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

Archive for May 2020


This article is written by Sadanand Kamath, 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: 4335 Post No.: 15631

The connoisseurs of Hindi film music of the 1960s and 1970s would recall the four melodious songs sung by Geeta Dutt in ‘Uski Kahaani’ (1966) and ‘Anubhav’ (1971). Fans of Gulzar would know that all these four songs have come from his pen. But I will not be surprised if only few of them would remember that all these four songs had been set to music by Kanu Roy. Among these few persons, most of them would not have known his real identity. In his case, it was not only of the confusion of same name but also the confusion with a wrong family tree.

Most of the websites including Wikipedia says that Kanu Roy was an actor and music director who started his acting career in 1940s and switched over to music direction from 1960 onwards. His filmography in IMDb shows him both as an actor and the music director. In some websites, Kanu Roy as a music director has been discussed with the photograph of the actor, Kanu Roy. He is also been wrongly associated with the family of Geeta Dutt as one of her brothers. The facts are:

1. Kanu Roy, the actor and Kanu Roy, the music director were different persons. Kanu Roy, the actor came to Bombay (Mumbai) in early 1940s to join Bombay Talkies. On the basis of Gulzar’s interview which appeared in a ‘Filmfare’ issue of 2012, Kanu Roy, the music director came to Bombay sometime in mid-1950s. (My guess is that he may have come with Basu Bhattacharya who was his close friend).

2. Kanu Roy, the actor was never a music director. Kanu Roy, the music director never acted in films.

3. Kanu Roy, the music director was not a brother of Geeta Dutt. I have seen a photograph of Geeta Dutt’s full family before her marriage. In this photograph, there is no Kanu Roy. The names of Geeta Dutt’s four brothers are Mihir Roy, Ranjit Roy, Mukul Roy and Milan Roy.

With multiple confusion about his name, even the basic profile of the music director, Kanu Roy is difficult to get. I could get some information from Gulzar’s interview published in one of the Filmfare issues of 2012 which is available on http://www.tanqeed.com . In this interview, Gulzar talked about his association as a lyricist with Kanu Roy which I have summarized below with my marginal inputs.

Kanu Roy had picked up the musical notes from Bengal. He began his career by assisting music director, Salil Choudhury who also had Kanu Ghosh as his Assistant Music Director. It seems Kanu Roy was a Welder by profession and had worked on the upkeeping of the Howrah Bridge. He was an introvert by nature and had in him a mix of timid and humble nature.

Basu Bhattacharya and Kanu Roy were great friends. It was Basu Bhattacharya who gave Kanu Roy his first break as a music director in ‘Uski Kahaani’ (1966) which he produced and directed at shoestring budget. Subsequently, he worked in another five films of Basu Bhattacharya. Because of the low budget films, Basu Bhattacharya would never allow Kanu Roy to have more than 6-8 musicians (as against 50-100 musicians the music directors like Shankar-Jaikishan, Naushad, O P Nayyar etc would have in their orchestra). Also, Kanu Roy would not get the regular shifts in the recording studios for rehearsals of the songs. He had to manage in the early morning hours of the recording studio. He did not have a bargaining power with Basu Bhattacharya to ask for more musicians. (Probably for the same reason, he may not have got the playback singers of his choice). It is remarkable that with these constraints, Kanu Roy could composed melodious songs in Basu Bhattacharya’s films.

Kanu Roy’s career ended with his life on 20/12/1981. He lived in poverty and died in poverty.

During his musical journey from 1966-80, Kanu Roy composed 28 songs in 8 films, of which 6 films were of Basu Bhattacharya. Of the remaining two films, one film ‘Mayuri’ (1970s) remained unreleased. Though his contributions to Hindi film music in terms of numbers were low, many of his melodious songs still linger on. Unfortunately, his name may not ring bell for many who may still enjoy those melodious songs.

Although most of Kanu Roy’s melodious songs have been covered in the Blog, I found one song which I liked for its all-round excellence – lyrics, rendition, melody, composition and the picturization. The song is ‘pahchaan to thhi pahchaana nahi’ from ’Griha Pravesh’ (1979). The song is rendered by Chandrani Mukherjee on the words of Gulzar. Having watched the film, I feel that this song summarises the theme of the film.

Amar (Sanjeev Kumar) and Mansi (Sharmila Tagore) has been married for 10 years with 8-year old boy. During this period, some staleness in their relationship develops. Both are under the illusion that they are in love but in practice, they are just being together under one roof. Now their marriage is in the verge of collapse when Amar develops affairs with his office typist Sapna (Sarika). He is caught in a bind in that while he loves Sapna, in the back of his mind, he is also emotionally attached to his family.

Finally, Amar tells Mansi of his intention to divorce her to marry Sapna. After the initial shock, Mansi agrees for divorce on the condition that he should bring Sapna to the house to meet her. The reason is that Sapna has seen Amar in the office as an Accountant and develop the liking for him in an office environment. But she has not seen him in his house where the environment is different.

Before Sapna visit to her house, Mansi gets her house painted. She undergoes herself to a new make-over. While doing this, the song under discussion plays in the background. Sapna visits her house with Amar. After a brief meeting, Mansi takes Amar aside and tell him that she is ready to leave him for Sapna. After the meeting, Mansi tells Amar to drop Sapna to her house. However, when crossing the road, Sapna walks over to the other side of the road while Amar gets stranded on the opposite side because of a marriage procession on the road. In the midst of the orchestra in the marriage procession playing ‘tu Ganga ki mauj mein Jamuna ki dhara’, both Amar and Sapna take leave by waving hands at each other. The scene is symbolic of conveying the message that Amar has a change of heart. The film ends with Amar returning home having coffee with Mansi and his son with the replaying of the film’s song ‘zindagi phoolon ki nahi, phoolon ki tarah mehkti rahe’.

The lyrics of the song under discussion are simple and convey retrospection on the part of a housewife who forgets to give attention to herself. Instead, much of her time is spent in the kitchen, looking after husband and the child and upkeep of the house. In this milieu, she forgets her own identity.

In keeping with the low budget of the film, Kanu Roy has used only three main musical instruments in this song – Sarod, Sitar and what I believe to be Khol (Bangla Dholak) which one can hear in a low rhythm as the song is rendered. The song starts with a prelude of Sarod and Sitar and the same instruments are used in the interludes of the song. Chandrani Mukherjee, who is the sister-in-law of Bappi Lahiri, has rendered the song with poignant feeling in keeping with the mood of the situation. The Audio clip is longer with the same lyrics because it has the longer prelude music than in the video clip.

This song sums up the story of a housewife in a middle-class society.

Video Clip:

Audio Clip:

Song-Pehchaan to thhi pehchaana nahin(Grih Pravesh)(1979) Singer-Chandrani Mukherjee, Lyrics-Gulzar, MD-Kanu Roy

Lyrics

pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi

jab dhoop barasti hai sar pe to
paanv mein chhaanv khilti hai
main bhool gayi thhi chhaanv agar
milti hai to dhoop mein milti hai
is dhoop aur chhaanv ke khel mein kyun
jeene ka ishaara samjha nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi

main jaagi rahi kuchh sapnon mein
aur jaagi huyi bhi soyi rahi
jaane kin bhool bhulaiyya mein kuchh
bhatki rahi kuchh khoyi rahi
jeene ke liye main marti rahi
jeene ka ishaara samjha nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi


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Blog Day: 4334 Post No.: 15630

“Mud Mud Ke Na Dekh”(1960) was directed by Ramesh Tiwari for N C Films, Bombay. This “Social” movie had Bharat Bhushan, Anita Guha, Jeewan, Tiwari, Prem Chopra (debut), Krishnakumari, Bela, Kammo, Helen, Naaz, Mishra, Anwari Bai, Narbada Shankar, Rajinder Kathana, Ratan Gaurang, Nemo, Prakash, Robert etc in it.

The movie had eight songs in it. Seven songs have been covered in the past.

Details of the seven songs covered in the blog are :-

S N Song Post number in blog Date of posting
1 Haseen ho Khudaa to nahin ho 1524 28-June-2009
2 Tere peechhe phirte phirte ho gayaa pooraa saal re 2441 30-Apr-2010
3 Auraton ke dabbe mein mard aa gayaa 2447 3-May-2010
4 Jahaan tu tu tu wahaan main main main 12362 10-Sep-2016
5 Baaghon mein kabootar kaale 13845 28-Dec-2017
6 Ye hai june ka maheena aaye bada hi paseena 15100 1-July-2019
7 Raat kaali jugnu chamken 15614 20-May-2020

Here is the eighth and final song from “Mud Mud Ke Na Dekh”(1960). This song is sung by Asha Bhonsle and Geeta Dutt. At least another unknown female voice is there in addition to chorus. Prem Dhawan is the lyricist. Music is composed by Hansraj Bahl

The song is picturised as a stage song and it is a song with a message as it is against the dowry system.

I am unable to identify the actors seen in the picturisation. I request our knowledgeable readers to help identify them.

With this song, all the eight songs of “Mud Mud Ke Na Dekh”(1960) get covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.


Song-Aao aao ladki waalon…dulha bikta beech baazaar (Mud Mud Ke Na Dekh)(1960) Singers-Asha Bhonsle, Geeta Dutt, Unknown female voice, Lyrics-Prem Dhawan, MD-Hansraj Bahl
Chorus

Lyrics

aao aao ladki waalon
ladka mila ?? raha hai
dulhan ke liye dulhe ka daam ho raha hai
ye hai ladka B A
iski bolo boli
ek hazaar
ek nahin bhai
do hazaar
arre do nahin bhai
chaar hazaar
arre chaar bhi kya hai
das hazaar
aji das to kya hai
bees hazaar
bees hazaar
bees hazaar ek
bees hazaar do
bees hazaar teen

dulha bikta beech baazaar
ye hai shaadi ya vyopaar
dulha bikta beech bazaar
ye hai shaadi ya vyopaar
beche pagdi to baabul laaye beti ka singaar
dulha bikta beech bazaar
ye hai shaadi ya vyopaar
beche pagdi to baabul laaye beti ka singaar
dulha bikta beech bazaar
ye hai shaadi ya vyopar

mera ladka M A
iski keemat jo bhi bole
baarah man wo chaandi laaye
sona teen sau tole
satrah jode do sau suit
bahan ki saadi bhai ka boot
ghadi sasur ki saas ka joda
do motor ek baggi ghoda
palang radio aur kaaleen
rang birange sofe teen
ye sab do
ye sab do to kar sakta hoon main kuchh soch vichaar
hai aisi shaadi pe dhikkaar
dhikkaar
dhikkaar

dulha bikta beech bazar
ye hai shadi ya vyopar
beche pagdi to baabul laaye beti ka singaar
dulha bikta beech bazaar
ye hai shaadi ya vyopar

mera ladka anpadh phir bhi keemat poora laakh
laakh to den par kahaan seth ji dulhe ki ??
arre ek haath ka hai ek laakh
do ka leta main do laakh
kyun ladke ki itni fees
hai ye khaandaani raees
chaar sau beeghe hai jaageer
khulegi ladki ki taqdeer
aisa var
aisa var
aisa var na milega chaahe dhoondho sab sansaar
hoye aisi shaadi pe dhikkaar dhikkaar dhikkaar
dulha bikta beech bazaar
ye hai shaadi ya vyopaar
beche pagdi to baabul laaye beti ka singaar
dulha bikta beech bazaar
ye hai shaadi ya vyopaar

kab tak dukhiya baabul apni kanya rakhe kanwaari
roz ye paudha chadhta jaaye
badhe ye jimmewaari
aaj khuda ban baithe hain ye beton ka vyopaari
kya ho sab ghar bar bike bik jaye kapde tan ke
laaunga jo bhi maagoge bete waalon bhihkaari banke
main bhikhaari banke
main bhikhaari banke
main bhikhaari banke ae

motor bangla chaandi sona
haan haan haanji aur kaho na
nakdi laakh nahin to n
sab manzoor hai kahdo haan
acchha to ha,
haan
haan
ja ri ja ri dulhaniya pyaari
tere baabul ne waari tujhpe duniya saari

ja ri ja ri dulhaniya pyaari
(aa aa aa aa aa)
tere baabul ne waari tujhpe duniya saari

hamen bulaa ke ghar pe tumne diya ye dhokha kaisa
laalach buri bala hai
milta hai jaise ko taisa
abhi saza ye kam hi mili hai
bhaago yahaan se laala
warna pakad se pitwaayenge
hum munh karke kaala
upar se daalenge gale mein hum jooton ka haar

rrr
yoon na karna
isse achcha hai marna
kya tumko daulat pyaari
na na ji izzat pyaari
to paaon pe rakh do pagdi
maangoon ne ek bhi damdi
to karlo aaj se tauba
mere to baap ki tauba
kya maan li tumne haar
haan chhoda ji chhoda ye beton ka vyopaar
aisi shaadi pe dhikkaar dhikkaar dhikkaar
dulha bikta beech bazaar
ye hai shadi ya vyopaar
beche pagdi to baabul laaye beti ka singaar
dulha bikta beech bazaar
ye hai shaadi ya vyopaar


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 :

4333 Post No. : 15629 Movie Count :

4304

Regulars of this blog are aware that my family had three pets namely Nuppy (cat), Bhole (dog) and Chhote (Dog) that my wife adopted in september 2010, october 2010 and december 2010 respectively in the place where she lived. I was based at Nagpur those days, some 300 km away. They were all very young when they were brought home. I would visit my wife and daughter and bring them to Nagpur along with the pets during their holidays.

These pets and their interesting tales are covered in several of my writeups, viz. Aaye ho to dekh lo duniya zaraa (Chiraag Kahaan Roshni Kahaan), Jab koi ladki baar baar mere dil ko tadpaaye (Chattan Singh), Ye pyaari pyaari paati (Janmbhoomi), Tu hai mera yaar (Milan),Jahaan chaar yaar mil jaaye wahaan raat ho gulzaar (Sharaabi)(1984), Jaa jaldi bhaag jaa (Deshpremi)(1982), Bade miyaan to bade miyaan (Bade Milaay Chhote Miyaan)(1998) etc.

Most of these writeups were happy tales describing the amusing antics of the pets. The first and so far the only sad writeup appeared on 29 june 2012, where I broke the news that the cat nuppy was no more.

There have been no detailed posts in the blog about my pets since 2015 though I had a collection of many new interesting stories about them.

I have finally decided to pen another writeup on my pets. This is unfortunately another obituary. It is Chhote, the youngest pet who passed away on 27 may 2020.

When we got the medical cards of our pets made in Nagpur in January 2011, the three of us were the owners of the three pets. Chhote was shown as owned by my wife, Bhole by me and Nuppy by our daughter.

The three pets have brought us countless hours of joy as long as they lived and left fond memories after two of them left us.

Chhote was the centre of attraction of our household. Not just the humans in the house, even the other two pets of the house were very fond of him. He had a natural knack of winning over strangers (animals as well as human beings). He was the youngest pet, and the other two pets were very protective of him. In the winter season of 2010-11, the three of them would sleep snuggled up with each other. The two senior pets would keep Chhote between them, protecting him from both sides.

My wife never pampered our daughter (despite she being our only child), but Chhote was pampered by her, to the extent that she began to give step motherly treatment to Bhhole. Later she realised the error of her ways and made amends. Chhote began to assert proprietary claims over my wife and would prevent Bhole form coming close to her. When I came visiting from Nagpur, Bhole paid Chhote in the same coin. He staked a proprietary claim over me and prevented Chhote from coming close to me, much to our amusement. Till the last moment, this ownership claim was not given up. But to our credit, we tried to treat both dogs fairly even if he was not the owner. 🙂

Chhote had such smooth silky coat. In Nagpur, I would hear the door bell. At the door, I would find the padosan living upstairs holding Chhote and telling me that he was going to the busy main road. I would thank her and take hold of Chhote. People loved to hold Chhote in their arms, just to feel the texture of his smooth silky coat.

Cat was allowed to go out and come in but the dogs were not. But Chhote, always looking for challenges and adventures would often escape out of the home. Bhhole would then seek to escape so that he could go out and protect Chhote.

While Bhole and nuppy knew their way back home, Chhote did not and he would lose his way. Then my wife would order nuppy to go and bring Chhote back. Amazingly, nuppy understood the command. She would go and bring Chhote home. This happened more than once and so it could not be just a coincidence.

Even street dogs began to know him. Once a street dog brought him back to the home! As a reward, my wife gave that dog some foodstuff to eat.

Chhote gave respect to his senior pets, just like humans do.

While Chhote had the temperament of being a dog seeking to socialise with everyone, Bhhole was an athletic dog, with strong jaws and good running speed. My daughter appointed him her sprint coach. The two would begin their sprint together. Bhhole would easily outrun her and then stop to allow her to catch up with him before resuming his sprint. Bhhole’s coaching was quite useful seeing that my daughter was the 100 metre sprinting champion of her class among girls and once she even won a District level sprint.

Bhhole would also play football with my daughter while being dressed properly in football shorts. Bhhole, proudly sporting his footballing short looking like Scoobie Doo, would be seriously tackling the daughter for ball possession when he would suddenly find his shorts being pulled down. It was Chhote (looking like Scrapy Doo) entering the arena wondering what happened to the tail of Bhhole. Bhhole would snarl at him, asking him to leave him alone. 🙂

Once, Chhote for some reason began to whine and whimper and got into the nerves of my wife. It is said by wise men, and morning message to this effect regularly gets circulated in whatsapp groups that “One should not take imortant decisions when angry and one should not make promises when happy”. It is a wise saying that my wife does not practice. She got annoyed with Chhote and decided to give away the trouble making Chhote to someone else. She convinced a lady to take Chhote and handed Chhote to her.

That was a saturday. When the daughter came back home from school and found Chhote missing, she started crying and insisted that Chhote be brought back. Even the other two pets were silent and sad. Next morning, wife and daughter went to that lady. They found Chhote, who roamed around freely inside his earlier home, tied by a chain in that household. Chhote was very happy to see them. My wife asked Chhote back. Much to their relief, the lady agreed to hand Chhote back. While they were bringing Chhote back, a cow who had recently given birth to a calf though that her calf was being taken away. she gave a chase. My wife went to the cow and showed her Chhote and convinced her that it was a pup and not her calf. 🙂 When Chhote was brought back home, the other pets, silent since morning, became happy and cheerful. The raunaq of the household had returned. The voice of Chhote which my wife was finding annoying till the previous day began to sound like music to her ears.

Chhote was quite intelligent and smart. Unlike most humans, he could think out of the box and outsmart humans. A human would chain him and think that Chhote cannot get away. Chhote would pull his head out of the neck collar and the human would be left holding the chain with the collar. Chhote had used this trick on many unsuspecting humans. In the early days, we tied him with chain made of fibre. He would bite off the rope and free himself. Then we bought metal chains to tie him and Bhole.

In Nagpur, we had a garden adjacent to my residence. The garden is closed from all sides. I would leave the dogs in the garden every morning for an hour before bringing them inside the home. I was secure in my knowledge that there was no way the dogs can go out of the garden. But as I mentioned before, Chhote outwitted me. He laid a detailed long term plan. This plan was carried out so well that I could notice nothing. One week later, when I went to the garden to bring the two pets back, they were nowhere to be found. They had escaped !

What Chhote had done was an example of a lateral thinking at its best. He found out that the mud under the gate was soft. So every day, he got Bhhole (the athletic dog) to dig some mud from under the gate. Bhhole dug some mud everyday for seven days. On the seventh day, enough gap got created under the gap and the two escaped through that gap.

Where did they go ? There was a children’s part nearby. The board said-“only for Children of Railway employees”. The two dogs were playing there, considering themselves as children of a Railway employee.

Both dogs had different natures and different qualities. Chhote, the brainy one, had the ability to analyse things and work out ingenious solutions, which is unusual for most other dogs. For instance Bhole could never do these things. When it came to opening doors, Bhhole only knew how to open door by pushing. If the door needed to be pulled then Bhole was all at sea. But Chhote could easily pull a door. He even worked out the way to go through spring loaded doors by pulling it safely.

Bhole was good in barking whereas Chhote was not. When Bhole barked, his bark was so furious that people thought that many dogs were barking. Chhote accompanied him in barking but he in reality would only be only lip syncing in Bhole’s voice.

Chhote had some superhuman abilities in him. For instance he could tell by smell if the foodstuff was edible. We often used to buy milk packets when running short of Milkman supplied milk. Once we bought one such milk packet and offered this milk to the pets. Pets, who would dring milkman supplied milk without a fuss, refused t drink it despite being hungry. Later they drank milkman supplied milk. That is how we realised that the milk suppled in milk packets was not safe.

Chhote’s hearing ability was truly superhuman. The car that we have is one of millions such cars built to the same specifications, but Chhote could tell this car apart by the sound of its engine. He could do it when the car was at least a kilometer away. The person driving the car could barely listen to the sound of the engine, whereas Chhote, located one kilometer away could tell that this car belonging to the family was arriving back home in five minutes.

Chhote was very fond of being driven around in that car. He would take the passenger seat and look around, soaking in the scenario. He has traveled a lot between Maharashtra and MP, seated on the passenger seat.

When visitors came home, they were afraid of Bhole and they would request that Bhole be tied down by chain. No one was afraid of Chhote. Chhote would remain free and join in watching the visitors (plumbers/ electricians etc) do their stuff. If luggage was being moved from one place to another (for instance during transfers) Chhote would sit on the furnitures and would get carried along with the furniture. If the school friends of the daughter drop in and had their discussion while seated on chairs, Chhote too would hop on a chair and give them company.

From Nagpur, I got transferred to Bilaspur during end of 2011 and shifted the luggage in February 2012. All six of us travelled from Nagpur to Bilaspur in that car.

Bilaspur residence had a sprawling premise. The wall was broken at places. Initially I was worried that the dogs would escape through the gaps and would be lost. But after nearly one year of tussle between the pets and me, I realised that the pets could go out and come in safely. There were many occasions when I felt that the dogs (one or both) were lost, but fortunately they came back safely every time. In due course, the premise became a safe haven for pups and their mothers. The two pets would repel any male dogs from entering the premise, but pups and their mothers were welcome to reside in the premise. There was a time when the premise housed, apart from Bhhole and Chhote, two female dogs and nearly a dozen pups.

Bhole and Chhote had their meals in their earmarked pots. Bhole was very possessive about his meal and would not share it with any other dogs. Chhote on the other hand was quite accommodating and shared the meal of his pot with any pup who approached him. The pups adored him. I had taken photographs (that I shared on facebook) that show Chhote walking around with nearly a dozen pups following him.

We also had some temporary pets there that lasted for just a few months before being lost for one reason or the other. My wife had given them interesting names. One of these temporary pets was a pup named Kabra Singh. Both Bhole and Chhote were quite friendly with Kabra Singh and they would teach him tricks of dogfight. I have a photograph where Kabra Singh is seen trying to apply those tricks on his own gurus. 🙂 Kabra Singh tried to copy the mannerisms of Chhote. If Chhote was seated on a chair then he would get seated on a small stool striking the same pose as Chhote.

When I was transferred from Bilaspur to Izatnagar in UP in 2015 then bringing the two pets offered challenges because of the distance involved. Finally I worked out an elegant solution (first suggested by the daughter). She suggested that we needed to bring them by train. Initially I told her that it was not possible. Then on checking up the rules I found that dogs could be brought in guards van or in AC first (if other passengers do not object). No self respecting pet dog would ever travel in the guard van with the guard (without the owner) so that option was ruled out. The dogs had to be taken only by AC first. The best and fail safe way to ensure that there was no objection from other fellow passengers was to ensure that we got the cabin of two berths instead of four berth cabin. I requested for it. I was ensured that I would get that provided no VIPs traveled that day by that train. I prayed and my prayers were answered. VIPs kept away and we were allotted two berth cabin. The dogs, duly certified fit to travel (certificate issued by a government vet), with their documents and tickets were with us. THe TTE saw the tickets and raised no alarms (I had already ensured that the TTE was briefed beforehand). Chhote occupied the lower berth and watched eagerly out of the window like a wide eyed kid. Bhole, not interested , made himself comfortable at the floor of the cabin. Chhote let my wife share the lower berth with him. 🙂

Early morning, we arrived at Agra cantt. From there, we reached Izatnagar by road.

Izatnagar in UP was different from Bilaspur in Chattisgarh. The premise of the residence was just as porous as was the case with Bilaspur residence but I realised that allowing the dogs to roam free like they did at Bilaspur was not safe. So after a few close shaves, it was made sure that the two dogs were taken out of the residence only while chained. Of course then escaped from the chain many a times and those who ran behind to bring them back aften had harrowing time cornering them and bringing them back.

Every morning I would take the dogs on walk, one dog at a time. It was alweays Chhote first, because it was he who insisted on being taken for a walk first thing in the morning, come rain or snow. Thanks to him, I became the most disciplined officer in Izatnagar who would regularly go on a walk at 6 AM and even earlier while others were still sleeping. Even during torrential rain, Chhote would insist on having his daily morning walk. He was that kind of outgoing dog.

The street dogs in Izatnagar were quite big built and fearsome. They would try to bully Chhote and Chhote would get nervous. I , armed with a stick, assured him that he was under Z category security and he was well protected. I would manage to keep the gang of street dogs at bay. When it was the turn of Bhole to go on his morning walk, the tables were turned. For some reason, the appearance of Bhole unnerved even those big built hardened street dogs assembled in a gang and they would quickly disperse at the sight of Bhole. Bhole walked the street like a dabang dog.

Like at Bilaspur, even at Izatnagar, pups and their mothers were allowed to stay in the premises of the residence. As at Bilaspur, even here the pups were fond of the pets. Even Bhole was admired by pets. When they went on their morning walk, these pups also accompanied them. Pups accompanying Bhole would take advantage of Bhole’s appearance to bully even big looking street dogs and chase them away. 🙂

Izatnagar has an IVRI (Indian Vetenary Research Institute) nearby. The two dogs would often go there for their medical check ups and there they would combine to bully other dogs.

When I was transferred from Izatnagar to Gorakhpur in August 2018, I and my wife travelled by our car with our pets. The residence at Gorakhpur had proper walls so the pets could not go out. So for the first time in years, we could leave the dogs in the premise without worrying about them going out of premises. On three occasions, during heavy rains, I found parts of wall falling down and the premise getinmg exposed to public. Those were harowing days, because it meant dogs could escape to busy main road and from then onwars there was no hope for seeing them again. On all these occasions, I managed to somehow keep the dogs restrained while the wall got repaired (first temporarity and then permanently). On those days, I would take them out of residence while chained. Otherwise the dogs had forgotten the experience of being chained after coming to Bilaspur.

After one year of stay at Gorakhpur, Chhote suddenly developed the desire to go on a walk out of the residence every morning and afternoon, like how it was in Izatnagar. It was from december 2019 onwards. Chhote continued to go on his walks till march 2020,

It was during the last months of 2019 that Chhote started suffering from a medical problem that initially went unnoticed. My wife feels that he had developed a tiny swelling inside his mouth on the right side. Later, on being checked, it turned out to be malignant cancer. My wife took him to a vet for treatment in early march 2020, hoping that it would help. Next date of treatment was 25 march 2020, which turned out to be the date when lockdown started in India. It was in the second week of april that the Vet clinic finally opened. When Chhote was taken to the vet, he had become quite weak and thin by then because he was not able to eat properly. He was given driops and some injections, which helped a bit, and his appetite returned a bit. He has stopped eating his normal food. My daughter suggested that he be fed soft chicken pieces. She ordered chicken biryaani online every afternoon. I would feed Chhote soft pieces morsel by morsel which he would struggle to eat. He would then drink lots of water in a bid to wash it down.

The cancerous growth was becoming bigger. It led to continuous secretion that Chhote would try to wipe on his forelimbs. So his shiny white coat wou;d get dirty and discolored. I began to give him baths every second day which gave him relief for some time before his body would once again be covered with that secretion.

Chhote was suffering. Inability to take in nourishment was telling on him. An erstwhile burly looking Chhote was getting shrunk in size which was sad to see. When I showed his video to my daughter she began to cry at his plight.

When Chhote was taken to the vet again one week later, this time he stated that it was a hopeless case. The swelling is solid swelling. Nothing can be done to reduce it- the vet stated.

So I came back and informed this fact tyo my wife on phone.

To the credit of Chhote, he endured this pain stoically. He had realised that his last time was approaching. He seemed to be reconciled to it, secure in the knowledge that we tried everything we could for him. In his prime, he would bother us for many things, but this time he had decided that he would try and be as less of a problem on us as he could help. He did not whimper once throughout his suffering.

On my part, I made sure that Chhote did not feel unwanted, unloved and uncared for because of his medical condition. He was given the same freedom as before. No quarantine, no restrictions, no stigmas. He in fact was given special attention as far as feeding him and bathing him was concerned.

When my wife and daughter first became aware of the worsening condition of Chhote, they opined that he should not be made to suffer like this and he should be given euthanasia. I opposed the idea telling them that he was eating chicken and so he was getting nourishment.

By 25th may, his condition took a turn for the worse. He stopped taking even the little nourishment he was able to take earlier. And he had become so weak that he struggled to stand on his feet.

On 26th may, I phoned my wife and informed her of Chhote’s situation. I told her that I could no see Chhote holding on for much longer. It was now I, instead of she, who broached the subject of euthanasia. My wife, from her location in MP tried to get things arranged by talking to people concerned. The feedback was that no doctor was prepared. So be it. But we needed to be ready since the end was near.

On 26th of night, Chhote struggled to move around in the hall. He tried to sit in one place, and then another, then at yet another place and so on. He did not eat anything. with some effort, he drank water.

At night, he was sleeping in the hall. Late at night, when I woke up and looked at the hall, he was not there. It meant that he had gone to some other room where he liked to stay.

Every night, I am woken up by Bhhole a few times who wants to go out to relieve himself. And I take his out. Every time I do that, more often than not, Chhote too joins in. On this night, Chhote did not come out.

Next morning, when I hardly got any sleep, I took Bhole out of residence. At about 5 AM, I mustered enough courage to venture in the direction where Chhote had gone at night. There he was, lying stone cold at the floor. He had expired, after bravely fighting off this killer disease for several weeks.

As instructed by my wife the previous day, I kept the body on Chhote’s bed, which my daughter had ordered for him online the previous year. Then I covered him with a dupatta of my wife.

My wife had phoned the concerned people. An area was located in one corner of the premise adjacent to the boudary wall. A grave was dug. Chhote along with his bed and my wife’s dupatta covering him was laid to rest in that grave. Flowers, plucked from the plants in the premise were laid on the grave. Agarbattis were lit.

When nuppy had died, it came as a sudden shock because Nuppy was young and without any ailments. Chhote’s death on the other hand was not unexpected. It had become nevitable after cancer was detected inside his mouth and it was diagnosed as incurable. The pain of losing Chhote was tempered by other feelings, viz, feeling of relief that Chhote was finally put out of the terrible misery he was going through.

Then there was the feeling that I was spared a moral dilemma of subjecting my pet to euthanasia. No doubt I wanted that in order to save the pet from further pain, but that would have still amounted to murder. I was mightily relived that I could now could keep a clear conscious. I also felt morally upright knowing that I did not lt my pet down, I did not betray him and I did not hurt his feelings while he was undergoing his suffering. He was in need of support and comfort and I tried to provide that. When I realised that his end was near then I decided not to leave him alone.I took leave from office and stayed at home in the second half of 26 may 2020. So I was at home when the end came sometime in the night of 26 may-27 may.

My daughter asked me, did Chhote sport his collar while being buried ? I replied in the affirmative. Then I realised how wise it was on my part to fit Chhote’s favourite collar around his neck. Pet dogs wear this collar proudly as a badge of honour for being a pet of a household. Chhote departed from the world, secure in the knowledge that he was sporting his favourite collar at that time.

How did Bhole react to the demise of Chhote ? In the morning of 27 may 2020. Bhole must have gone to the room where Chhote was lying dead. He must have seen that Chhote was no more alive. Bhole kept a sombre silence throughout the morning. He saw Chhote, with his bed and dupatta cover being carried out. So he knew that Chhote would no longer be around.

Chhote got a decent honorable burial with eight human beings present. If there is something like soul which watches from above, then the soul of Chhote would have felt that he was treated well in his life and also while bidding him a final farewell.

There is this concept of “Shaapit gandarv” and “shaapit dev”. In ancient mythology, some gods would anger some rishis/ munis and the rishis / munis woud curse them to get born in the Mrityulok. On request, the sentence would be reduced a bit. Like for instance, in Mahabharat, eight vasus were cursed by Rishi Vashisht that they would e born as humans. On request, it was stated by Rishi that they would hav to spend just a few moments as human, as their mother would kill them immediately and then they could be back as Vasus. Some acquaintances, who are familiar with our pets have suggested that our pets too were like such devas who were cursed by some munis that they would be born as dogs on earth. On being requested, their sentence was softened. It was ordained that they would be brought up by a kind human family that would bring them up with care and affection. It is a theory that I agree with. Chhote and Bhole, and also nuppy seem to be very special pets who possessed qualities that seem unreal in a normal cat/ dog.

So, nuppy and Chhote are back to being the devas that they were before they came into our lives. Bhole is the only one left now. He perhaps needed to serve the longest sentence of them all. Like the humans, Bhole too is remarkable well composed and is coping well with the loss. Hopefully, we will get over the loss soon. The font memories of Chhote will ofcourse linger for many years. We have not forgotten nuppy who left us eight years ago, and I am sure same will be the case with Chhote as well.

I am sad but also relieved, and philosophical about this loss. Two days have already passed. I thought that I would keep this news to myself. But then I decided that it would be a burden on my chest if I kept this fact to myself. So this writeup, the longest in the blog for some time is my effort to get the load off my chest and then resume my normal life.

I searched for a suitable somh to go with the occasion. The search led me to a song from “Pyaas”(1982).

“Pyaasa”(1982) was produced and directed by O P Ralhan for Ralhan Productions Bombay. It had Kanwaljeet, Zeenat Aman, Tanuja, Anju Mahendroo, Madan Puri, Kamini Kaushal, A K Hangal, Dheeraj Kumar, Manmohan Krishna, Ram Mohan, Brahmchaari, Kamaldeep, Jagdish Raj, Devyani Thakkar, Shivraj, R S Chopra, Asha Sharma, Gauri Verma, Sunil Dhawan, Dhanraj, Maqbool, Hakeem, Ashok, Rafiq, Anil Ahuja, Rani Gill, Surjit Kaur, Shwini Kumar, Zeenat, Satyarani, Ramlal , Jimmy, Gopal Ralhan, Vinod Talwar, Ashok, Ratan Gaurang, Harendra, Kumud Tripathi, Ramesh Kumar, V K Chopra, Renu Kumar, Tarana, G Ansari, Ameer, Raj Kishore, Master Chhotu, Debut-Aaloka, Guest appearances by McMohan and Om Shivpuri.

This forgotten movie had eight songs by three lyricists. This song from “Pyaasa”(1982) is a song that seems tailormade for the sombre occasion. The song is sung by Kishore Kumar. Shiv Kumar Saro is the lyricist. Music is composed by Bappi Lahiri.

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

With this song, “Pyaas”(1982) makes its debut in the blog.


Song=Saath mera chhod kar (Pyaas)(1982) Singer-Kishore Kumar, Lyrics-Shiv Kumar Saroj, MD-Bappi Lahiri
Chorus

Lyrics

hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm

saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar
saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar

aaa aa aa aa
aaa aaa aa aaa aaa

gham se bhara hoon main
aur mujhe gham na do
phool maange thhe maine
mujhko khaar na do
saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar

hmm hmm hmm hmm
hmm hmm

yaaden thhin kitni haseen roye aasmaan roye zameen
sahar ka ham kya karen yaar apna saath nahin
saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar

aa aa aa aa
har dil mein zinda hai tu
insaan nahin farishta hai tu
gareebon ki hai jaan tu
insaan par ehsaan tu
saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar
hmm hmm hmm hmm hmm


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: 4333 Post No.: 15628

“Zingaaro”(1963) was directed by Chandrakant for Jai Films, Bombay. This “costume drama” movie had Jairaj, Jabeen Jaleel, Tiwari, Bela Bose, Laxmi Chhaaya, Aruna Irani, Maruti, Mridula, Babu Raje, Poonam Kapoor, Baburao Pahalwan, Radheshyam, Moolchand, Ghani, Pahalwan, Julien etc in it.

The movie had six songs in it. Two songs have been covered in the past.

Here is the third song from “Zingaaro”(1963) to appear in the blog. This song is sung by Asha Bhonsle and chorus. Prem Dhawan is the lyricist. Music is composed by S N Tripathi.

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


Song-Muhabbat mein sab kuchh lutaate chalo (Zingaaro)(1963) Singer-Asha Bhonsle, Lyrics-Prem Dhawan, MD-S N Tripathi
Chorus

Lyrics

muhabbat mein sab kuchh lutaate chalo o
jale dil magar muskuraate chalo
muhabbat mein sab kuchh lutaate chalo
jale dil magar muskuraate chalo
aa aa aa aa aa aa
aa aa aa aa aa aa

honthon pe ho naam kisi ka
yaad kisi ki seene mein
pyaar na ho to phir kya rakkha
hai marne ya jeene mein
ho ho ho ho ho
ho ho ho

honthon pe ho naam kisi ka
yaad kisi ki seene mein
pyaar na ho to phir kya rakkha
hai marne ya jeene mein
ulfat ki mehak sajaate chalo o o o
mohabbat mein sab kuchh lutaate chalo o
jale dil magar muskuraate chalo
aa aa aa aa aa aa
aa aa aa aa aa aa

jiske dil mein pyaar samaaya
roke se kab rukta hai
dilwaale ka sar to bas
dildaar ke aage jhukta hai
ho ho ho ho ho
ho ho ho

jiske dil mein pyaar samaaya
roke se kab rukta hai
dilwaale ka sar to bas
dildaar ke aage jhukta hai
duniya ki nazren jhukaate chalo o o o
mohabbat mein sab kuchh lutaate chalo o
jale dil magar muskuraate chalo
muhabbat mein sab kuchh lutaate chalo o o
jale dil magar muskuraate chalo


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: 4332 Post No.: 15627

Today’s song is from a film ‘Dharti ke Lal’-46, made by Indian People Theatre Association – formed on 25th May 1943. The film was directed by K.A.Abbas. The music was by Ravishankar. For 10 songs, written by a team of 4 Lyricists, music was composed by Ravi Shankar. Ravi Shankar (7-4-1920 to 11-12-2012) gave music only to 5 Hindi films, composing 48 songs – Neecha Nagar-46, Dharati ke lal-46, Anuradha-60, Godan-63 and Meera-79. Few songs from films Anuradha and Godan were good and popular, otherwise, in my opinion, his music was absolutely average. It never impressed me.

The film’s cast was Shombhu Mitra, Usha Dutt, Balraj Sahni, Damayanti Sahni, Anwar Mirza, Tripti Bhaduri Mitra, David, K N Singh etc etc. This was the first and the only directly produced film by IPTA. Later on, it supported many films in Hindi, Bangla and other languages. IPTA was an association of like minded people of socialistic thinking, influenced by and tilting towards Communism.

After the Great Russian Revolution in 1917, the Communist Cult philosophy started attracting people in the world, but within next 75 years,i.e. by 1992, the Russian Communism came to a close with President Gorbachev’s Peristroika and Glassnost. In India, in the early years after the Independence, Communists had some states under their control and with Nehru’s blessings, they prospered too. However, as on today, Communism in not only the world, but even in India is thriving only in remote pockets and Naxalite activities. IPTA has been the Cultural wing of CPI in India.

It had become an established way to project India’s poverty, illiteracy, poor people and the miseries of the ‘Have Nots’, through films and such ‘realistic’ films were decorated with medals. Films made on the famous Bengal Famine of 1943 and Appu Triology did this job faithfully and received accolades.

In Indian film industry there were stalwarts, who swore by Nehru’s Socialism. Big guns like Mehboob Khan, A R Kardar and B R Chopra were few examples. Socialism dripped from the films they made- Roti, Mother India, Son of India, Naya Daur etc. can be quoted in this context.

Amongst the actors, Balraj Sahni was one actor who tilted to this philosophy. Most writers, directors actors etc from Bangla film industry were sympathetic towards this philosophy, if not actively participating openly into it. Out of the important and active members of Bombay from IPTA was K A Abbas. It was his idea to make a film on 1943 Bengal famine. Abbas not only made Dharti ke lal in 1946, but also made its sequel Munna in 1954. This is what Encyclopedia of indian Cinema says about film Dharti ke lal-46….Based on Bijon Bhattacharya’s plays Nabanna and Jabanbandi; Krishen Chander’s short story Annadata. Abbas’s directorial debut launched a major trend of ‘realist’ cinema. The film is set during WW2 and the 1943 Bengal famine (a traumatic event often used as source material by left cultural movements) and a growing ‘nation-building’ ideology. Made during the war, the novice cast and crew were accorded a special licence for a war-effort contribution.
The only film actually produced by the IPTA (although it later informally supported several other films), the film is based partly on Sombhu Mitra’s landmark production of Bhattacharya’s play Nabanna for the IPTA. It narrates the story of a family of sharecroppers in Bengal: the patriarch Samaddar, his elder son Niranjan and his wife Binodini, and the younger son Ramu with his wife Radhika. Despite a good harvest and rising grain prices during the war, Samaddar loses his property to a crooked graindealing zamindar. Ramu, his wife and their newborn baby go to Calcutta followed soon after by the rest of the family along with thousands of similarly dispossessed peasants. The film intercuts Ramu’s frantic search for work with his wife’s descent into prostitution. Before dying, the patriarch enjoins his family to return to their native soil where the farmers get together and, in a stridently celebratory socialist-realist ending, opt for Soviet-style collective farming. Ramu is excluded from their world.

The film’s highly stylised and symbol-laden realism proved extremely influential. It appears to have found a way of narrativising the 1943 famine which set the pattern for many films moving from depictions of deprivation in the country to suffering in the city, e.g. Nemai Ghosh’s Chinnamul (1950) and Bimal Roy’s Do Bigha Zameen (1953). It also initiated a new type of melodrama able to marry actuality to psychoanalytic and political anxieties and desires, as in Abbas’s scripts for Raj Kapoor.

Presented By: Indian Peoples Theatre Association (IPTA); Associate Producer: V.P. Sathe; Associate Director: Sambhu Mitra, Balraj Sahni, P.A. Gupte; Assistant Director: Srinivas Sastri, Narendra Trivedi; Story: Bijon Bhattacharya, Krishen Chander; Screenplay: K.A. Abbas; Dialogue: K.A. Abbas; Adaptation: Bijon Bhattacharya’s “Navana” and “Jiban Maran”, Krishen Chander’s “I cannot die”. Music Director: Ravi Shankar.
K A Abbas was an important name in Hindi film industry. He was close to many heavyweight actors, producers and other directors. He belonged to a highly cultured and educaqted family from Panipat (present Haryana). Khwaja Ahmad Abbas was born in Panipat, Haryana, on 7-6-1916. He was born in the home of celebrated Urdu poet, ‘Khwaja Altaf Husain Hali’, a student of Mirza Ghalib. His grandfather Khwaja Gulam Abbas was one of the chief rebels of the 1857 Rebellion movement, and the first martyr of Panipat to be blown from the mouth of a cannon. Abbas’s father Ghulam-Us-Sibtain graduated from Aligarh Muslim University, was a tutor of a prince and a prosperous businessman, who modernised the preparation of Unani medicines. Abbas’s mother, ‘Masroor Khatoon’, was the daughter of Sajjad Husain, an enlightened educationist.

Abbas took his early education in ‘Hali Muslim High School’, which was established by his great grand father Hali. He had his early education till 7th in Panipat. He was instructed to read the Arabic text of the Quran and his childhood dreams swung at the compulsive behest of his father. Abbas completed his matriculation at the age of fifteen. He did his B.A. with English literature in 1933 and LL.B. in 1935 from Aligarh Muslim University

Worked on National Call, a New Delhi paper (1933); started Aligarh Opinion when studying law (1934); obtained law degree in 1935; political correspondent and later film critic for nationalist Bombay Chronicle, Bombay (1935- 47) praising Dieterle, Capra and esp. Shantaram. Wrote Indian journalism’s longest- running weekly political column, Last Page (1941-86), in Chronicle and Blitz. Best-known fiction (Zafran Ke Phool situated in Kashmir, Inquilab on communal violence) places him in younger generation of Urdu and Hindi writers with Ali Sardar Jafri and Ismat Chughtai, whose work followed the PWA? and drew sustenance from Nehruite socialism’s pre- Independence, anti-Fascist and anti-communal commitments.

Founder member of IPTA’s all- India front (1943), to which he contributed two seminal plays: Yeh Amrit Hai and Zubeida. Entered film as publicist for Bombay Talkies (1936) to whom he sold his first screenplay, Naya Sansar (1941). First film, Dharti Ke Lal, made under IPTA’s banner and drew on Bijon Bhattacharya’s classic play Nabanna (1944), dealing with the Bengal famine of 1943.

Set up production company Naya Sansar (1951), providing India’s most consistent representation of socialist-realist film (cf. Thoppil Bhasi and Utpal Dutt). Best work is in the scripts for his own films and for those of Raj Kapoor (Awara 1951); Shri 420 (1955), 1955, both co-written with V.P. Sathe; Jagte Raho, 1956; Bobby, 1973) and Shantaram’s Dr. Kotnis Ki Amar Kahani (1946; adapted from his own book, And One Did Not Come Back), which combined aspects of Soviet cinema (Pudovkin) and of Hollywood (e.g. Capra and Upton Sinclair), influencing a new generation of Hindi cineastes (Kapoor, Chetan Anand) and sparking new realist performance idioms (BALRAJ SAHNI). His Munna, without songs or dances, and Shaher Aur Sapna, cheaply made on location in slums, were described as being influenced by neo-realism.

Pardesi is the first Indian-Soviet co-production, co- directed by Vassili M. Pronin. The landmark Supreme Court censorship judgement about his Char Shaher Ek Kahani (aka A Tale of Four Cities) curtailed ‘arbitrary’ governmental pre- censorship powers on the grounds that the Indian Constitution guarantees the right to free speech. His constitutional challenge of the Cinematograph Act led to the famous Supreme Court decision upholding the validity of precensorship of cinema. Interestingly in Interestingly in 1939, K A Abbas had written a letter to Gandhi urging him to reconsider his opinion on the idea of the evil of cinema. He writes
“Today I bring for your scrutiny – and approval -a new toy my generation has learned to play with, the CINEMA! – You include cinema among evils like gambling, sutta, horse racing etc… Now if these statements had come from any other person, it was not necessary to be worried about them… But your case is different. In view of the great position you hold in this country, and I may say in the world, even the slightest expression of your opinion carries much weight with millions of people. And one of the world’s most useful inventions would be allowed to be discarded or what is worse, left alone to be abused by unscrupulous people. You are a great soul, Bapu. In your heart there is no room for prejudice. Give this little toy of ours, the cinema, which is not so useless as it looks, a little of your attention and bless it with a smile of toleration”.

Published many books including I Am Not An Island and Mad Mad World of Indian Films (both 1977). Other important scripts: Neecha Nagar (1946); Mera Naam Joker (1970); Zindagi Zindagi (1972); Henna (1991). Abbas also brought a number of new talents into the film industry, such as Amitabh Bachchan in Saat Hindustani . K.A.Abbas died on 1-6-1987 at Bombay. ( adapted, with thanks, from The Encyclopedia of Indian Cinema).

One of the main female leads in the film was Tripti Mitra, who was not at all a known face in Hindi films that time. Her name first became known to Hindi audience when, as the main Heroine, Tripti Mitra gave a remarkable performance in film Gopinath-1948.
Tripti Mitra was a big name in Bangla films and stage movement. She acted in only 3 Hindi movies. Gopinath-48, Dharati ke Lal-46 and Munna-54. Munna was a sequel to Dharati Ke Lal- both films directed by K.A.Abbas.

Smt. TRIPTI MITRA, née Tripti Bhaduri (Born 25 October 1925 – Died 24 May 1989), popular Indian Actress of Bengali Theatre and Films. She was the wife of Sombhu Mitra, noted Theatre & Film Director, with whom she co-founded pioneering theatre group Bohurupee in 1948. She has acted in films like Jukti Takko Aar Gappo and Dharti Ke Lal.

She was awarded Padma Shri and the Sangeet Natak Akademi Award, the highest Indian recognition given to practicing artists, given by Sangeet Natak Akademi, India’s National Academy for Music, Dance and Drama.

Tripti Mitra was born in Dinajpur (British India) on 25 October 1925. Her father was Ashutosh Bhaduri and mother was Shailabala Debi. In Dinajpur Minor School she studied up to class six, then she came to Kolkata and got admission in Pyaricharan School. After passing Higher Secondary Examination from that school, she got admission in Ashutosh College. But she could not complete her studies since she got a job. She married Sombhu Mitra in December, 1945. She has a daughter Shaoli Mitra, who is also an actress and director.

Tripti Mitra had been acting in theatre since her teens. She first acted in her cousin Bijon Bhattacharya’s play Agun (Fire) in 1943. After watching her stage performance in noted IPTA play, Nabanna (Harvest) based on Bengal famine of 1943, director Khwaja Ahmad Abbas took her to Bombay to act in Gana Natya Sangha’s film Dharti Ke Lal in 1943, partly based on the play. Her first Bengali film was Pathik in 1953, the film was directed by Debaki Kumar Basu. She also acted in Ritwik Ghatak’s last film, Jukti Takko Aar Gappo (1974).

In 1948, Shombhu and Tripti Mitra founded their own theatre group named Bohurupee. She acted in innumerable plays mostly along with her husband Sombhu Mitra,a colossus in the field of theatre, to become one of the most legendary beings of Bengali theatre, most famous for her role as Nandini, the protagonist of Rabindranath Tagore’s Rakta Karabi. She also acted in Jago Hua Savera, a 1959 Urdu movie produced in Dhaka, East Pakistan (now Bangladesh), based on a Manik Bandopadhya’s classic novel Padma Nadir Majhi.

Tripti Mitra died on 24 May 1989.

Out of the 10 songs of the film, today’s song is the 3rd song to be presented here. The song is slightly short of 3 minutes. In the film , even a much shorter version is used. Thanks to Sadanand Kamath ji for uploading this rare song which was not available so far on You Tube.


Song- Beete ho sukh ke din aayee dukh ki ratiya (Dharti Ke Laal)(1946) Singer- Lakshmi Shankar, Lyricist- Unknown, MD- Pt. Ravi Shankar

Lyrics

Beete ho sukh ke din
aayee dukh ki ratiyaa
ho raama
Beete ho o sukh ke din
aayeen dukh ki ratiyaa
ho raama
ho raama aa
tadpat hai mora jiyara
tadpat hai mora jiyara
piya bina beete ??
ho raama
piya bina beete ??
ho raama
piya gailo bideswa ho raama
piya gailo bideswa ho raama
piya gailo bideswa ho raama

kaa se kahoon oon ab main aen aen
dukhi man ki batiyaan aan aan
ho raama aa
taras rahin mori ankhiyaan aan
kahaan gailo balamwa ho
kahaan gailo balamwa ho
ho raama
ho raama
kaa se kahoon ab main
dukhi man ki batiyaan
ho ho
ho ho
raama
beete ho ho
sukh ke din
aayeen dukh ki ratiyaan aan
ho o raama


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: 4332 Post No.: 15626

“Raseeli”(1946) was a “social” movie which was directed by Hanuman Prasad for Jaibharat Pictures, Bombay. The movie had Radharani, Sushil Kumar, Kanhaiyalal, Ramesh Gupta, Anant Prabhu, Ranibala, Meghmala, Shanti devi, Ramlal, Shamlal etc in it.

The movie had ten songs in it. Two of these songs have been covered in the past.

Here is the third song from “Raseeli”(1946) to appear in the blog. This song is sung by Rafi and Shamshad Begam. Hanuman Prasad, the director of the movie, was the lyricist as well 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-Dil mujhko jalaata hai (Raseeli)(1946) Singer-Rafi, Shamshad Begam, Lyrics-Hamuman Prasad, MD-Hanuman Prasad

Lyrics

dil
dil mujhko jalaata hai
dil mujhko jalaata hai
main dil ko jalaati hoon
main aen dil ko jalaati hoon

main tumko bhulaata hoon
main tumko bhulaata hoon
main tujhko bhulaati hoon
main aen tujhko bhulaati hoon

ik dard mere dil mein aen aen
ik tees hai jigar mein
ik dard mere dil mein aen aen
ik tees hai jigar mein
haaye tees hai jigar mein

ye mujhko rulaata hai
ye mujhko rulaata hai
main isko rulaati hoon
main aen isko rulaati hoon

tum dil se nikal jaao
tum seene mein aa jaao
tum dil se nikal jaao
tum seene mein aa jaao
tum seene mein aa jaao

gham mujhko mitaata hai
gham mujhko mitaata hai
main gham ko mitaati hoon
main aen gham ko mitaati hoon


This article is written by Sadanand Kamath, 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: 4331 Post No.: 15625

Today, May 27, 2020 is the 56th Remembrance Day of India’s first Prime Minister, Pandit Jawaharlal Nehru. I also remember this day for two other reasons. First, it was the day when my SSC result was out in the morning and second, I had to attend my maternal uncle’s marriage. That day was almost like current lockdown situation except that the trains were running and we could go out. A pall of gloom was visible on almost every one’s faces I met at the marriage. The question in their mind was ‘After Nehru, Who?

Pandit Jawaharlal Nehru was a visionary and the architect of modern India. For a newly independent country, charting of a growth path was necessary. The policies were directed towards creating infrastructure facilities like construction of major dams, power plants and setting up of heavy industries like steel plants, engineering and chemicals. Higher educational institutes like Indian Institute of Technologies (IITs), the Indian Institute of Management (IIMs) and other scientific institutes like All India Institute of Medical Science (AIIMs) were set up. He was also the architect of non-alignment movement during the cold-war years.

There were also brickbats for Pandit Nehru’s policies. His handling of Kashmir issue in 1948 and his China policies were highly criticised. Also, the food crisis in the 1960s were blamed for not giving importance to the agricultural sector in the Five-year plans. The foremost critics of Nehruvian policies in those days were Dr. Ram Manohar Lohia of Socialist Party, Hem Barua, H V Kamath and Barrister Nath Pai of Praja Socialist Party, Balraj Madhok of Jan Sangh and Hiren Mukherjee of Communist Party of India. Despite their relatively much lower number of seats in the parliaments, they were forces to reckon with as the leaders from the opposition parties.

I remember in my teen that during the parliament sessions that the newspapers will carry front-page news of the criticism of Government’s policies by one or more of the names of the leaders I mentioned above. Some of these names may not ring bell to the new generations. Most of them were good orators. It was the charismatic presence of Pandit Jawaharlal Nehru who aptly handled heated debate upholding the democratic norms in the parliament.

After the General Election of 1957, one more strong critic of Pandit Nehru’s policies entered the Lok Sabha. He was 33-year old Atal Bihari Vajpayee of Jan Sangh. There used to be heated arguments between the young Atal Bihari Vajpayee and Pandit Nehru in Lok Sabha. One of the anecdotes which Atal Bihari Vajpayee revealed during a ‘no confidence’ motion against his Government in 1996, proves that despite serious differences, Pandit Jawaharlal Nehru’s admired Atal ji’s performance in the Lok Sabha. Let us read in Vajpayee’s own words which he spoke in Hindi (translated by me in English):

Once during the heated debate in the Lok Sabha, I told Nehru ji that he had a mixed personality in which he was both Churchill and Chamberlain (former prime ministers of the U K – first was supposed to be hawkish and the second dovish in crisis management). Nehru ji did not get angry. In the evening, I attended at a function organised for a visiting foreign dignitary. At the venue, Nehru ji saw me and called at his place to complement me for my rousing speech of that day in the Lok Sabha. He took me to one of the foreign dignitaries and introduced me by saying ‘he is a young leader from the opposition who always criticises me, but I see in him a great future’.

And what a great statesman Atal Bihari was as well. In 1977, when Atal Bihari Vajpayee became the Foreign Minister, he came to South Block to take charge of his ministry. While walking in the lobby of his office, he noticed that Nehru ji’s portrait was missing from the wall. He called his officials and asked them as to what happened to the portrait. There was no answer. After some time, he found that Nehru ji’ portrait was back in its place. Both these anecdotes indicate the greatness of both these leaders and their relationship in which there was no malice despite serious political differences.

Some of the IPTA members belonging to Hindi film fraternity were also the critics of the Nehruvian policies. Majrooh Sultanpuri in 1948 wrote a poem calling Pandit Nahru a stooge of Hitler and the slave of the Commonwealth for which he was arrested in 1949 by the then Chief Minister of Bombay State, Morarji Desai. Sahir Ludhianvi’s satirical song, cheen o arab hamaara hindustaan hamaara had an implicit criticism of the Government’s policies for widening the gap between ‘haves’ and ‘haves not’.

Shailendra was also the critics of Nehru. He had written a sarcastic poem on Nehru’s visit to the UK in June 1953 to attend the coronation ceremony of Queen Elizabeth. In today’s scenario, probably, Shailendra would have become a persona non grata in South Block. But with Pandit Nehru, it was different. The following anecdote which I read on the facebook page of Dinesh Shankar Shailendra, the youngest son of Shailendra, throws some light which indicates that Pandit Nehru had no malice towards his critics.

Sometime after the Chinese aggression in October 1962, Pandit Nehru invited some members of Indian Film Industry to Delhi to personally thank them for doing programmes for the Indian Army to boost their moral and also raise funds. Raj Kapoor with his core team comprising Shankar-Jaikishan, Mukesh, Hasrat Jaipuri and Shailendra were also the guests. All the guests were waiting at the venue but Nehru ji got delayed. A bored Shailendra told Raj Kapoor that he was tired of waiting and would like to go back to his hotel room. He also said that there were so many important guests and he would not be missed. Raj Kapoor agreed.

After some time, Pandit Nehru arrived and personally met all his guests. While talking to Raj Kapoor, Pandit Nehru suddenly asked ‘Where is Shailendra? – the man who wrote hothon pe sachchaayi rehti hai, jis desh mein ganga behti hai. Raj Kapoor was in a quandary. He immediately sent Shankar to bring Shailendra from his hotel room which he did. A relieved Raj Kapoor proudly introduced Shailendra to Pandit Nehru who insisted getting photographed exclusively with Shailendra. Nehru ji told Shailendra that he would personally sign the picture and send it to him which he did.

It was, therefore, no surprise that the finest tributes to Pandit Nehru following his death on May 27, 1964 came from his critics. After reading them, I feel that they have all come from the bottom of their hearts and also out of immense respect for him. Kaifi Azmi wrote a heart-felt song, meri aawaaz suno, pyaar ka raag suno for ‘Naunihaal’ (1967). He also wrote a nazm, Nehru in 1964. Sahir Ludhianvi wrote a nazm, Jawaharlal Nehru soon after the death of Pandit Nehru.

Pandit Nehru was a great admirer of Hindi and Urdu poetry. He was a fan of poets like Josh Malihabadi, Firaq Gorakhpuri, Suryakant Tripathi Nirala and Harivanshrai Bachchan with whom he used to interact with them on poetry. There are anecdotes on Pandit Nehru’s friendship with these poets which also reveal that Pandit Nehru took criticism from his friends without malice towards them.

Pandit Nehru was instrumental in setting up of Children’s Film Society of India in 1955. He had invited Kidar Sharma to direct the first film for the children, ‘Jaldeep’ (1956). The film won the award of the best film under children’s film category at Cannes Film Festival in 1957. For the next children’s film, ‘Bachhon Se Baaten’ (1957), Kidar Sharma requested Nehru ji as a part of the film. One can say that Pandit Nehru acted in a film where he was the main actor. [Source: Kidar Sharma’s autobiography, ‘One And Lonely Kidar Sharma’ (2002)].

Shailendra wrote a non-film song as a tribute to Jawaharlal Nehru. On the occasion of the 56th Remembrance Day of Pandit Jawaharlal Nehru, I am presenting the same non-film song ‘phool khilega baaghon mein’ (1964) which is rendered by Mukesh. The song is set to music by Shankar-Jaikishan.

Audio Clip:

Song-Phool khilega baaghon mein jab tak ghulaab hai pyaara (Mukesh NFS)(1964) Singer-Mukesh, Unknown voie, Lyrics-Shailendra, MD-Shankar Jaikishan
Chorus
Chorus + Mukesh

Lyrics

Chacha Nehru
amar rahen
Chacha Nehru
amar rahen
Chacha Nehru
amar rahen

phool khilega baaghon mein
jab tak gulaab kaa pyaara
tab tak zinda hai dharti par
Nehru naam tumhaara
jab tak hai iss jag mein
chanda suraj kaa ujiyaara
tab tak zinda hai dharti par chaacha naam tumhaara

humko hai dukh humne kho daala apna humjholi
jiske saath deewaali thhi uske sang khelen holi
kaun bada ab hum jaise ban ke khilwaad karega
pyaar karega jhagdega jhoothi taqraar karega
khilega jag ke aangan mein
jab tak bachpan pyaara
tab tak zinda hai dharti par chaacha naam tumhaara

kaun manga kar dega humko bhaalu haathi cheete
bachpan ke din apne to bachpan se pehle beete
kaun hamen chitti likhega pyaar bhari bhaasha mein
haay tumhen bhi hum likh paate kaash aur tum jeete
jab tak bachche muskaayenge youn nirmal jaldhaara
tab tak zinda hai dharti par chaacha naam tumhaara

wo muskaan hamaare jaisi hriday jeetne waali
wo gussa jo sheetal hai jaise barkha matwaali
wo ghudki jo sikhlaati hai sabak yaad kar lena
wo baaten jaise bikhraaye phool phool ki daali
yaad aayengi jab tak dukh mein degi yaad sahaara
tab tak zinda hai dharti par chaacha naam tumhaara

phool khilega baaghon mein jab tak gulaab ka pyaara
tab tak zinda hai dharti par chaacha naam tumhaara

chale gaye ho lekin lagta hai tum yahin chhupe ho
jaise hum bachchon se aankh micholi khel rahe ho
bagiyaa ke phoolon mein bikhri hai muskaan tumhaari
nadiyon ke sang chalte ho parvat ke saath khade ho
jab tak baaki hai duniya mein jo kuchh bhi hai pyaara
tab tak zinda hai dharti par chaacha naam tumhaara

kabhi na bhoolenge hum tumne itna pyaar diya hai
kabhi na murjhaayega tumne jo gulzaar diya hai
hamen tumhaari yaadon ki saugandh ke hum bachche bhi
yogya banenge uske tumne jo sansaar diya hai
jab tak mehnat ke haathon jaayega vishwa sanwaara
tab tak zinda hai dharti par chaacha naam tumhaara

hum sachche insaan banen
hum dost banen vishwaasi
hum chaahe jo hon pahle hon achchhe Bharatwaasi
kabhi na ho ab jung zameen par
desh rahen sab mil kar
jung ek hi ho duniya mein
bhookh rog aur dukh par
jab tak bahti hai is duniya mein Ganga ki dhaara
tab tak zinda hai dharti par chaacha naam tumhaara
phool khilega baaghon mein
jab tak gulaab kaa pyaara
tab tak zinda hai dharti par
chaacha naam tumhaara
tab tak zinda hai dharti par
chaacha naam tumhaara
tab tak zinda hai dharti par
chaacha naam tumhaara


This article is written by Sadanand Kamath, 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: 4330 Post No.: 15624

——————————–
Bangla Song in Hindi Films-2
———————————
‘Basu (Bhattacharya) used to be fired up by one-liners. He drew stories from one-line coming from his fertile mind’ thus said Rinki Roy Bhattacharya, daughter of Bimal Roy and the ex-wife of the late Basu Bhattacharya in an interview. After going through the interviews of Rinki Roy Bhattacharya and Gulzar who had been associated with Basu Bhattacharya, I have come with my own one-liner about Basu Bhattacharya. He made high quality films with low budget. His first film as a producer-director, ‘Uski Kahaani’ (1966) was made with a budget of Rs.one lakh only.

How did Basu Bhattacharya managed to produce and direct low budget films? Except the lead actors, he took his close friends as side actors, lyricists, music director and technicians with a tacit understanding that they will work within his low budget. And none of them seems to mind it as they kept their personal friendship above the professional relationship. He did not shoot the film in a studio but hired flats for shooting. For example, he majorly shot ‘Anubhav’ (1971) in Tanuja’s flat. ‘Aavishkar’ (1974) was majorly shot in his own flat at Khar.

Basu Bhattacharya (1934 -1997) was born in a priestly family in Kassim Bazar of Murshidabad district in West Bengal. From his teenage days, he was fond of watching films which led to his interest in film-related works. After watching Satyajit Ray’s ‘Aparajito’ (1956), he developed interest in film making. After the decline of New Theatres, some artists, technicians moved to Bombay (Mumbai) in early 1950s who were mostly accommodated either by Shashidhar Mukherjee of Filmistan or Bimal Roy. Basu Bhattacharya was so much influenced by Raj Kapoor’s films ‘Aawaara’ (1951) and ‘Shri 420’ (1956) that he came to Bombay (Mumbai) in 1956 with the sole intention of assisting Raj Kapoor. When his efforts to get entry into R K Studios failed, he joined Bimal Roy Productions as an Assistant to Bimal Roy for Madhumati (1958) and ‘Sujata’ (1959). He became the second unit Director for Bimal Roy’s film, ‘Parakh’ (1960).

During the making of ‘Parakh’ (1960), Basu Bhattacharya and Rinki Roy, Bimal Roy’s elder daughter developed liking for each other which was resented by her parents. After the completion of ‘Parakh’ (1960), Basu Bhattacharya left Bimal Roy Productions and became a free-lancer. Rinki Roy and Basu Bhattacharya got married in a court some time in 1963. Soon after the marriage, Basu Bhattachraya was entrusted with directing Shailendra’s maiden film, ‘Teesri Kasam’ (1966). With this film, Basu Bhattacharya got opportunity to direct Raj Kapoor to whom 10 years back, he was keen to assist him.

Basu Bhattacharya turned producer with the film ‘Uski Kahaani’ (1966) which he also directed. Thereafter, he concentrated his three films – a trilogy of marital discords in an urban setting – ‘Anubhav’ (1971), ‘Aavishkar’ (1974) and ‘Grih Pravesh’ (1979). All these films portray the struggle of the husband and wife to protect their marriage despite a third person entering into their married life. At the end, it is mutual realization that a happy home is the platform for a happy married life. In between, Basu Bhattacharya produced and directed ‘Tumhaara Kalloo’ (1975) which dealt with the importance of education in a village setting.

Basu Bhattacharya’s next film, ‘Anand Mahal’ (1977) was based on Badal Sarkar’s popular Bangla play, ‘Ballavpurer Roopkathaa’ which he produced and directed. The film was completed but remained unreleased. Dinesh Shankar Shailendra, younger son of the late Shailendra who was assisting Basu Bhattacharya in the film, very recently revealed on his facebook page that after editing work was over, Salil Chowdhury started composing background music. After completing the background music work, Salil Chowdhury told Basu Bhattacharya that it was a bad film which was shot like a play. He said that the release of the film would harm his reputation as a director. After listening to the flaws in the film in detail, Basu Bhattacharya accepted Salil Chowdhury’s advice and decided not to release the film.

During his life time, Basu Bhattacharya produced/directed around 15 films which included, in addition to those mentioned in the preceding paragraphs, ‘Daakoo’ (1975), ‘Sangat’ (1976), ‘Madhu Malti’ (1980), ‘Sparsh’ (1980), ‘Ek Saas Zindagi’ (1991) and ‘Aastha’ (1997) which was his last film. Although some of his films were critically acclaimed, almost all of his films did not fare well at the box office. His films, ‘Teesri Kasam’ (1966) and ‘Anubhav’ (1971) received National Awards for Best Film and the Second-Best Film respectively.

While Basu Bhattacharya produced three films on marital discord, his own married life with Rinki Roy Bhattacharya was in doldrum for domestic violence. There are details available in the interview of his ex-wife in the public domain. I feel that Basu Bhattacharya had split personalities – as a film director and as a husband.

Basu Bhattacharya left for the heavenly abode on 27/08/1997.

‘Anubhav’ (1971) was Basu Bhattacharya’s first film of the trilogy of marital discords. The film was made with the assistance of Film Corporation of India (now National Film Development Corporation). The cast included Sanjeev Kumar and Tanuja in lead roles as married couple with Dinesh Thakur as the third person and A K Hangal as the man servant in the household of the couple.

As per Rinki Roy Bhattacharya’s interview, the film started with Pran and Tanuja in the lead role. Some scenes were already shot with Pran. However, after watching the rushes of shots, Basu Bhattacharya decided that the role of an office going husband did not suit Pran. So, he was replaced with Sanjeev Kumar.

I had watched the film many years back (probably on TV) but I failed to recall sequential progression of the story of the film especially as to how the film ended. Recently, I watched the film with HD quality DVD on one of the video sharing platforms. Wow! What a film. After ‘Pyaasa’ (1957), I have immensely enjoyed watching this film in Black and White photography. I feel that the film would not have looked cinematically great if it was made in colour.

‘Anubhav’ (1971) is the story of Meeta (Tanuja), the lonely wife of the workaholic Amar (Sanjeev Kumar) who is the editor of a newspaper. There is not much time for Meeta for the companionship of her husband as he leaves for office early morning and returns late in the night fully exhausted. The one dialogue of Meeta in the film sums up her position in the house when she says to Amar that she felt as if she has been staying in a hotel with all the comforts but nothing for her to do.

She starts rediscovering herself. The first thing she does is that she removes all her servants except Hari (A K Hangal) so that she can keep herself busy with her household work. Now, she is the real in charge of her home. She is able to persuade Amar to spend more time in the house. He hosts parties in the house. Thus, Meeta is able to make him understand the joy of marital bliss.

When things were moving in the right direction for Amar and Meeta, one day, Shashi Bhushan (Dinesh Thakur) comes to meet Meeta without any prior intimation. He was Meeta’s first lover to whom she has forgotten after her marriage. In fact, he has come to get her recommendation for a job at Amar’s office where he has given an interview. He has no intention of reviving his love interest when Meeta seems to be very happy with her married life. She refuses to recommend his case by telling him that she does not interfere in Amar’s office matters. However, Shashi Bhushan does get a job at Amar’s office and in due course of time, he becomes his right- hand man.

When Amar comes to know about the past of Shashi being a lover of Meeta, his male ego creates a storm in their married life. Some time the discord in their married life is open in the presence of Shashi who often visits Amar in his house for office related work. At last, Amar in the fists of anger asks Shashi to resign from the job. But Shashi has already decided to leave the job when he comes to know that he has become the reason for marital discord between Amar and Meeta. When Amar reads the resignation letter of Shashi, he has change of heart. He rejects his resignation letter and ask him to continue the work.

After the resignation drama, there is an apt dialogue between Shashi and Amar. Shashi says ‘mujhe pataa nahin, beeta huwa kal aaj hamaare beech kaisa aa gaya.’ (I don’t know how our bygone days have come between us in our present-day life). To which Amar says ‘beeta huwa kal aaj hamaare beech tab hi aata hai jab hum aaj ko puri tarah se jee nahi paate’. (Bygone days between us comes only when we are not able to enjoy fully our present-day life). The film ends with a positive note clearing all the misunderstanding between Amar, Meeta and Shashi and Meeta giving news to Amar of her pregnancy.

The film has been nicely produced with excellence in almost all the major aspects of the film – direction, acting, dialogues, photography, music etc. The background music in the film has been innovatively done with signature tune of Aakashvani and songs being played in the radio etc. I could faintly hear a Bangla song and a Hindi film song, taash ke baawan patte as part of background music.

Another highlight of the film is the excellent picturization of 4 melodious songs set to music by Kanu Roy with a minimal orchestration. I liked the picturization of one of the film’s songs, meri jaan mujhe jaan na kaho. It is to the credit of Basu Bhattacharya that such a romantic song has been picturised just at one place – at one of the closed windows of the house with the background of heavy rains outside the house. With this song, he has proved that an intense romantic mood in the song can be picturised without going to outdoor shooting or even to Switzerland as Yash Chopra may have done with similar situation. And what a play of words by Gulzar! The words ‘jaan’ has been used both as ‘love’ as well as ‘life’.

All the 4 songs of ‘Anubhav’ (1971) have been covered in the Blog. But there is one more song, a Bangla song ‘sedin dujone dulechhinu bone’, a Tagore song which is rendered by and picturised on Subir Sen. The occasion is a party hosted by Amar in his house in which Subir Sen, (in the role of Subir Sen, the singer) is also invited. The lyrics and the tune are by Gurudev Rabindranath Tagore which he composed in 1922. In this song, no orchestration has been used except the harmonium.

I have taken the lyrics, Hindi poetic translation and English translation of the song from http://www.geetbatin.com. I was surprised to note that the Hindi poetic translation was composed in the same metre as Tagore Song. So one can sing Hindi translated song in the tune used for Bangla song.

S D Burman has used the tune of this Tagore song in naina deewaane ek nahin maane from the film ‘Afsar’ (1950).

Acknowledgements for the sources of information on Basu Bhattacharya: (1) Interview of Rinki Roy Bhattacharya by Sonal Pandya published in ‘Cinestan’, Feb 04, 2018 and (2) Interview of Gulzar published in a old issue of ‘Filmfare’, republished in https://tanqeed.com/

Video Clip:

Song-Sedin dujone dulechhinu bone (Anubhav)(1971) Singer-Subir Sen, Lyrics-Rabindranath Tagore, MD-Rabindranath Tagore

Lyrics (Sourced from http://www.geetbitan.com)
———————————–

sedin dujone dulechhinu bone
phulodore bandhaa jhulonaa
sei sritituku kobhu khone khone
jeno jaage mone bhulo na
bhulo na
bhulo na..aa
sedin dujone dulechhinu bone
phulodore baandhaa jhulonaa
se din baatase chhilo tumi jaano
aamari monero prolapo joraano,
se din baatase chhilo tumi jaano
aamari monero prolapo joraano,
aakashe aakashe aachhilo chhoraano
tomaro haasiro tulona
bhulo na
bhulo na
bhulo na
sedin dujone dulechhinu bone
phulodore baandhaa jhulonaa

jete jete paathe poornima raate
chaand uthechhilo gaagone
dekha hoyechhilo tomaate aamate
ki jaani ki mahalagone
ekhon aamar bela naahi aar….

Lines not covered in the song

bohibo ekaaki birohero bhaar –
Bnaadhinu je raakhi porane tomar se
raakhi khulo na khulo na

——————————–
Hindi Poetic Translation
(Sourced from http://www.geetbitan.com)
———————————–
वो दिन सुहाना-फुलडोर-बंधे
झूले थे हम वन में झूलना ॥
छोटी-मोटी वो यादें मन में जो जागे
पल वो हम कभी भूले-ना, भूलें-ना ॥

उस दिन हवा में, तुमने भी माना
पागल-वन मेरे, मन का सामाना ।
नीले नीले नभ ने, हरष छा जाता,
तेरे ही हँसी की तुलना ।
भूलो ना, भूलो ना, भूलो ना ॥

राह पे हमराही रात पूनम थी,
चांद चमका नभ में
न जाने वो कौन सी महालगन में
हम ओर तुम थे मिले

(जब) चांद चमकता नभ पे
अब वो बेला बीत चली
बार विरह के सहुं अकेले ।
जो राखी बांधे मैंने प्राण संग तेरे
वो राखी खुले ना, खुले ना, भुले ना ॥

——————————
English Translation (Sourced from http://www.geetbitan.com)
——————————

We had had a swing in the forest on the other day,
It was a swing adorned with garlands.
Wish we do not lose that tiny remembrance which looms about every now and then.

The air was filled with, you know, the meaningless words of my mind,
The sky (was) sprinkled with samples of your smile.
The moon was seen to rise in the sky on the full-moon day while strolling.
Just have no idea of the divine moment on which we had had met each other.

Now I have no time left, and will bear the feeling of solitude alone in myself-

(Please be kind enough) Not to shed the friendship band that (I had) tied with your soul.


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: 4330 Post No.: 15623

Today’s song is from film Aagey Kadam-43. This is an obscure movie, in the sense that no information about its story etc is available anywhere on the Net or Film India magazine issues. However, from the lyrics of its various songs, one can say that the film is about a love story set amidst Patriotic atmosphere. Of course, being British times, such films had to be careful, lest their raw material quota of Raw Film would get into problem, during the wartime controls. Further the tablet of patriotism has to be sugar coated, so as not to get into legal tangle like perhaps”Kismet” of Bombay Talkies !

Among the wartime films, from 1939 to 1945, I feel that the year 1943 was quite significant as many musical, noteworthy and successful films came up during this year. Taking a look at the films of 1943, we find that a total of 105 Hindi films were made in this year. For the 7 year period of 39 to 45, this was the highest number – the lowest being 1945 with just 74 films.

Films like Aabroo, Bhakta Raj, Hamaari baat, Hospital, Hunterwali ki beti, Ishara, Kanoon, Kashinath, Kismet, Mahatma Vidur, Manchali, Mazaq, Nadaan, Nagad Narayan (a remake of Marathi film-‘ पैसा बोलतो आहे ), Nai Kahani (one of the best songs of Hindi film history-” neend hamari, khwaab tumhare ” was from this film), Najma (first film of Mehboob productions), Namaste,, Pagli, Panghat (film Chitchor-76 had the same story), Paapi, Paraya Dhan (The only song by Deena Sanghvi Pathak), Poonji, Prithvi Vallabh (debut in a Bombay film by Meena Shorey), Ram Rajya (super duper Hit film), Sanjog (Suraiya’s playback to Mehtab), Shahenshah Akbar, Shakuntala (First film of Rajkamal Kalamandir of V Shantaram), Tansen (last film of Nagendra Majumdar-father of Ninu Majumdar,MD), Vishwas, Wapas, and Zamin (debut of Khurshid Jr.), made 1943 an year full of content, Music, Acting and entertainment.

Amongst these films, a movie like Aagey kadam-43 was nowhere to be noticed or remembered. The film was made by Acharya Art Production, owned by its director, N R Acharya. This is what Encyclopedia of Indian Cinema says about Acharya….N R Acharya,Hindi director (1909-1993) born in Karachi. Was a government contractor when he joined East India film Company in Calcutta (1934). Later worked as production manager at Bombay Talkies, where he directed the first examples of S. Mukherjee’s new regime, e.g. Bandhan and the Abbas script Naya Sansar. Became producer with KISHORE SAHU’s Kunwara Baap (1942). Continued producing under the Acharya Arts Prod. banner until 1950. Also made Gujarati films, e.g. Lagna Mandap.

FILMOGRAPHY-1940: Bandhan; Azad; 1941: Naya Sansar; 1942: Uljhan; 1943: Aage Kadam; 1949: Parivartan; Shohrat (with K. Amarnath); 1950: Lagna Mandap; 1956: Dhola Maru.

There were two MDs for this film- old timer Madholal Damodar Master and Ramchandra Pal- who was in Bombay Talkies, with Acharya. The cast of the film was Motilal, Anjali Devi, Mubarak, Rajkumari Shukla, Leela Pawar, Narbada Shankar and others. There were 8 songs, but in the absence of individual credit we do not know which song was composed by whom. Lyricist was Kailash Matwala. Out of these 8 songs, I have heard 7 songs and find them good songs with tune and rendition. One song of Motilal is already on the Blog.

The name Anjali Devi, which appears in the cast is not of the famous south actress Anjali Devi ( 8-12-1927 to 13-1-2014 ), who acted in films like Ek the Raja-51( dubbed film), Shuk Rambha-53,Ladki-53, Devta-56, Suvarn Sundari-57 etc etc. This Anjali Devi of the 40s was different. As usual, I find that the filmography of south Anjali devi includes films done by Anjali Devi of the 40s. This is what I call Same Name Confusion.

Miss Anjali Devi’s real name was Durgesh Kumari. She was born at Benaras in 1926 in a respectable Brahmin family. Her education was not much but she was fluent in Hindi, Urdu, English and Sanskrit. At the age of 14 years, she came to Bombay, to fulfil her desire of becoming an actress.

She joined Ranjit Films and worked in film Pardesi in the year 1940. The film was released in 1941. She was credited as Durgesh in this film. She was called to Bombay Talkies to work in film ‘ Punarmilan’-40, directed by Najam Naqvi. When a section of artistes, led by S.Mukherjee, left Bombay Talkies to start Filmistan in 42, one of the BT directors N.R.Acharya also left and started his own company Acharya Art Productions. Anjali Devi also left to join Acharya.

She acted in 3 films of Acharya, Kunwara Baap-42, Uljhan-42 and Aage Kadam-43. She later on acted in Paristan-44, and Parivartan-49. She then got married to N.R.Acharya and settled as a Housewife.

There is one more name-Rajkumari Shukla. There is scant information available on the net about her. Recently, I got her more information from an Urdu book ” Filmi Titlian” 1945, written by Bijli Jampuri from Hyderabad Deccan (that is my hometown). So here is her latest information for our readers…

Raj Kumari Shukla, She was born in a well-known Brahmin family in Calcutta in 1903. Her own life has been quite tragic. She had to join the film industry not so much because of personal choice, but due to tragic personal circumstances. Like most young girls from Indian families, this virtuous lady, well-versed in household chores, got married. But her family life after marriage proved to be extremely unhappy — so much so that one day her husband gave her a brutal beating and drove her from his house.

Finding no refuge anywhere, she went to Jagannath Puri (in Orissa) and lived there in an ashram. Gradually, her family history and marital problems became known to one of the priests there, and he informed her parents. Her elder sister then brought her back to her house.

One theatre actor known locally as Gujarati Baba used to live nearby. Sometimes, she would get some theatre passes from him and go to local theatres to see some plays. This not only helped her to forget her unhappy past but also kindled in her young heart the desire to act in plays. The Gujarati Baba then persuaded her to adopt acting as a profession. Accordingly, in 1933, she joined Maadan Theatre and began her career as a leading lady, Film-goers of those days can still recall her “hilaali abroo, tez aankhen, kushaada peshaani aur siaah zulfen”. She excelled in emotional roles.

Starting her career in silent films, she came into her own with the advent of “Talkies”. Apart from Maadan Theatre, she worked for other film companies too. Her memorable films included “Intezaar”, “Zevar”, “Jagat Mohini”, “Far’yaad”, “Chaandni”, “Sharda”, “Panghat”, Tulsi”, “Swami, “Ek Raat”, “Man Ki Jeet”, “School Master”, Dulhan”, “Badalti Duniya”, “Aankh Micholi”, “Raj Nartaki”, “Jhoola” and “Najma”. She now acted more as a character artiste and vamp. Her realistic emoting in such negative roles makes the audiences shiver in revulsion. Her roles in films like “Ek Raat”, “Swami”, “Jhoola”, “Far’yaad” and “Dulhan” have been specially appreciated by film-goers.

She was only an actor and not a singer. She acted in 31 Talkie films. She also worked in few Gujarati and Bangla films. Her last recorded Hindi film was Nai Maa-46. She did sing just one song in her career. That was in film Panghat-43. It was a duet with Baby Tara. At her times, the other more famous actress-singer Rajkumari Dubey Banaraswali was also very active. In few films both acted, but the songs were only by Rajkumari Dubey Banaraswali. There were two more Rajkumaris also. One was Rajkumari Calcuttewali and another was from south, T.R.Rajkumari. Their details have been described earlier and also in my book” Forgotten artists….”. (Information for the above has been taken from Urdu book,”Filmi Titlian”published in 1945, and Film Directory, with thanks.)

Today’s song is a duet by Anjali Devi and Motilal, with Chorus. This is also a sort of Patriotic song, exhorting friends to be ready for a sacrifice for the country.


Song-Aage kadam badhaana hoga (Aage Kadam)(1943) Singers- Motilal, Anjali Devi (Durgesh Kumari), Lyricist- Kailash Matwala, MDs- Master Madholal and Ramchandra Pal
Both

Lyrics

Doston
naya sabak sikhlaana hoga
naya sabak sikhlaana hoga
dhang zamaane ka badla hai
dhang zamaane ka badla hai
kuchh kar ke
kuchh kar ke dikhlaana hoga
haahaakaar uthha hai jag mein
haahaakaar uthha hai jag mein
peena hai to aaj
peena hai to aaj jagat mein
peena hai to aaj

aage
aage kadam badhaana hoga
aage
aage
aage kadam badhaana hoga
aage
aage

baadhaaon ko door hataana hoga
soyon ko phir aaj jagaana hoga
apne ko apnaanaa hoga
phoolon ko samjhaana hoga
?? nahin hai
?? nahin hai
aage
aage kadam badhaana hoga

aage
aage
aage kadam badhaana hoga
aage
aage

aafaten jo sar pe aayen
unse na daro
shaan se jiyo
shaan se maro
aafaten jo sar pe aayen
unse na daro
shaan se jiyo
shaan se maro
yahi sandesa ?? chali hai
yahi sandesa ?? chali hai
aaj hamen pahunchaana hoga
aaj hamen pahunchaana hoga
aao

aage
aage kadam badhaana hoga
aage
aage
aage
aage
aage kadam badhaana hoga
aage
aage
aage
aage


This article is written by Peevesie’s Mom, 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 :

4329 Post No. : 15622 Movie Count :

4303

Hullo Atuldom

This is an attempt to remember two legends of Bollywood with one post.

On reviewing the “anniversaries page” of the blog I found an opportunity to introduce the qawwali song from a 1982 released (exact date being 27/05/1982 meaning the movie is 38 years old), Raj Kumar Kohli produced and directed, multi starrer “Badle Ki Aag” (Flames of Revenge).

The recent stay-at-home gave me the time to sit through this movie. It is a very typical, simple, regular story with a slight twist.

There is a family of father (Kadar Khan), mother (Nirupa Roy), two sons and a daughter. The father in his greed for wealth wipes out his partner’s family but the children of this family escape the mass-murder. Nirupa Roy gets separated from her sons in the course of walking out on her cruel greedy husband. She has her daughter with her. The sons grow up to be dacoits Shera (Dharmendra) and Lakhan (Sunil Dutt) and daughter (Sarika) an aspiring lawyer whose education is funded by Lakhan who has kept in touch with the mother and sister. Lakhan is a do-gooder daku where as Shera is ruthless.

Meanwhile the daughter (Reena Roy) of the affected family has been brought up in a kotha and nurses a desire to revenge her families misfortune. Her brother (Rajeev Anand who was seen in about 5 movies after which he turned producer) grows up to be a cop. There is one more important character in the whole setup- Inspector Amar Verma (Jeetendra) who is the son of Mohanlal Verma (Madan Puri) who is constantly tormented by Shera and Lakhan. Now here is the promised twist- at different times Geeta (Reena Roy) the dancer has had interaction with the three heroes and all of them have developed feelings for her. But she loves the Inspector who has seen her at different times with the other two and misunderstands her. Isn’t that a different kind of love-story. Here I should mention the existence of Bijli (Smita Patil) who loves Shera. Hope the readers have got confused about the very regular story that this movie had. The movie was a success at the Box-Office what with so many stars.

Today’s songs has the three heroes disguised as Qawwals at Janakidas’s son’s wedding. We have Smita Patil dancing around. Here I must admit that this post reminded me of this Qawwali sung by Kishore Kumar, Mahendra Kapoor and Suresh Wadkar. It had music by Laxmikant- Pyarelal and had lyrics by Verma Malik.

Small thoughts after seeing the song on repeat for writing this post- (1) Sunil Dutt and Jeetendra are jumping around and Dharmendra stays put on his mat. (2) Looks like this is the only time when Smita Patil has shared screen time with Jeetendra.

With this song we remember Sunil Dutt and Laxmikant Shantaram Kudalkar on their anniversaries.

Video

Audio

Song-Main jis mehfil mein aata hoon (Badle Ki Aag)(1982) singers-Kishore Kumar, Mahendra Kapoor, Suresh Wadkar, Lyrics-Verma Malik, MD-Laxmikant Pyarelal
All

Lyrics

ho ho ho
ho o ho
ho ho ho ho
ho o ho
main jis mehfil mein aata hoon
main jis mehfil mein aata hoon
main jis mehfil mein aata hoon
main jis mehfil mein aata hoon
main jis mehfil mein aata hoon
aata hoon aata hoon aata hoon
jo chaahta hoon
le jaata hoon
jo chaahta hoon
le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon

main woh bala hoon
main woh bala hoon
jis se khudaayi darr gayi
main woh bala hoon
jis se khudaayi darr gayi
maut se takkar huyi toh maut tauba kar gayi
tauba tauba tauba
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon

duniya ka iss mutthi mein aaghaaz hai anjaam hai
duniya ka iss mutthi mein aaghaaz hai anjaam hai
aur khuda ke baad har ek
leta mera naam hai
naam hai naam hai
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon

main kya hoooon
main kya hoon
aur kaun hoon tum jaante nahin
main kya hoon aur kaun hoon
tum jaante nahin
donon ka malkul(?) maut hoon pehchaante nahin
main maut se bhi lad jaata hoon

main maut se bhi lad jata hoon
main maut se bhi lad jsata hoon
hoon hoon hoon hoon hoon
jo chaahta hoon le jaata hoon
jo chaahta hoon le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon le jaata hoon

main woh azeem hasti hoon
jise waqt na mita sake
arre main woh azeem hasti hoon
jise waqt na mita sake
na aandhi hi uda sake
na shola hi jalaa sake

bandook se jo baat kare
main us nasal ka khoon hoon
jo dushmanon ko kuchal de
main aisa ek janoon hoon
zaalimon aur baaghiyon qaatil luteron ke liye ae
zaalimon aur baaghiyon qaatil luteron ke liye ae
main khud hi toh insaaf hoon
main khud hi ek kaanoon hoon
kanoon se main takraata hoon

kanoon se main takraata hoon
kanoon se main takrata hoon
hoon hoon hoon hoon hoon
jo chaahta hoon le jaata hoon
jo chaahta hoon le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon le jaata hoon

zulm hoon aur andher hoon main haan
aur jangal ka sher hoon main haan
ser pe sawa ser hoon main haan haan
tujh mein itna josh nahin
arre tujh ko apna hosh nahin
main bhi toh khaamosh nahin
fitna aur fasaad hoon main
tere liye jallaad hoon main
donon ka ustaad hoon main
fitna aur fasaad hoon main
tere liye jallaad hoon main
donon ka ustaad hoon main
haan haan haan haan
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon
le jaata hoon
main jis mehfil mein aata hoon
jo chaahta hoon le jaata hoon


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 TWELVE years. This blog has exactly 15800 song posts by now.

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

Important Announcement

(© 2008 - 2020) 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.

Total number of songs posts discussed

15800

Number of movies covered in the blog

Movies with all their songs covered =1212
Total Number of movies covered =4345

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