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

Aaj mere jeevan pathh par kaun ye saathhi milaa

Posted on: February 10, 2021


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 :

4590 Post No. : 16213

Today’s song is from a less known Mythological film, from a decade which had not given many religious films – the 40’s. The film is Uttara Abhimanyu-1946.

In the decade of the 40s, few films were made on religious subjects – compared to the 30s or the 50s. But it is also true that the few such films made in the 40s, like Bharat Milap-42 and Ram Rajya-43, underlined the fact that there was plenty of scope for such films and this fructified in the 50’s decade, which can be called as ” The Golden period of Religious Films”, after it churned out the maximum ever – 124 – Mythological films in 10 years’ time.

These religious films had a direct impact on my early life. Ours was a joint family and our Grandparents were the family heads. In those times ( I am talking of the early 40’s period), not much discussion was entertained on the children’s education. Elders in the family had faith in the school teachers. In those days, teachers worked for their principles to impart knowledge to the children. The fad of ‘ English Medium’ had not yet blossomed fully and usually the primary education was in the Mother tongue only. Our Hyderabad state was a Tri-lingual state, with 8 Telugu speaking districts, 5 Marathi speaking districts and 3 Kannada speaking districts. Being a Muslim ruled state, the official language was Urdu, but to be fair, there was no compulsion of Urdu in education.

I studied in Urdu medium upto 4th standard, about 2 years in Sanskrit when we were in Banares (U.P.), and when finally settled in Hyderabad, I studied in Marathi medium from my 5th to 12th class. Then on, of course it was in English medium only. Though I studied in Marathi medium, the quality of English and Hindi teachers being excellent, my English and Hindi was above average standard. And my 2 habits also helped. One reading books in these languages and seeing films in many languages like Hindi, Marathi, English, Telugu, Kannada and even Tamil.

I was the family ‘Chaperone’, to take the elders of the family to theatres to watch religious films. This made me a lover of these films. This also increased my knowledge about our Mythology and Vedic history. This way, I must have seen almost all the religious films of the 50s and some from the 40s too . However, I don’t remember if I saw the film Uttara Abhimanyu-46.

This Mythological film was directed by Sarvottam Badami and the music was by the specialist S.N.Tripathi. The cast of the film was Shanta Apte (Uttara), Shahu Modak (Abhimanyu), Chhaya Devi (Subhadra), Ashok Kumar (Arjuna), S N Tripathi (Virat) and others. I am surprised why Ashok Kumar’s name was not shown in the Cast in HFGK. It created unnecessary debate whether he was there or not. Some people even opined that Ashok Kumar gave playback to Shahu modak. The fact is, Ashok Kumar was very much there in the film. He never ever gave a playback to anyone in his career. (another such lapse is found in the cast of the film 1857 of 1946. Here the Hero- Surendra’s name is missing from the cast. His solo and duet songs are mentioned. These things happen when such a massive work is done by a single person with great efforts.)

Ashok Kumar was famous as a Romantic hero of Bombay Talkies films. Initially he was very shy to act with Devika Rani and this very style was loved by the audience. In the early part of his career, all his films were Romantic or simple love stories. From film Anjan-41 and then from film Kismet-43 his role type extended to different styles, but he was comfortable in it and in later period of 50s and 60s, he did many such roles. By mid 40s he was an actor with 10 years’ experience.

Our Indian audience keeps fixed images of actors, which is Type casting. Ashok Kumar was with an image of a Romantic hero or a crime film. So, he was not acceptable in any other Genres. He too was awkward in such roles. In the film ‘ Humayun’-45 he had to do a Historical character and here his limitations became evident. The audience laughed at him, when in war gear,in one scene, he had to run some distance. He looked so feminine ! In the same way, in his first Mythological film ” Savitri”-37, where he played Satyavan, he was very uncomfortable. Similarly, in the film Uttara Abhimanyu also he was a clear misfit. Thank God he realised it and never again tried such roles !

The story of the film’s director – Sarvottam Badami – was a real case of “Rags to Riches”. From a lowly Garage Mechanic he rose to become a big name in commercial and Govt. films and then a businessman and a consultant to a big Business House. His whole story is astounding !

Sarvottam Badami was born in 1910 at Channapatna in Karnataka,to a revenue officer working in Mysore. He passed his SSLC and worked as a garage mechanic and then a projectionist in Select Picture House, Bangalore, both of which were owned by Dr. Ambalal Patel. Patel moved to Bombay and financed Ardeshir Irani of Imperial Film Company, and Chimanlal Desai as a partner forming Sagar Movietone in 1930.
At the age of 19 years, Badami went to Bombay to study automobile engineering. He was asked by Ardeshir Irani who met him at a wedding to help out with the recording equipment he had purchased from abroad.

Badami helped in the sound recording department for the first Talkie in India, Ardeshir Irani’s Alam Ara (1931). Around that time a German director making the film Harishchandra left half-way and Badami offered to complete it, the co-director was Raja Chandrasekhar, although the co-director credit has also been cited as T. C. Vadivelu Naicker. The film turned out to be successful. He was contracted by Sagar Movietone (Sagar Film Company) to direct three films, two in Telugu and one in Tamil: Galava Rishi (Tamil), Rama Paduka Pattabhishekam and Shakuntala in Telugu. The success of these films established him as a director. His working team had people like the cinematographer Faredoon Irani, music director Anil Biswas and the Sagar Movietone favourites Sabita Devi and Motilal.

Initially, to avoid embarrassment to his family he requested not to be credited in the regional language films. He did not know Hindi but from 1932-1947, he worked for Sagar Movietone and also directed nearly 30 films in Hindi, for many others. His first Hindi film was Chandrahasa (1933) starring Noor Mohammed Charlie. He was paid Rs 2000 per film with the complete film being made within Rs 50,000. He worked with most of the top actors of the time like Motilal, Nargis, Ashok Kumar and Pahari Sanyal. He brought Mehboob Khan who was then doing roles as an extra out of obscurity and gave him the role of Sabita Devi’s father in the film Vengeance is mine(1935).

He made several films based on novels. Some of the writers whose work he used were K.M.Munshi, Sarat Chandra and Ramanlal Vasanthlal Desai. The film Aap ki Marzi (1939) was inspired by the Hollywood film Paradise for Three (1938). He became known for his satirical comedies and “socially relevant films”.His film Grihalaxmi (1934), which starred Jal Merchant and Sabita Devi had the woman getting into marriage only if her doctor husband agreed not to want children. The success of the film mitigated the enraged public reaction at the time.

He showed his understanding of media publicity required for films when in 1937, Badami resorted to woo audiences by announcing cash prizes of Rs.500, Rs.200 and Rs.100 for the best reviews of his newly released film Kulvadhu (1937). The promotional gambit worked sending audiences to the theatres. According to an interview, most of Badami’s films didn’t survive as the negatives were burnt to extract the silver from the silver nitrate.

After Aap ki Marzi-38, he followed his mentor, Dr. Patel and joined Sudama Pictures, when in 1939, Sagar Movietone merged into National Films. Badami

also worked in Famous Cine Laboratories, from 46 to 48.

Apparently, in 1948 Deputy Prime Minister Vallabh bhai Patel, who was then also in charge of the Information Ministry, on a visit to the Cine Laboratories Bombay, asked Badami to help set up a NewsReel and Documentary section. The Films Division was established in 1948. He became chief producer in the newsreel department and made several documentaries. He worked in the Films Division making documentaries from 1948-1952. After that he stopped making films and returned to Bangalore to retire as “I was a forgotten man in the feature film world”. He became an industrialist by starting a manufacturing business. Later he worked as a Consultant for Kamani Group of Industries also. He died in 2005 in Bangalore, Karnataka, India.

FILMOGRAPHY: 1932: Harishchandra; Galava Rishi; Paduka Pattabhishekham; Shakuntala; 1933: Chandrahasa; 1934: Grihalakshmi; 1935: Dr. Madhurika; Vengeance is Mine; 1936: Jeevan Lata; Grama Kanya; 1937: Kokila; Kulavadhu; 1938: Three Hundred Days and After; 1939: Aap Ki Marzi; Ladies Only; 1940: Chingari; Sajani; 1941: Holiday in Bombay; 1942: Khilona; 1943: Prarthana; 1944: Bhagya Lakshmi; 1945: Ramayani; 1946: Uttara Abhimanyu; 1947: Manmani; 1951: Vinoba Bhave (Doc);1952: Roof over the head

(Acknowledgement: Sapnon ke saudagar by Vithal Pandya, Sagar Movietone by Biren Kothari, HFGK, muVyz, Encyclopedia of Indian Cinema, and my notes)

The story of the film Uttara Abhimanyu-46 is not known. Abhimanyu was the son of Subhadra (ShriKrishna’s sister) and Arjun. Uttara was the daughter of king Virat, in whose palace the Pandavas spent the last year of their Adnyatvas ( living incognito). It is believed that while in his mother’s stomach, Abhimanyu had learnt the technique of entering a Chakravyuh in war ( a certain formation which is very deceptive to come out of it). At the Mahabharat war, he entered the Chakravyuh of the Kaurava army but was unable to come back, not knowing the technique. In such circumstances, the Kauravas and Karn, Dronacharya etc killed him going against all war rules. However his son Parikshit took revenge after the war.

As far as actress Chhayadevi is concerned, she was a famous actress in Bengal. She just did 11 Hindi films, some of which were Bi-lingual in Hindi and Bangla. She also sang 3 songs in 1 Hindi film. Our Sadanand kamath jii has written a nice Bio on her. Interested readers can read it on this Blog, at this link

Let us now enjoy today’s song by Shanta Apte.


Song-Aaj mere jeevan pathh par kaun ye saathi mila (Uttara Abhimanyu)(1946) Singer- Shanta Apte, Lyricist- Saraswati Kumar Deepak, MD- S N Tripathi

Lyrics

Aaj mere jeevan path par
kaun ye saathi mila
saty hai ki swapn hai ye

kya saty hi main
?? ardhy ?? pushp
abhimanyu ke ban gaye
uttara satya hai ke
swapn hai ye
more man ka mol mera
nitya rahta thhaa akela
more man ka mol mera
nitya rahta thhaa akela
aaj wo itna adheer kyon
aaj wo itna adheer kyon
aa gayi main charnon ke chanchal chaal mein
aa gayi main charnon ke chanchal chaal mein
kis chatur nar ne nootan ye nartan bhara
saty hai ki swapn hai ye

aaj mujh yauwan ke aangan mein
atithhi ye kaun aaya
aaj mujh yauwan ke aangan mein
atithhi ye kaun aaya
aur tan man ki ?? ko
kisne ?? bajaaya
aur tan man ki sakal ?? se kisne
?? par bajaaya
titliyaan ??
ur mein
??
titliyaan ??
cheer ur mein
??
kanthh mein sangeet ye
kisne bhara
kanthh mein sangeet ye
kisne bhara aa
saty hai ya swapn hai ya
saty hi mein hi
veer Arjun putr
Abhimanyu ki ?? hai
uttaraa aa aa

4 Responses to "Aaj mere jeevan pathh par kaun ye saathhi milaa"

The trend in the decades mentioned so vividly. Things that remain unnoticed – brought to fore so beautifully. Thanks for labor of love..

Liked by 2 people

Thank you,Sir, for your appreciation.
-AD

Liked by 2 people

All your love for mythological films and ur pride in being a chaperone has been so well expressed.
And you are lucky to know so many languages.

Liked by 2 people

Thanks for your kind words. It makes my day !

Like

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