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

Mujhe waqt e namaaz yaad jo aayee teri

Posted on: May 7, 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 :

4676 Post No. : 16352 Movie Count :

4440

Today’s song is from the film Taqdeer wale-aka- Lucky Friends – 1948. It was a Stunt film, a ‘C’ grade film made by Rajan pictures. The director was S H Tharani and music was composed by Shyam Babu Pathak and Ram Prasad Sharma. The cast of the film was Neelam, Rajan, Habib, Chandrika, Shanta Desai, Fazlu, Putli, Mannan and Maqbool – all typically stunt film regulars !

The 8 songs of this film were written by Indiwar and Muzaffar. Out of these 8 songs, 3 songs were originally recorded for an unreleased film-Parda aka Laparwah, for which Shyam Babu was the MD. Now these 3 songs were included in this film. Today’s song is also one of these “imported” songs from the film Parda. However, the singer’s name for any song is not known.

This is the problem with such small time ‘C’ grade films. Hardly any information is available about them, unless they are made by some prestigious banners like Wadia Movietone. In those times, stunt films were the best possible item to invest money and get sureshot profits. This was because there was a captive audience for stunt films, who were very loyal. Such films also were exhibited in dilapidated, old time theatres in some corner of the town.

According to Master Bhagwan, he used to make a stunt film for 50 to 75 thousand rupees in the 40’s decade. In the early times, i.e. the 30’s decade, a film was made in 15 to 30 thousand rupees. Of course in those days, living was much cheaper and the value of Rupee was also high. The same 30000 rupees would be equivalent to 6+ Lakhs today at current inflation rates, as per Mr. Google ji. Imagine even in 1963, a state Govt. Clerk’s starting salary was Basic 80 + DA 30 = 110 rupees total. Today a clerk starts at Rs. 33000, but he has the same difficulty in living a life as his counterpart had in 1963 – thanks to inflation !

Director S H Tharani had 5 films to his name as a Director- Stage Girl-47, Black Market-47, Taqdeerwale-48, Achhaji-50 and Azmaish-52. In 1954, I found one H S Tharani (his son ?) who had directed only the film Fujiyama-54.

Out of the cast, I found an interview of the heroine actress Neelam, which gives some information about her.

” Neelam, whose real name is Leticia Ferns, is a devout Roman Catholic and, to her, religion is the sheet-anchor which has given her strength and confidence to face many difficulties during her struggle for success. Dusky, limpid-eyed Neelam is the only film star of Bombay whose earliest ambition was to become a nun!

Born in Mangalore, Neelam was brought to Bombay when only one year old, and was educated at the Gloria High School where she did her matric. Right from her school days, Neelam was a serious and thoughtful girl and never indulged in fancy dreams of becoming a film star. She was happiest when attending her religion classes and she thought she would like to dedicate her life to the service of God. Her grandmother, however, wouldn’t hear of it. She did not want her pretty, talented grandchild to submit herself to the strict, austere life of a nun and promptly vetoed the idea.

There upon Neelam, who loves children and likes nothing better than to be with a roomful of kids, took up a position as a teacher in St. Teresa’s School. A year later, however, she found a better job with the Telephone Company, and quit teaching. It was here that Neelam, like a few of other filmland colleagues, made contacts which completely changed the placid routine of her everyday life.

She met several film personalities while working with the Telephone Company: Meena Shorey, Mumtaz Shanti, Sheila (who used to appear in Sohrab Modi’s films). Husn banoo and her mother, Sharifa. At the time, Neelam was always dressed in a frock, or a skirt, and blouse, but every one noticed her fresh, youthful looks, her trim figure and her charm and vivacity.

One day, Director S.M. Yusuf spotted her and insisted that she play the lead in “Chini Jadugar,” a “semi-stunt” picture. At first, Neelam was bewildered by the offer. She had never dreamt of a film career and when the chance to gain fame and make big money was thrust upon her, she didn’t know how to deal with it. She knew that her family would never approve of her taking up this “most dubious” of professions.

But a pretty, young girl cannot always resist a glamorous and luxurious life and the opportunity to be seen and admired by thousands of people. Neelam decided to take the plunge, come what may. She had accumulated a lot of leave at the office and, taking advantage of it, she started to work in “Chini Jadugar” without telling her family anything about it.

Neelam completed her role in the picture and then quietly went back to the routine of everyday life. Then the secret was out. A photograph of hers appeared in “The Times of India” and there was commotion in the Ferns family.

By this time, Neelam had finally decided she wanted to remain in films and when her people raised objections she said that she would utilize part of the money she earned to maintain an orphanage. In the selection of her screen name she was guided by her friend, Meena, who had played the title role in a file called Neelam (1945).

After her role in “Chini Jadugar”-47, she worked in Wali’s “Padmini”-48, Taqdeerwalw-48, and was later asked to dance in Nargis Art Concerns’ “Romeo and Juliet.” But although she did not work in this picture she formed a fruitful association. She met Nargis and her mother, the late Jaddanbai. The latter took a tremendous liking to Neelam and groomed her with loving care. Sadly, Neelam says, “I miss her love and kindness. She was like a mother to me. I can say that I ‘woke up’ in her lap, because it was with her help that I saw life and learnt how to face it.”

For four years, Neelam spent most of her time with Jaddanbai who helped her find roles in “Anjuman,”-48, “Darogaji,”-049, “Pyar ki Baatien” -51, Bewafaa-52, Chori chori-55,and Bewaqoof-60. She worked in about 20 films or so.

True to her promise to her family, Neelam spent most of her money in looking after children whom she took from destitute mothers. Her innate love of children made this task a pleasant one for her. Neelam adopts children of all communities and personally attends to their education and general upbringing. At one time, when she could afford it, she adopted nine children, eight girls and one boy, and looked after them until they grew up and were able to look after themselves or were helped to pursue higher education.

As each lot of children passed on from her home, Neelam, even with her slender resources, continued to take in more each time. At present she has five children under her care. She and her brood of happy kids kneel down to pray every night, a practice which Neelam never misses.

Yet, the religious streak in her does not prevent Neelam from enjoying life to the hilt as most girls of her age do. She enjoys going to, and giving, parties and loves ballroom dancing. Her main recreation is reading – “novels, mostly” – and her favorite sport is swimming. Like most members of her sex, she loves to “just sit around and gossip,” although she likes people too much to be malicious about them.

Apart from looking after her own home, and her five little ones, she still takes the responsibility of supporting part of her family – a duty which she feels she owes to them. Her film career has not been a grand success in terms of fame and wealth, but this has not impaired her gay and carefree outlook on life.”
( Courtesy Cineplot: This interview was conducted in October 1954, contributed by Sudarshan Talwar).

Another name from the cast is Putli….very little information is available about her too. Mothers and daughters acted as leading ladies in the same era….Miss Putli or Putlibai and Miss Gohar Mamajiwala (the term Miss was used not merely to state the marital status of the leading ladies of those days)….

Like Miss Sharifa and Husna Banu , Putli and Gohar were mother and daughter. Putli was an accomplished actress of the silent screen who entered effortlessly in the Talkies because of her extraordinary singing talents. Gohar was born in 1910 and entered the screen in 1926, whereas her mother Miss Putli too entered more or less the same time. Information about Miss Putli is very limited. However, Gohar became India’s popular iconic star and is still remembered today.

Miss Putli acted in 33 Talkie films. Her first Talkie was Ratan Manjiri-35 and her last film was Dhoke baaz-46. She sang one song each in the film Lehri Badmash-44 and Dhokebaaz-46.

The Music Director Shyam Babu Pathak was born in 1908 at Gwalior. His music tuition started when he was just 7 years old. He studied in Madhav Sangeet Vidyalaya, under Raja Bhaiya Poonchhwale, Narayan Gupte and Bhatkhande etc. He became an excellent singer and was invited by several Royal houses all over India, for singing. Even V D Paluskar had blessed him. Strangely, though a good singer, he never sang a song in any film.

While touring all over India for Music Mehfils, he learnt many folk songs and tunes. This actually prompted him to join films as a composer. His first film was Royal Commander-1938 – a B grade Costume drama film made by Vishnu Cinetone. In his first film, for just 9 songs, he used as many as 6 different singers. Minimum songs had been his specialty. This was a novelty in the 30s, when the norm was on an average of 12 to 15 songs each film.

V M Vyas of Vishnu Cinetone, was impressed with him and he gave him many films. He got Rani saheba-40, Torpedo-40, Samsheerbaz-40, Malan-42 and Ghar sansar-42. He gave good songs sung by Kalyani, Sardar Akhtar and Kajjan. In Lajwanti-42, his songs were light and comedy type. By now, he had become a confirmed Stunt/action and B/C grade composer. Pyara watan-42,Double face-46 were such films. Double face was Indivar’s first film.

Black Market-47, Namak-47, krishna Sudama-47 and Kismatwali-47 were not much help. Takdirwale-48 with Ramprasad, Imtihan-49 and Ret Mahal-49 led him to film Jeet-49 with Anil Biswas. Actually,it seems Anil Biswas took over when Pathak left the film halfway.

After Janmashtami-50 and Achha ji-50, came Preet ka geet-50.Famous poet Harikrishna Premi wrote the songs, which were sung by Mukesh, Geeta and Johra. Next film Hamari Duniya-52 had good Lata songs. Meanwhile his film Parda remained unreleased. In the last phase of his career, came Sapna-52, Vanraj-52, Bombay Central-60 and finally, film Mehbooba-65 closed his career. In all he composed 224 songs in 29 films. He even sang a song in the film Krishna Sudama-47.

So, here is a song from the film Taqdeerwale-48, which makes a Debut on the Blog. Singer’s name is not known but I liked the song. Thanks to Ajay Jain ji (US) for the song and Sadanand Kamath ji for uploading it for me.


Song – Mujhe wakt-e-Namaaz yaad jo aayee teri (Taqdeerwaale)(1948) Singer-Unknown female voice, Lyricist- Indivar, MD- Shyam Babu Pathak

Lyrics

Mujhe wakt-e-Namaaz yaad jo aayee teri
Mujhe wakt-e-Namaaz yaad jo aayee teri
khuda ko bhool ke ratt maine lagaayi teri ee
khuda ko bhool ke ratt maine lagaayi teri ee
Mujhe wakt-e-Namaz yaad jo aayee teri ee ee

misaale sirq e chashm(?) toone nikaala mujhko
misaale sirq e chashm(?) toone nikaala mujhko
meri aankhon mein phir bhi shakl samaayi teri
meri aankhon mein phir bhi shakl samaayi teri
Mujhe wakt-e-Namaz yaad jo ayee teri ee ee

deen o duniya se gaya
aa aa aa aa aa aa aa aa
koi nayi baat nahin
khuda se bhi juda
karti hai judaayi teri ee
khuda se bhi juda
karti hai judaayi teri ee
Mujhe wakt-e-Namaaz yaad jo aayee teri ee

aa aa aa aa
aa aa aa aa
qasoor teri kashish ka hai gunaah mera nahin een
qasoor teri kashish ka hai gunaah mera nahin een
aa aa aa aa
aa aa aa
gar main ?? kahoon gaa aa aa
dil ki duhaayi teri ee
gar main ?? kahoon gaa aa aa
dil ki duhaayi teri ee
Mujhe wakt-e-Namaaz yaad jo aayee teri ee ee

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

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