the Talkie films started, the audience was awestruck and went to the theatres to see and enjoy, whatever the producers served them on the screen. Initially, the films were mostly Mythological and Costume dramas, but in due course, the film makers realised that making a stunt film was much more profitable than a Costume drama. Stunt films could be made in Rs. 30-50 thousand, whereas for other films, the investment was more. Further religious films catered to only a particular religion, i.e. Muslim and Christian audience would not see a Mythological film and Hindu and Christians will not see a Muslim religious film. But stunt films were for all and sundry. There was no restriction.
Due to all this, the pioneers of stunt/action films decided to concentrate on this Genre only. Wadia Movietone was the leading film maker of these C grade films. Other companies who made such films were, Imperial, Ranjit, Sharda, krishna, Saraswati, Saroj, Sagar, Bharat Royal, Ajanta, Madan etc. in 1933 Wadias entered with force in this market, and followed by others, in just 3 years i.e. from 1933 to 1935, a total of 138 films of Stunt/Action, Costume, Arabian Night stories and magic based Imaginary films ( all C grade) were made. Significantly, out of these 138 films, as many as 42 films were Stunt and Action films. This was mainly because of Wadia Movietone. They introduced Fearless Nadia in Hunterwali-35 and virtually ignited the flame of Stunt/Action films from 1935 to 1950. Thus the decade of 40s could be called “Stunt Film Decade” with 210 such films from 1941 to 1950.
Wadia Movietone was a noted Indian film production company and studio, based in Mumbai, established in 1933 by Wadia brothers J. B. H. Wadia and Homi Wadia. It was most known for stunt, fantasy and mythological films, including Hunterwali (1935).
Wadia brothers belonged to a Parsi family, and their ancestors came from the ship building Wadia family (Wadia Group), originally from Surat, which also built the British wartime ship HMS Trincomalee (1817). Their ancestors moved to Bombay in the 18th century. It was co-established in 1933, by producer and screenwriter J. B. H. Wadia, his younger brother director Homi Wadia, film distributor Manchersha B. Billimoria, and brothers Burjor and Nadirsha Tata.
However, the Tata brothers left the partnership within three years. The company then continued production of film, documentaries and newsreels from its studios near Lowjee Castle, Mumbai, the Wadia family mansion, owned by their great-grandfather Lovji Nusserwanjee Wadia, a noted shipbuilder, who founded the Wadia Group in 1736. The company even had its logo as a ship, honouring their family legacy. They company made Hunterwali (1935) starring Fearless Nadia, Boman Shroff and John Cawas, which became a surprise hit and its first big success. Thereafter, they made several films based on the Arabian Nights.
However, by the end the 1930s, the genre of stunt, fantasy and mythology films which dominated the early films, was beginning to fail and the company ran into heavy losses, after they invested into ambitious projects which flopped. The last film made by the company was Raj Nartaki (1941) under the direction of Madhu Bose. Thereafter, the studio premises were up for sale; V. Shantaram bought the studio in 1942 and established Rajkamal Kalamandir on the premises. Homi Wadia, who worked as a director the company, went on to establish Basant Pictures in the same year, though initially as a film production house. Subsequently, he established a film studio under the same banner in 1947, which functioned till 1981.
Riyad Vinci Wadia, grandson of J.B.H. Wadia inherited the studio in 1990. He is most known for his film, Bomgay (1996) and a documentary on Nadia, Fearless: The Hunterwali Story. He died in 2003.
In the early phase of Cinema, till about the end of 40s, the Studio system was in vogue. Initially, all studios employed their own staff and the films were sold on the name of the studios, e.g. Prabhat, Wadias, Ranjit, Sagar, New Theatres etc etc. Over the years slowly the ‘ Free Lance ‘ system set in and major stars operated independently. All studios tried to have the best, among their staff. Successful artistes had great demands. Even the story writers and screenplay writers were important. one such person was Joseph David (Penkar), from Imperial film co., who ,later on , joined Wadias. He was a Jew. The contribution of Jew Community to Hindi cinema in different fields like, acting, Direction, Cinematography, etc was noteworthy from the beginning of Talkie films.
Among the earliest script writers for the silent films was a Bene Israel Jew, Joseph David Penkar- (जोसेफ डेव्हिड पेणकर) (1872-1942), a theatre manager of the third decade of the twentieth century, who was also the author of plays in Marathi and Urdu. Today, three of his plays – Queen Esther, The Maccabeen Warriors and Prince Ansalom – are archived in Israel.
He wrote the story, screenplay and some of the music of Alam Ara (1931), the first full length talkie of Indian cinema. Alam Ara betrays the influences of Hebrew, Hindi and English stories. In one scene, the wicked queen imprisons a young man who fails to respond to her advances, like the Biblical story of Joseph and Potiphar’s wife. And the sub-plot of a lover couple separated, reminds of Rama and Sita from the great Hindu epic Ramayana, with perhaps a touch of Shakespeare’s Romeo and Juliet.
Joseph David was born in the Marathi speaking Penkar (पेणकर ) clan of Bene Israel Jews in the Dongri-Umarkhadi area of Bombay in 1872.
Although David did not receive much of schooling, he acquired fluency in Hebrew, English, Hindi, Urdu, Marathi and many other Indian languages. Driven by his passion for English plays, David joined the Parsi Theatrical Company as a stagehand. He was given small improvisational parts as an actor. But, with his talent for music composition and way with words, he soon found himself working as a playwright.
He made a breakthrough when he wrote the screenplay for India’s first talkie, Alam Ara, which was released on 14th March 1931. The film was a huge success. Tickets were sold for twenty times the admission rate as crowds thronged to see the first talkie venture of Indian cinema. After Alam Ara, he joined its production house, the Imperial Film Company, as a playwright and also got involved with film-producing, directing and music composing. Other screenplays followed: Sati Sone (1932); Lal-e-Yaman (1933), to which he also composed the scores; and Desh Deepak (1935). Joseph David died in 1942.
He gave music to 3 films,composing 40 songs…Laal E Yaman-33, Vaman Avtar-34 and Bagh E Misr-34. He also wrote 110 songs in 11 films, from Mahabharat-33 to Pahadi Kanya-36.
Film Desh Deepak-35 had music by Master Mohammed- who also acted in this film. Master Mohammed started his career as an actor and composer in Krishnatone’s ” Harishchandra”-1931-one of the earliest Talkie film in the first year itself. He composed 20 songs in ” Seeta swayamvar”-1933. Same year he acted and composed music to India’s First Talkie Fantasy film “Lal E Yaman”-33. He used to sing songs in his films. He was MD of many films of Fearless Nadia, from her First big film ” Hunterwali ” -1935 to ” Sher E Baghdad”-46. He gave music to 24 films, composing 217 songs and sang 41 songs in 18 films. He also acted in 23 films.
His specialty was patriotic songs in his films. Some of his famous songs were, Hum watan ke-jai Bharat-36 and Zanda uncha rahe hamara-Lutaru Lalna-38. Another song from his film, ‘Jagat ka sapna” was based on Hindu-Muslim Unity. In his every film, there used to be a patriotic song.
His last film as an actor was ” Flying Prince “-1946.
His last film as a composer was Sati Seeta-46.
I have not seen this film, but I got its story, with thanks, from a Blog, exclusive for such film discussions – http://www.pedrotheapebomb.wordpress.com. One special point about this film. This film has the famous composer Jaidev, acting in it as a child artiste. Jaidev had run away from home to Bombay and did few films before returning to home, according to his biography.
The story is…
A kingdom loses its king and there is a mad scramble to take power which would otherwise go to the child prince (Master Jaidev), who is now in hiding. Meanwhile a young woman (Sharifa) is selected to run the country.
To keep the woman in power, her elder sister (Iqbal) joins forces with the General (Sayani Atish) who, unbeknownst to anyone, desires the kingdom for himself. But the woman’s husband (Sardar Mansoor), a patriot, will not divulge the whereabouts of the prince, who is safely hidden away with a high priest (Master Mohammad) and his family, so the general puts him in jail.
The General’s daughter, a pacifist, wins over one of her father’s officers (S.L. Puri) in hopes that he will help avert an all out war, but the General, feeling betrayed, demands his execution. The daughter then meets two entertainers (Nadia and Parsi Charlie) and they try to release the patriot and two other rebels (Boman Shroff and John Cawas), who are imprisoned with him, and together they hope to stop the execution of the young officer.
When she comes to realize the General’s true plans, the elder sister turns against him and goes back to help her husband…but then, the younger sister and her army set out to crush the rebellion once and for all.
One song from this film is already posted here. So, this is the second song, sung by Husn Bano and S L Puri.
Song-Naseeba mera chamka jo sabak loon tumse (Desh Deepak)(1935) Singers-Husn Bano, S L Puri, Lyrics-Joseph David, MD-Master Mohammad
Both
Lyrics
sipahsaalar Feroz
Kya
insaan ka khoon bahaana
ye sab aapka ka kaam hai
?? jo maalik tumhaare haathon
khuda ke bandon ka khoon bahaate hain
wo sirf apna matlab nikaalte hain
sipahsaalaar
watan kaum aur mazhab ke liye
jung karna jitna achcha hai
usse behtar insaani hamdardi mein koshish karna behtar hai
shahzaadi saahibaa
to aaj se mujhe apna shaagird banaa lo
naseeba mera chamka
jo sabak loon tumse jaana ka
mujhe tum hi se haasil ho
tajarbaa aah re duniya ka
mujhe tum hi se haasil ho
tajarbaa aah re duniya ka
yahi laajim hai insaan ko
yahi laajim hai insaan ko
bane hamdard insaan ka
bada ye ??
bane hamdard insaan ka
museebat dil ko ??
aisa aaj na hona
koi maatamzada mile jaaye
jinse ??baan hona
koi aur raah gum kar de
aisa rehnuma hona
?? har ??khuda marha??
?? hona
har baar ?? marha??
kis tarah hona
yahi laajim hai insaan ko
yahi laajim hai insaan ko
bane hamraaz insaan ka
badhaaye ?? aisa ko
bane ?? ka
badhaaye ?? aisa wo
bane hamsa ?? ka
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Leave a comment