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

Archive for June 2021


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular 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 :

4730 Post No. : 16450

Hullo Atuldom

“Ek Shrimaan Ek Shrimati” (1969) was produced by Surinder Kapoor and directed by Bhappie Sonie with songs written by Rajinder Krishan and composed by Kalyanji Anandji. It had a cast of Babita, Shashi Kapoor, Om Prakash, Rajendranath, Prem Chopra, Kamini Kaushal, Helen Hari Shivdasani etc.

The story was a straight forward one of a rich girl (Babita) falling in love with Prem Chopra who is after her wealth (as usual). Pritam (Shashi Kapoor) falls in love with this girl and tries to woo her away from her chosen person and has the approval of her rich uncle (Om Prakash) and is eventually successful. Then there is a minor twist regarding the birth mother foster mother etc. That is the synopsis. The movie had 7 songs of which the blog has 6 as under:-

Song Date of posting
Chaandni raat mein yoon dil ko jalaake to na jaa 8 July 2009
Pyaar to ik din honaa thhaa 1 May 2010
Kuchh kahen to khafa chup rahen to khafa 17 Aug 2010
Aaye baithhe khaaye piye khiske 21 August 2010
Hey hey hello hello 5 September 2013
Jeewan pathh par pyaar ne chhedi madhur madhur sargam (full of statistics and marked a milestone) 30 November 2020

We are visiting the movie again today to mark the 93rd birth anniversary of Kalyanji Virji Shah. There is enough material on the blog giving life history of the music legend so let us get directly on to the song.
Audio

Video

Song-Raaja tohe nainon se madira pilaaye doon (Ek Shrimaan Ek Shrimati)(1970) Singer-Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Kalyanji Anandji
Chorus

Lyrics(Provided by Prakashchandra)

ho o ho o ho o ho o ho o ho o
ho o ho o ho o ho o ho ho o

hey ae ae

hoye

raaja tohe
raaja tohe nainon se madira pilaaye doon
raaja tohe nainon se madira pilaaye doon
tu preet ka khiladi
magar hai anaadi
aaja daanv main sikhaay doon oon oon hoye
raaja tohe nainon se madira pilaaye doon
raaja tohe nainon se madira pilaaye doon

aaaa
hoye hoye
oooo
hoye hoye hoye
aaaaa
hoye hoye hoye
oooo
hoye hoye

oooo o o aa aa aa aa
oooo o o aa aa aa

chandaniya ki chhainyya mein
galbahiyaan daar ke
handaniya ki chhainyya mein
galbahiyaan daar ke
main rang dhang sainyyan
dikha doon tohe pyaar ke
main rang dhang sainyyan
dikha doon tohe pyaar ke
pyaar ke pyaar ke haaan
raaja tohe
raaja tohe nainon se madira pilaaye doon
raaja tohe nainon se madira pilaaye doon

ye jangal mein mangal
manaane ki raatein
ye jangal mein mangal
manaane ki raatein
najar se najariya milaane ki raatein
najar se najariya milaane ki raatein
ki raatein
ki raatein
ho
raaja tohe
raaja tohe nainon se madira pilaaye doon
raaja tohe nainon se madira pilaaye doon

aaaa
ho ho
oooo
ho ho
aaaaa
hoye hoye hoye
oooo
hoye hoye

o o o o o o aa aa aa
o o o o o o aa aa aa

o preet mori tora jiyarva na jaane
o preet mori tora jiyarva na jaane
agan more man ki piyarava na jaane
agan more man ki piyarava na jaane
na jaane na jaane ho

raaja tohe
raaja tohe nainon se madira pilaay doon
raaja tohe nainon se madira pilaay doon
tu preet ka khilaadi
magar hai anaadi
aaja daanv main sikha doon oon oon
haay
raaja tohe nainon se madira pilaay doon
raaja tohe nainon se madira pilaay doon

aaaa
hoye hoye
oooo
hoy hoy
o o o o
hoye hoye hoye
aaaaa
ho ho
oooo
hoy hoy hoy
aaaa
hoye hoye hoye


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular 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 :

4730 Post No. : 16449 Movie Count :

4466

In the early era of Talkie films, few film studios were famous and well established. Most of these were into making Silent films also. Studios like Prabhat, Imperial, Maadan, Sagar, Bharat, Ranjit, Krishna Tone, Saroj, Saraswati, Kamala Movietone and Ploayart Phototone (of Kardar) from Lahore were active in making Talkie films in the first few years. Studios like Elephanta Movietone- Punjab, Oriental pictures-Lahore, Sharda Movietone-Bombay, Eastern Films Ltd.- Hyderabad, Pioneer Films- Calcutta Ajanta Cinetone (Bhavnani) etc. jumped into the fray 2-3 years later and made Talkie films.

Over a period, studios having a strong and solid financial base and own studios sustained for longer periods and the smaller, occasional filmmakers disappeared. As the time went by, some more powerful and healthy film studios like Minerva(Sohrab Modi) and Bombay Talkies (Himanshu Rai and Devika Rani)entered the filmmaking and gave memorable quality films. After few years, ambitious and capable young people working in these studios separated and established their own studios like Mehboob Studios, Kardar Studios, Raj kamal Kala Mandir etc.

This went on expanding till the studio system crumbled in or around late 40’s and 50’s and Freelancing started. This escalated the cost of making films. Films which were made in 40-50 thousands in early 40’s, went up in Lakhs by late 50’s and then on in crores. Now a popular and successful Hero takes his fees in Crores. The cost of higher class cinema theatres’ tickets rose from 1 rupee to 400 rupees for reclining seats and a Blanket if you want to sleep there ! Only one thing remains same from early cinema theatres to today’s luxurious Multiplex theatres and that is BED BUGS !! They are still available free with every ticket !!!

Today’s song is from film Kokila-1937, made by Sagar Movietone. It will not be an exaggeration to say that the First Decade of Talkie films, i.e. 1931 to 1940 belonged to Sagar Movietone. They made 51 Hindi films in this period and many of these films became Hits and Popular . Films like –

1932 Zarina, Maya Bazar and Meerabai
1933 Mahabharat and Premi Paagal
1934 Grihalaxmi and Shehar ka Jaadu
1935 Dr. Madhurika, Al Hilaal, Vengeance is mine
1936 Man Mohan, Do Deewane and Village Girl
1937 Jagirdar, Kokila and Mahageet( playback started in Bombay from this film)
1938 Dynamite, Gramophone Singer, Hum Tum aur Woh ( first film with 3 Heroes) and 300 days and after
1939 Ek hi Rasta, Ladies Only and Service Ltd.
1940 Alibaba, Civil Marriage and Kumkum

These films were Hits or Popular.

Sagar also gave opportunities to youngsters to become big names later in life. Some examples are-

Actors Motilal, Surendra, Sheikh Mukhtar, Yaqub, Kumar, Sankata Prasad
Director Mehboob, Sarvottam Badami,Ramchandra Thakur, C M Luhar, Nanubhai Vakil, Ezra Mir and Kanjibhai Rathod (First Dalit director to get a chance)
MDs Anil Biswas, Pransukh Nayak, S P Rane, Anupam Ghatak
Actresses Bibbo, Sabita Devi, Maya Banerjee, Sitara Devi and Shobhana Samarth ( after her first film ‘ Nigahe Nafrat’-1935, she got a boost with 2 films here)

Surendra and Motilal were initiated in films by Sagar. The pair of Motilal and Sabita Devi was so popular that they paired in 8 successful films. It was also in Sagar that Mehboob, Anil Biswas and Faredoon Irani became thick friends.( it is another matter that AB and Mehboob split in 1940, never to come together again). They made 6 films together in Sagar.
Thus the contribution of Sagar Movietone in giving successful stars in all fields was ,if not better, but at least equal to Prabhat, Ranjit, Bombay Talkies and New Theatres.

Film Kokila -37 was directed by Sarvottam Badami and the music was by Anil Biswas. The cast included the popular pair of Motilal and Sabita Devi as well as Shobhana Samarth, Siddiqui, Maya Banerji, Sitara, Sankata prasad etc. This film was based on the popular noel of the same name, by R.V.Desai (20-5-1892 to 20-9-19540 a leading Gujarati novelist. Another film on his other novel Purnima was made by Prakash Pictures in 1938. The dialogues and songs were written by Siddiqui – who had also acted in this film. He was earlier in New Theatres having acted in films like Pooran Bhagat-32, Rajrani Meera-33 and Chandidas-34. The screenplay was by R.R. Gharekhan, who later changed his name to ‘ Gautam’. As per review of Baburao Patel in his magazine Film India, the film was not very good. however it did good business.

Today’s song is sung by Dattaram kadam- a name I heard first and last time here. Even in Marathi films, he is not mentioned anywhere. The song is good and the singer seems to be an expert. Maybe he was an actor singer on Marathi stage dramas. Anil Biswas was typically very fond of Chorus songs. Almost all of his films will have 1 or 2 Chorus songs. In this film also there are 2 Chorus songs. This film was released on 30-10-1937 in Roxy theatre, Bombay. With this song film Kokila-1937 makes its Debut on this Blog.

( information from the book ” Sagar Movietone” by Biren Kothari ji, ” तीन भिंतींची दुनिया ” by Bhai Bhagat, HFGK and my notes is used for this write up, with thanks.)


Song-Auron ka jag kya hai saadhu apni duniya paida kar (Kokila)(1937) Singer- Dattaram Kadam, Lyricist- Siddiqi, MD- Anil Biswas

Lyrics

Auron ka jag kya hai saadhu
apni duniya paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
aashaaon ki naao mein baithh ke
aashaaon ki naao mein baithh ke
naya kinaara paida kar
aashaaon ki naao mein baithh ke
naya kinaara paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar

jeewan apna apne saare
jeewan apna apne saare
apna ho ??
jeewan apna apne saare
apna ho ??
apna mandir apna devta
apni pooja paida kar
apna mandir apna devta
apni pooja paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
aashaaon ki naao mein baithh ke
aashaaon ki naao mein baithh ke
naya kinaara paida kar
aashaaon ki naao mein baithh ke
naya kinaara paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar
Auron ka jag kya hai saadhu
apni duniya paida kar


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular 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 :

4729 Post No. : 16448 Movie Count :

4465

Not many films are made on Kashmir, though Kashmir featured in many films for filming songs etc. In the last 80 odd years, only 5 films have been made i.e. films having the name Kashmir in their titles. As such filmmakers were wary of making films on Kashmir. Being a controversial subject, they knew that the Government would surely ban the films, so as not to displease Pakistan. Thankfully, now the situation is different and films on subjects of national interest and glory are being made freely, without Government’s interference. This is true freedom for the Art. Many politically bold, revealing films, as well as films applauding our Army are being made.

The 5 films having Kashmir in their titles were- Kashmir ki Kali-1946, Kashmir hamara hai-1950, Kashmir-51, Kashmir ki kali-64 and Kashmir Hamara Hai-2001. I doubt if any of these films tackled the political aspect of Kashmir. Looks like our films had central themes of Love stories in the background of beautiful Kashmir. We all know about Shammi Kapoor and Sharmila Tagor’s film in 1964.

Today’s song is from the first film having Kashmir in the title, Kashmir ki kali-1946. An important matter connected with this film is that Geeta Roy (Dutt) sang 2 songs in it. One solo and one duet with someone called Devendra. Readers will recall that Geeta Roy made her singing Debut in film Bhakta Prahlad-1946, by singing in the chorus. So today’s song has the historical value of being her first ever solo playback song. In 1946, she sang in 12 films- an achievement for a singer in her first year of debut. This was an indication that not only the MDs, but also the public had liked her voice and style.

Film Kashmir ki kali-46 was directed by Jagannath Dhar- possibly his only film as a director. Lyrics of the 5 songs were by Matwala Panit and the music was by A. Karim. He was a multifaceted artiste. He acted in 3 films, directed 12 films, wrote 146 songs in 20 films and gave music to 5 films. The cast of this film was Master Vithal. Kavita Devi, Vasantrao Pehelwan, Omkar Devaskar, Kishen etc.etc. As we all know, Master Vithal was the Hero of the First Indian Talkie film ” Alam Ara”-1931, For him, this was his last film in Bombay.

A lot has been said about his inability to speak Urdu dialogues and there is a popular myth, that after ‘Aalam Ara’, he did not get any talkie film and he left the Bombay film industry for Kolhapur to continue his career in Marathi films. Nothing can be farther from truth, because not only Master Vithal was cast as a hero in another talkie film, by Imperial Film Company itself – ‘Anangsena’ (1931), but many other well known production houses like Wadia, Mohan, Pradeep, BK Dave, Ranjit etc. engaged him for talkie films. What’s more, he even sang 3 Hindi songs in the film Bhedi Rajkumar-1934.

However, Master Vithal who was not very comfortable with Urdu dialogues, was no more interested in doing Hindi films anymore, so he did films very selectively. He acted in 8 silent films till 1934 and 15 talkie Hindi films till 1946, in Bombay. He , however, acted in one more Hindi film ‘ Chhatrapati Shivaji”-1952, as it was made in Kolhapur only. His last film in Bombay was Kashmir ki Kali-1946. All this after ‘Aalam Ara’.

Master Vithal is in history books as the first hero of the first Indian talkie film and also has to his credit the introduction of a double role (by Shahu Modak) in a Bilingual film ‘Aawaara Shehzada’ (1933), which he directed (‘Autghatkecha Raja’ in Marathi). Master Vithal himself was the first to do a double role in the silent film,’Prisoner of Love’ (aka ‘Raj Tarang’, 1927), made by Sharada Films.

Master Vithal acted in a total of 92 films – Hindi, Marathi, talkie and silent. He also directed two talkie films – one each in Hindi and Marathi. In one of his interviews, he regretted his decision to shift to Kolhapur in 1946 permanently, as he felt this reduced his Hindi film participation. He had constructed a big chawl in Kolhapur and in his retirement years, he lived on its rental income. He died on 25-6- 1969.

BOMBAY- The Mayanagari, sometimes showed its Maya. It picked up unsuspecting souls and bestowed upon them the fame and a name as Leading actors, singers, Directors ,Lyricists or whatever in films. Thus, a scholarly young man, standing in a bus queue in Madras is picked up and made a Hero of more than 40 films as ” Ranjan”. It also made an onlooker of shooting from the crowds of a studio, the famous and rich Hero of more than 50 films as ” Motilal”. An ordinary Motor Mechanic becomes a well known film Director in various languages and is called ” Sarvottam Badami’. A poor motor mechanic working in a garage becomes an All India famous poet-Lyricist and Producer Director called ” Gulzar.” The same Maya made a casual singer in Hindu Colony,Dadar in Bombay a famous playback singer of repute, when her singing was heard by a passing Music Director Hanuman Prasad, just by chance. She was known later as ” Geeta Dutt”. There are many such examples.

There are many such numbers of ” Accidental Stars’, but the same Maya also scuttled the Golden chances of capable aspiring small timers to become big stars. At Least two glaring examples are known. One is very well known to many, but the other is hardly known to anyone. First case is, Mehboob Khan was almost selected as Hero of India’s First Talkie film ” Alam Ara”-31. Even suitable costumes for him were also made ready, but then Maya played the trick and his name was pushed back, in favour of the more famous Master Vithal, to cover up the possible risk of the failure of the First talkie, which was an experiment. Nevertheless Mehboob Khan became a significantly notable producer, director and studio owner of India.

The other case of how Maya scuttled the chances of fame, name and career of a small-time actor who was on the verge of becoming a big star, is not known to most people. Now, take a look at the cast of today’s film as mentioned in this post. Do you find a name Omkar Devaskar ? Well, this is his story….

Omkar Devaskar was born in 1911 in MP (Central provinces then). After his schooling, he ran away to Bombay to seek employment and got a job as an ‘ Assistant’ in the Imperial Film company. His job was to do any work given to him. The salary was Rs.20 pm. When he saw the film shootings, he had an urge to act in films. One day, he asked Ardeshir sheth about it and he started getting uncredited small roles in silent films.

The Imperial company decided to make a Talkie for the First time in India,mainly because of Dadasaheb Torne (Ramchandra Gopal Torne). It was he who prompted Irani to be the first in India to make a Talkie. Torne was his Manager for both Jyoti studio and Imperial Film Company. Torne was also an agent for Cinema Equipment imported from England and Germany. Torne imported Sound recording equipment and the company sent a German Engineer to explain and teach the technique to Indian technicians.

They first wanted to test the sound recording machine by recording and filming a song. Who would sing ? No one was ready to become the sacrificial goat. Irani saw Omkar and asked him to sing before the machine. A terrified Omkar lamely protested, but he had no choice. Ultimately he was ‘ made up’ and the recording and filming started. Omkar sang a Thumri, ‘ Pyare Rasia Bihari’. Everybody present, including Irani, were stunned with the sweet voice and the ease of his singing style. It came off extremely well. About 500 feet of film was shot flawlessly. Irani was so impressed that he toyed with the idea of giving Omkar the first song in the film Alam Ara. Maya swiftly went into action. Unfortunately the recording was not saved, otherwise it would have been the first film song to be filmed and Omkar the First ever singer actor to do so. But Alas ! This is called the stroke of misfortune ! Destiny had slated this honour for W.M.Khan.

Missing this chance, anyway, Omkar became an actor and singer. His first talkie film was Imperial’s ” Sati Anusuya “-33. He sang 3 songs in the film ” Noor E Iman “-33, besides acting in it. Omkar acted in about 30 films in all. His last film was, perhaps, Rangeeli-52. He sang 14 songs in 6 films. His last song came in the film Jagriti-49. Omkar was a regular actor in many Marathi films too. ( I have used information from Music beyond boundaries by Ashok Ranade and Marathi Cinema in Retrospect by Sanjit Narwekar, MuVyz, HFGK and my own notes, for this write up.)

Now let us listen to Geeta Roy’s first solo song from this film. With this song, the film Kashmir ki kali-1946 makes its Debut on our Blog.


Song-Ye kisne meri hasraton mein aag laga di (Kashmir Ki Kali)(1946) Singer-Geeta Dutt, Lyrics-Matwala Pandit, MD-A Karim

Lyrics

ye kisne meri ee ee
ee ee ee ee
ye kisne meri hasraton mein aag laga di
aag laga di
ke jisne meri ee
ke jisne meri zindagi dushwaar bana di
ye kisne meri ee
ye kisne meri hasraton mein aag laga di
aag laga di
ke jisne meri zindagi dushwaar bana di

ab tu hi bata aa aa
aa aa aa aa
ab tu hi bata
kisne shuru pyaar kiya thha
ab tu hi bata
kisne shuru pyaar kiya thha
kya maine kisi baat se inkaar kiya thha
kya maine kisi baat se inkaar kiya thha
phir kyun meri ee ee
ee ee ee ee ee ee
phir kyu meri tasveer kaleje se hata di
kaleje se hata di
ke jisne meri zindagi dushwaar bana di
ye kisne meri ee

gar tu na sahi
gar tu na sahi
lab pe tera naam rahega
tera naam rahega
tera hi tasawwur subah o shaam rahega
gar tu na sahi
gar tu na sahi
lab pe tera naam rahega
tera hi tasawwur subah o shaam rahega

ye toone mujhe ae ae
ae ae ae ae ae
ye toone mujhe pyaar ki kya achchi saza di
kya achchi saza di
ke jisne meri zindagi dushwaar bana di
ye kisne meri ee
ee ee ee ee ee
ye kisne meri hasraton mein aag laga di
aag laga di
ke jisne meri zindagi dushwaar bana di
ye kisne meri


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular 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 :

4728 Post No. : 16447

A man is always happy when he is in his comfort zone. I too feel at home and comfortable when I am dealing with films of the Vintage Era, i.e. 30’s to 50’s. There comes a feeling of togetherness, familiarity and ease of communication. I am sure the same must be the case of those who write on films of the recent past, i.e. of the period 70’s to the present. Change the position and one feels awkward, uncomfortable and not so well. This is not a statement about any period, but I am trying to paint a picture, how people are happy in the surroundings which are known,familiar and about which one has the knowledge. By the way, I have written many posts on films from the 70s to as late as 2018 also.

Maybe this is due to the age difference, but I am certainly not one who detests whatever is new – may it be a Cinema, a song or social environment. Change is mandatory, inevitable, unavoidable and a reality. Wisdom is in accepting what is changed and then in finding points of similarity and likeability in the new changes. Changes are effected to conform to present needs, visions and compatibility towards outside influences beyond our control.

Changes are the precursors of Evolution. From Fish to Humans is a result of changes which took place in thousands of years. One who says changes are bad, is saying that remaining as Monkeys was better ! However, changing or accepting the changes does not put a stamp on the uselessness of the older things. It only means that those things were good in those times and conditions.

Take the simple example of NFS (Non Film Songs) v/s Film songs. NFS were popular from the 30’s to the 50’s. After that NFS disappeared perceptibly and today only Film songs are there. Why did this happen ? If you listen to most of the NFS, they were slow,soft, melodious, soulful but they made you illusioned. That was when the world was trying slowly to come out of the effects of World Wars. Several countries were becoming independent. The world started brimming with enthusiasm,hopes and visions of a brighter future. Lilting tunes and newer musical instruments helped upping the positive vibes, so necessary to build up a new World. Film songs filled this need and slowly the slow, soft and soulful NFS disappeared. Just compare the film songs of the 40’s, 50’s and today’s film songs. See the difference. Today we feel old music was better, but that is because of Nostalgia – memories attached to those songs, films and people. It was good for those days. Today this is good.

When one talks of NFS, can one forget Jagmohan ? Those were the days when NFS by Jagmohan, Juthika Roy, Pankaj Mullik, Hemant Kumar, Talat Mehmood and many more private singers shook the music world and their records sold by thousands. Although Jagmohan Sursagar ( 6-9-1918 to 4-9-2003) sang 33 songs in 19 Hindi films, he gave music to only 1 Hindi film in his career. Film Sardar-55 was produced and directed by Gyan Mukherji (30-9-1909 to 13-11-1956). He directed only 7 full films and 2 half films. Film Madhu-59 and Sitaron se aage-58 were done half when he died suddenly. Madhu-59 was completed by S.Mukherji and Sitaron se aage-58 was completed by Satyen Bose. Gyaqn Mukherji directed films only in which Ashok Kumar was Hero( same way, his brother Shankar Mukherji directed films of only Dev Anand-except Jhumroo-61 of Kishore kumar)

There were 9 songs in the film originally, however one song by Lata was removed from the film later. Songs were written by Udhav Kumar(5), Kaif Irfani(3) and Vrajendra Gaud(1). When you listen to these songs, you can’t believe Jagmohan could give such variety in film music. One song, sung by himself, was based on Fox Trot music-a novelty in films of that period. I feel sorry that Jagmohan was not used by the Hindi film industry as a MD for more films. We surely missed some good music because of that.

The cast of the film was Ashok Kumar, Bina Rai, Nigar Sultana, Jagdish Sethi, Rama Shukul (probably his last film), Tiwari and many others.Nigar Sultana was one of the busiest artistes in the 50’s. Out of her total 52 films, she worked in 32 films from 1950 to 1960. She was also famous for her affairs with several film artistes. The famous writer journalist ‘ Manto’ has written quite a juicy account of it in his book.

Nigar Sultana (21 June 1932 – 21 April 2000) . She appeared in Aag (1948), Patanga (1949), Sheesh Mahal (1950), Mirza Ghalib (1954), Yahudi (1958), Do Kaliyaan (1968), etc. but she is most notably remembered for playing the role of “Bahar begum” in the historical epic film Mughal-e-Azam (1960). She was the wife of filmmaker K. Asif. She died in May 2000, in Mumbai, India.

Nigar Sultana was born on 21 June 1932 in Hyderabad, India. She was the youngest daughter of a family of five. She had two brothers and two sisters. She spent her childhood in Hyderabad where her father held the rank of a Major in the Nizam’s State Army. She went to school for a while and later studied at home. She took part in a school drama on one occasion and ever after was keen on acting. After her father’s retirement, the family faced financial difficulties and Nigar was married off to a Driver. After she became pregnant the couple took divorce.

The first film Nigar ever saw was Hum Tum Aur Woh (1938). She was so utterly thrilled by it that when Jagdish Sethi, a friend of her father’s, offered her the lead in a film he was making with Mohan Bhavnani, she took it on the spot.

She entered the films with the 1946 film Rangbhoomi. She also did a small role in the film 1857. Then came Bela-47 as a Heroine opposite Jairaj. Raj Kapoor’s Aag (1948) was her first big break to Bollywood. She played the character role of “Nirmala”, which was equally appreciated by critics and audience. After that, she played character roles in a number of films.

Her big picture was Shikayat (1948), made in Poona; and after that many more in which she played leading roles. She played the role of the court dancer Bahar, who envies Prince Salim’s (Dilip Kumar) love for Anarkali (Madhubala) in the film Mughal-e-Azam (1960). The songs Teri mehfil mein and jab raat ho aisi matwali were picturised on her.Her other films included Dara (1953) and Khyber.

Patanga (1949), Dil Ki Basti (1949), Sheesh Mahal (1950), Khel (1950), Daman (1951), Anand Bhavan (1953), Mirza Ghalib (1954), Tankhah (1956), Durgesh Nandini (1956) and Yahudi (1958) are among her noted movies. She was most active during the 1950s and appeared in only a lesser number of movies later. Jumbish: A Movement – The Movie in 1986 was her last Bollywood film. The famous song of Patanga-49 ” Mere piya gaye Rangoon” was filmed on her. She looked very attractive in that song. The song is still popular.

When she was working for Ranjit Films, she posed for a provocative photo. On the publication of that photo, Ranjit removed her from their films. Later many other heroines did such Photo sessions, but the First daring was by Nigar Sultana.

Nigar Sultana was linked with Pakistani actor Darpan Kumar. She had actually married him, when he was called to Bombay by kardar for his films. In the mid 50s when she was in financial difficulties Darpan and she were divorced. On 13 June 1959, Nigar Sultana held a press conference specifically to deny reports that she was married to the Pakistani actor. Later, Nigar Sultana married K. Asif, producer-director of Mughal-e-Azam (1960). When finally she divorced K.Asif, he gave her 200 rupees per month as compensation.

Nigar had close friendship with actor Shyam, Kamal Amrohi, Najam Naqvi, Rehman, Zuhur Raja, and D N Madhok also.

Nigar Sultana was the mother of actress Heena Kausar. Heena Kausar appeared in secondary roles in a large number of films during the 1970s and early 1980s.

Two actresses of the 1950s, Chitra (born Afsar-un-nisa) and Paras (born Yusuf-un-nisa) were Nigar Sultana’s nieces.

She had also been married to S. M. Yusuf when he lived in India, with whom she had one child. The child became actress Heena Kausar. Nigar acted in 52 films in her 26 years’ career.

She died on 23 April 2000 in Mumbai, India. ( Thanks to wiki, book Inhe na Bhulana by Harish Raghuwanshi ji, HFGK, muVyz and my notes, for this information.)

Let us now listen to today’s excellent song from the film Sardar-55. As I had said in a few articles back, many such ‘Gems’ from the 50’s must still be uncovered. Jagmohan used 5 singers for 9 songs. Today’s song is by Asha Bhosle. In that period, she always got songs for Cabarets, Mujaras, dances and for side heroines. From this struggling position, she fought her way up to an enviable position, reaching Guiness Records. Hats off to her grit and hard work.


Song-Aayee jhoom ke deewaani liye pyaar ki nishaani (Sardaar)(1955) Singer- Asha Bhonsle, Lyricist-Udhav Kumar, MD- Jagmohan Sursagar (Jaganmoy Mitra)

Lyrics(Provided by Prakashchandra)

aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana
aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana
machal kahin mat jaana
tujhe apni kasam
aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana

tujhko hansaane tadpaane
hazaaron anjaane tere ghar aaye
banke deewaane parwaane
bejaane pehchaane yahaan mandraaye
gar jeena hai to dhokhe se zara dil tu sambhal jaana
aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana

koi agar lalchaaye
tujhe bahlaaye
bane dildaara
karde jigar dikhlaaye
kasam bhi khaye
wahi haaye mara
in ghaaton se aur baaton se zara dil tu sambhal jaana
aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana

ye hai zamaane waale
bade matwaale
sabhi saudaayi
padna na inke paale
na karna hawaale
nazar harjaai
koi aankhen bichha khaanse na zara
dil tu sambhal jaana
aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana
aayi jhoom ke deewaani
liye pyaar ki nishaani
zara dil tu sambhal jaana


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 :

4728 Post No. : 16446 Movie Count :

4464

Yearwise discussion of Lata Mangeshkar songs in HFM: Part XL: Year 1986
———————————————————————————————————

In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1986.

In 1986, 129 Hindi movies containing 585 songs were released. Lata Mangeshkar got to sing in 27 of these movies and she sang 41 songs in these movies. So Lata Mangeshkar’s voice was heard in 20.9 % of the movies released in 1986. Her voice was heard in 7.5 % of the songs appearing in the movies of 1986.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1986 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Aag Aur Shola Laxmikant Pyarelal 0 1 0 1 0 0 Anand Bakshi
2 Aap Ke Saath Laxmikant Pyarelal 0 1 1 0 0 0 Anand Bakshi
3 Adhikaar Bappi Lahiri 0 1 1 0 0 0 Indeewar
4 Allahrakhha Anu Malik 0 1 1 0 0 0 Prayagraj
5 Anubhav Rajesh Roshan 0 1 1 0 0 0 Indeewar
6 Devar Bhaabhi Khayyam 0 1 1 0 0 0 Naqsh Llayalpuri
7 Insaaf Ki Aawaaz Bappi Lahiri 0 1 0 1 0 0 Indeewar
8 Jumbish Jaidev 0 1 1 0 0 0 Salahuddin Parvez
9 Locket Bappi Lahiri 0 2 0 1 0 1 Gauhar Kanpuri
10 Love and God Naushad 0 5 1 3 0 1 Khumar Barabankvi
11 Maa Ki Saugandh Sapan Jagmohan 0 1 1 0 0 0 Anjaan
12 Makkaar Rajesh Roshan 0 1 0 1 0 0 Amit Khanna
13 Mangal Dada Kalyanji Anandji 0 1 0 1 0 0 Gauhar Kanpuri
14 Naache Mayuri Laxmikant Pyarelal 1 5 4 1 0 0 Anand Bakshi
15 Naam Laxmikant Pyarelal 0 1 1 0 0 0 Anand Bakshi
16 Naasamajh Jeet Tapan 0 1 1 0 0 0 Sikandar Bharti
17 Nageena Laxmikant Pyarelal 1 1 1 0 0 1 Anand Bakshi
18 Paalay Khan R D Burman 0 3 2 1 0 0 Anand Bakshi
19 Preeti Usha Khanna 0 2 0 2 0 0 Saawan Kumar Tak
20 Pyaar Kiya Hai Pyaar Karenge Laxmikant Pyarelal 0 1 0 1 0 0 S H Bihari
21 Qatl Laxmikant Pyarelal 0 2 2 0 0 0 Anand Bakshi
22 Samundar R D Burman 0 2 0 2 0 0 Anand Bakshi
23 Shatru R D Burman 0 1 1 0 0 0 Anand Bakshi
24 Suhaagan Bappi Lahiri 0 1 0 1 0 0 Indeewar
25 Swarg Se Sundar Laxmikant Pyarelal 0 1 0 1 0 0 Anand Bakshi
26 Tere Shahar Mein Khayyam 0 1 1 0 0 0 Naqsh Llayalpuri
27 Zindagaani R D Burman 0 1 1 0 0 0 Anjaan
Total 27 movies 12 MDs 2 41 22 17 0 2 12 lyricists

Lata Mangeshkar worked with 12 music directors and 12 lyricists in these 27 movies released in 1986. Laxmikant Pyarelal were the most prolific music directors with Lata, with 632 songs in HFM with Lata Mangeshkar by the end of 1986. Shankar Jaikishan with 457 songs in the voice of Lata Mangeshkar were in the second position. R D Burman with 319 Lata Mangeshkar song was ahead of Kalyanji Anandji with 304 songs and C Ramchandra with 274 songs. Other top music directors for Lata Mangeshkar were Chitragupta (239), Madan Mohan (195), S D Burman (179),Naushad (145), Roshan (144), Hemant Kumar (127), Anil Biswas (120), Husnlal Bhagatram (108), Salil Chaudhary (108) and Vasant Desai (104). Together these fifteen music directors composed 3455 songs out of 4838 songs that Lata Mangeshkar had sung in Hindi movies till end of 1986. Anand Bakshi with 638 songs was the top lyricist with Lata Mangeshkar. Other leading lyricists with Lata Mangeshkar were Rajinder Krishan (554), Majrooh Sultanpuri (405), Shailendra (361), Hasrat Jaipuri (298), Prem Dhawan (201), Bharat Vyas (193), Shakeel Badayuni (189), Sahir Ludhianvi (161) and Indeewar (142). These ten lyricists had penned 3142 songs sung by Lata Mangeshkar till that time.

Lata Mangeshkar collaborated with music director duo Jeet Tapan for the first time in a movie released in 1986. She collaborated with Lyricists Prayagraj and Salahuddin Parvez for the first time in movies released this year.

Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1986 :

Year Movie count Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Remarks
1946 3 movies 4 4 4 0 0 0
1947 3 movies 5 5 3 1 0 1
1948 16 movies 50 50 37 6 4 3
1949 38 movies 138 157 103 35 12 7
1950 36 movies 115 143 93 32 14 4
1951 49 movies 189 223 158 52 10 3
1952 43 movies 150 177 138 31 4 4
1953 45 movies 170 195 149 35 5 6
1954 43 movies 142 172 144 23 4 1
1955 50 movies 171 218 177 30 10 1
1956 49 movies 174 204 153 35 13 3
1957 47 movies 132 160 110 38 7 5
1958 35 movies 104 132 95 25 10 1
1959 58 movies 189 211 130 68 12 1
1960 48 movies 141 166 102 50 12 1
1961 44 movies 128 152 88 55 5 4
1962 40 movies 119 129 84 40 5 0
1963 37 movies 105 111 62 38 8 3
1964 46 movies 123 133 91 31 8 3
1965 42 movies 84 91 71 17 1 2
1966 49 movies 105 133 110 14 8 1
1967 44 movies 94 106 67 38 8 3
1968 33 movies 84 84 59 19 5 1
1969 43 movies 78 97 67 27 2 1
1970 54 movies 91 130 84 39 3 4
1971 52 movies 107 126 71 52 3 0
1972 62 movies 98 151 86 60 3 2
1973 60 movies 93 138 94 37 3 4
1974 55 movies 71 104 66 33 0 5
1975 45 movies 61 90 50 35 3 2
1976 41 movies 58 97 53 39 1 4
1977 50 movies 49 96 59 27 8 2
1978 46 movies 59 90 48 34 3 5
1979 42 movies 38 66 37 25 2 3
1980 43 movies 28 71 43 21 3 4
1981 46 movies 40 88 48 34 2 4
1982 45 movies 28 82 41 37 1 3
1983 33 movies 27 73 36 37 0 0
1984 39 movies 11 70 32 33 4 1
1985 40 movies 21 72 39 31 0 2
1986 27 movies 2 41 22 17 0 2
Total upto 1986 1721 movies 3676 4838 3205 1321 203 109

It can be seen from the table of 1986 that Lata Mangeshkar sang 41 songs in 27 movies released in 1986.

2 songs sung by Lata Mangeshkar in movies of 1986 have been covered in the blog. That leaves us with 39 songs from movies of 1986 that are yet to be covered.

All Lata Mangeshkar songs from 1 movie of 1986 (“Nageena”) has been covered in the blog. So 39 Lata Mangeshkar songs from 26 movies of 1986 are still available for discussion in the blog.

Alphabetically “Aag Aur Shola”(1986) is the first movie of 1986 that offers us a Lata Mangeshkar song to be covered in the blog.

“Aag Aur Shola”(1986) was produced by Prasann Kapoor (brother of Jeetendra) and directed by K Bappaiah for Tirupati Pictures, Bombay. The movie had Jeetendra, Sridevi, Mandakini, Shakti Kapoor, Shoma Anand, Suresh Oberoi, Kader Khan, Aruna Irani, Bindu, Jagdeep, Asrani, Mushtaq Merchant, Sunder, Guddi, Satish Shah, Imran(child),Dilip Tahil, Viju Khote, Raja Duggal, Umesh Khanna, Nitin Sethy, Krish,Waheed, Chotu, Walecha, Johny Mohamed etc. The movie introduced Ashish Chanana(Son of Politician Charanjit Chanana).

The movie had five songs in it. All five songs contained the voice of Md Aziz. Two were solo songs. Three were duets with three different singers (Lata Mangeshkar, Asha Bhonsle and Kavita Krishnamurthy).

Here is the duet containing the voices of Lata Mangeshkar and Md Aziz. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

The song is picturised on Jeetendra and Sridevi.

Lyrics of the song and other details were sent to me by Prakashchandra.

With this song, “Aag Aur Shola”(1986) makes its debut in the blog.

audio link:

video link:

Song-Aaj subah jab main jagaa (Aag Aur Shola)(1986) Singers-Md Aziz, Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Both

Lyrics(Provided by Prakashchandra)

o o ho o
oho ho o o
oo oo hoo ho
o o o oho
oo ooo ooo
hmm…mmm..hmmm…mmm
o oo ho o oo ho o o o

(panting sound)

aaj subaha jab main jagaa
hho o hho o
aaj subah jab main jaga
o oo ooo o
teri qasam aisaa lagaa aa aaaa ha aa
ke tooney mujhey yaad kiyaa hai ae ae
tooney mera naam liyaa hai ae
ke tooney mujhey yaad kiyaa hai ae ae
tooney mera naam liyaa hai aey ae ae

hic
hich hich hichkee lagee
hich
hichki
hic
hich hich hichkee lagee
hich
hichki
aaj subah jab main jagee
hho ho ho
aaj subah jab main jagee
ho o o
mast hawaa kehney lagee..eee
ke tooney mujhey yaad kiyaa hai ae ae
tooney meraa naam liyaa hai ae
ke tooney mujhey yaad kiyaa hai ae ae ae
tooney meraa naam liyaa hai ae

lambee judaai tu dey gayaa thhaa aaa aaa
sab geet mere tu le gayaa thhaa
lambee judaai tu dey gayaa thhaa aaa aaa
sab geet mere tu le gayaa thhaa

ye main ya meraa rab jaantaa hai
kyaa le gayaa thhaa
kya de gayaa thhaa
kyaa le gayaa thhaa
kya de gayaa thhaa
jaan chalee jaati magar r r r
aisey mein
aisey mein
aisey mein aayee khabar r r
ke tooney mujhey yaad kiyaa hai ae ae
tooney meraa naam liyaa hai ae
ke tooney mujhey yaad kiyaa hai ae ae ae
tooney meraa naam liyaa hai ae

ho o o o
oo oo o o
ooo
aaa aaa aaa aaa aaa
aaaa aaa

ye hai qayaamat
rukti naheen hai
ye hai mohabbat
chhupti naheen hai
ye hai qayaamat
rukti naheen hai ae
ye hai mohabbat
chhupti naheen hai
kehti hai duniya
ye aag dil ki
lagti naheen yaa bujhtee naheen hai
tooney meraa naam liyaa aa aaa aa
maine wahi
haan haan
main wahi jaan liyaa aa aa
tooney mujhey yaad kiyaa hai ae ae
tooney meraa naam liyaa hai ae
ke tooney mujhey yaad kiyaa hai ae ae
tooney meraa naam liyaa hai ae ae

jab se gayaa hoon oon oon oon oon
main tujhse milkey
jab se gayaa hoon
main tujhse milkey
taubaa tamaashey poochho na dil ke
kitney dinon mein aaye ho waapas
murjhaa gaye kitney phool khil ke

meraa buraa haal rahaa aaa
meraa buraa haal rahaa aaa aaaa aaa
khair huyee
haayye haayye
khair huyee dil ne kahaa aa aaa aa aa
ke tooney mujhey yaad kiyaa hai aey ae ae
tooney meraa naam liyaa hai ae ae
ke tooney mujhey yaad kiyaa hai ae ae
tooney meraa naam liyaa hai

hic
hich hich hichkee lagee
hich
hichki
hic
hich hich hichkee lagee
hich
hichki
aaj subah jab main jagee

oh oh
aaj subah jab main jagaa
ho oo ho ooo o
teri qasam aisaa lagaa aa aaa aa
ke tooney mujhey yaad kiyaa hai ae ae ae
tooney mera naam liyaa hai ae
ke tooney mujhey yaad kiyaa hai aey ae ae ae
tooney meraa naam liyaa hai ae ae
haaan aaa aaan aan
aaan aaan aaan
aaan aaan aaan
aaan aaan aaan
aaan aaan aaan


This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular 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 :

4727 Post No. : 16445

Birth Anniversary of R. D. Burman on 27/06/2021.
———————————————————–

Today morning I was thinking how there are a few songs from the films like ‘Betaab’ ‘Rocky’ etc that are not posted. With the same thought came the reminder of movies like ‘Love story’, in which Kumar Gaurav, the son of Jubilee star Rajendra Kumar, and Vijeta Pandit, the sister of Sulakshna Pandit, made their debut. There was a spate of star sons joining the movies at that time. Even Dev Anand launched his son, Manoj Kumar launched his brother. From what I read in magazines, these star sons had to learn film acting at Tanuja Chandra’s acting institute, where they were taught all type of things which included horse riding and fighting etc. They were also taught to speak Urdu, which was not part of their education otherwise.

Except for Manoj Kumar’s films, all such films had R D Burman’s music as he was believed to be the success formula of such films.

The senior stars would give interviews to “Shama’a”’s editor who went by the pen name ‘Musaafir’ about their son’s debut movie and their coaching in various skill required to be a successful hero. I am positive about having read these things about Rajendra Kumar, Sunil Dutt, Dev Anand and Dharmendra. Most of these star sons worked in some films for a few years, then they disappeared from films. Only Sanjay Dutt and Sunny Deol were more successful and they are still around.

The film “Love Story” ‘s starcast is Kumar Gaurav, Vijayta, Rajendra Kumar, Vidya Sinha, Danny Denzongpa, Amjad Khan, Jagdish Raj, T.P. Jain, Kamaldeep, Azad, Jezebel, Gufi Paintal, Farooque Shorty, Subhash, Amarjeet Sunder, Hangama, Shakeel, Laxman Thumre, Aruna Irani, Prem Kalra, Dev Kumar, Ram Mohan, Bharat Kapoor, Ram Sethi, Bina. The film is jointly directed by Rahul Rawail and Rajendra Kumar, with Rajendra Kumar producing the film. The music is by R. D. Burman and lyricist is the evergreen Anand Bakshi.

I have seen two duets from this movie now, of which only one song is posted. I have read this post, which talks of the twin solos of this film “Yaad aa rahi hai”, which was my personal favourite from this film. This song should also be posted soon.

But I am choosing one of the duets which I saw just now. Both have outdoor shooting and are expressive of various emotions and 5 minutes plus long. There was a short series of a sort I had planned for outdoorsy songs, which I seem to have waylaid. Links of many such songs are saved in my laptop.

In the film ‘Love story’, which I have seen in Minerva theatre when it was released, there is some triangle love story of Vidya Sinha, Rajendra Kumar and Danny Danzongpa. Vidya Sinha and Rajendra Kumar were to marry, but she ends up married to Danny, and Vijeta is their daughter. Rajendra Kumar marries someone else (Beena?) who is now dead, and Kumar Gaurav is the son. So, there is some animosity among the set of parents also, apart from villain.

Now between my husband and me, we have recalled the whole set of characters and their roles in the story. Vijetaa is a much pampered and cossetted daughter as Danny is very much possessive of her. Kumar Gaurav’s father is a little strict, but he knows how to spin stories around and not get a scolding. Kumar Gaurav sets his wrist watch an hour behind to hoodwink his father Rajendra Kumar upon being late for an event. Amjad Khan is the comic relief as the Hawaldar who arrests the two love birds, who have eloped in the 70’s fashion. This fashion or trend of eloping was truly started with ‘Bobby’. Now what Amjad Khan does is takes one “hathkadi” and ties them both together on one end each of hathkadi. This makes it easy for them to elope again, after being arrested. Dev Kumar is a friend or henchman of Danny Danzongpa, who is interested in getting Vijeta married to his son. So, he has more motive in separating the couple, to the extant even wanting to kill Kumar Gaurav. But all is well in the end, and it is a happy ending.

In the climax fight sequences, Kumar Gaurav saves the life of Danny and the latter is then convinced that Kumar Gaurav is the better bet for his daughter.

Lata Mangeshkar and Amit kumar are singing for Vijeta and Kumar Gaurav. The songs of this film were very popular back then. Lyrics are a breeze, as I remember them all, but have to do more work on the words interspersed and the singers voices. I am presenting this well written, composed and shot happy song in outdoor locales of maybe Manali or someplace near the himalaya’s which can be seen in the background, to commemorate the memory of Rahul Dev Burman on his birth anniversary.

Video :

Audio:

Song-Dekho maine dekha hai ye ik sapna (Love Story)(1981) Singers-Amit Kumar, Lata, Lyrics-Anand Bakshi, MD-R D Burman

Lyrics (as per audio version):

Dekho main ne dekha hai yeh ik sapna
phooolon ke shehar mein hai ghar apna
kya samaa hai
tu kahaan hai
main aayi aayi aayi aayi
aa jaa aa
kitna haseen hai yeh ek sapna
phooolon ke shehar mein hai
ghar apna
kya samaa hai
tu kahaan hai

main aaya aaya aaya aaya
aa jaa aa

yehaan teraa meraa naam likkha hai ae
rastaa nahin yeh a’am likkha hai
ho yeh hai darwaaza
jahaan tu khadi hai
andar aa jaao
sardi badi hai

yehan se nazaara aa
dekho parbaton kaa
jhaankoon main kahaan se
kahaan hai jharokhaa

yeh yehaan hai
tu kahaan hai
main aayi aayi aayi aayi
aa jaa aa
kitna haseen hai yeh ik sapna
phoolon ke shehar mein hai ghar apna
kya samaa hai
tu kahaan hai

main aaya aaya aaya aaya
aa jaa aa

achchha yeh bataao
kahaan pe hai paani ee

baahar beh rahaa hai
jharnaa deewaani ee
bijli nahin hai
yahi ik gham hai

teri bindiya kya
bijli se kam hai
chhodo mat chhedo
baazaar jaao

jaata hoon jaaungaa
pehle yehaan aao
shaam jawaan hai
tu kahaan hai
main aayi aayi aayi aayi
aa jaa aa
dekho main ne dekha hai yeh ik sapna
phoolon ke shehar mein hai ghar apna
kya samaa hai
tu kahaan hai
main aayi aayi aayi aayi
aa jaa aa

kaisi pyaari hai yeh
chhoti si rasoyi ee

o ham donon hain bas
dooja nahin koyi ee
iss kamre mein
hongi meethhi baatein

uss kamre mein
guzrengi raatein
yeh to bolo hogi
kahan pe ladaayi

maine woh jagah hi
nahin banaayi
pyaar yehaan hai
tu kahaan hai
main aayi aayi aayi aayi
aa jaa aa
kitna haseen hai yeh ek sapna
phoolon ke shehar mein hai ghar apna
kya samaa hai
tu kahaan hai
main aayi aayi aayi aayi
aa jaa aa
dekho maine dekha hai yeh ek sapna
phooolon ke shehar mein hai
ghar apna

kya samaa hai
tu kahaan hai
main aayi aayi aayi aayi
aa jaa aa
main aayi aayi aayi aayi
aa jaa aa
main aayi aayi aayi aayi
aa jaa aa
main aayi aayi aayi aayi
aa jaa aa


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular 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 :

4727 Post No. : 16444

HUllo Atuldom

Today’s song is courtesy the age-old favourite of millions of Indians who live in the interiors or mofussil towns of India. The Jhumri Talaiyaa, Bhopal, Amravati and other such places whose names we have heard on the air waves whenever there is a readout of the list of farmiash senders for Aap Ki Pasand, or Aap Ki Farmish programs. Yes, I should Thank Vividh Bharati for this song.

Heard it on the late night program last week and did all the necessary research before bringing it on to the blog. When I say I research, I don’t mean the kind that will get me a PHd. My research ends when I discover the following: (1) if the song is there on the blog

(2) what movie is it from
(3) who has sung it
(4) who is on screen in the song
(5) and how soon can I send it to Atulji. The haste is because as time passes I forget what was the song I had ‘bookmarked’ (This is why I was happy when Guruji, who signs as A.D. at the end of his comments to posts on the blog, complimented me on my memory a few days back.)

“Jaise Ko Taisa” was a 1973, AVM production directed by Murugan Kumaran, starring Reena Roy, Jeetendra (double role), Srividya (Southern actress), Ramesh Deo, Anwar Hussain, Kamini Kaushal,Mohan Choti, Dinseh Hingoo, Rojaramani, etc. It had six songs penned by Anand Bakshi and tuned by R D Burman. Two songs are present on the blog:-

Song Date of post
Ab ke saawan mein jee darey 7 January 2015
Chalte chalte peechhe mud ke dekh zara 2 May 2018

‘Bhaiyya re Bhaiyya re’ is a get together song where Anwar Hussain, Ramesh Deo, Dinesh Hingoo, Mohan Choti, are the audience and Jeetendra and Reena Roy are the main dancers leading a chorus who are (going by the video available) on a mission to switch a flower-vase from the table in front of Anwar Hussain and Ramesh Deo. I request followers of the blog, who have seen the movie, to throw some light on why the flower-vase needs to be switched? 🙂

The cause for this celebration song is to wish an Atulite and his better half (Satulite) on their anniversary. This Atulite is a regular contributor of the blog :- contributing with lyrics which are both in English and Devnagari. He is one of the most active contributors to the blog with 400 posts, 515 lyrics in English and 392 in Devnagari….Phew!!! Having touched 400/515/392 with his post today. Congratulations Avinashji and Bhabhiji on your Anniversary. And also on yet another Century. 🙂 🙂

It just also happens that today the world of Hindi Film Music Lovers is celebrating the birth anniversary of their Panchamda a.k.a R D Burman. He was the only son of the legend Sachin and Meera Burman. He is said to have composed his first song ‘ai meri topi palat ke aa’ when he was just seventeen and was used by Sachinda in ‘Funtoosh’ in 1956. He was an assistant to his father in many movie of the late ’50s. His first independent assignment in Bollywood was the 1961 release ‘Chhote Nawab’.

But I need not be listing all his achievements and life history here. We, the followers of this blog and the world, know all of this. So let us get on to the song thinking of our Panchamda, and wishing our Avinashji and his better half on their anniversary.

Party Shuru kiya jaaye. 🙂


Song-Bhaiyya re bhaiyya re (Jaise Ko Taisa)(1973) Singers-Kishore Kumar, Asha Bhonsle, Lyrics-Anand Bashi, MD-R D Burman

bhaiyya re bhaiyya re
paap ki naiyya re
beech talaiya re
duniya kehti hai ae ae
aaj ho ya kal
doobke rehti hai ae ae
o daiyya re daiyya re
paap ki naiyya re
beech talaiya re
duniya kehti hai ae
aaj ho ya kal
doobke rehti hai ae

hey bhaiyya re bhaiyya re
daiyya re daiyya re

jo jaisa karta hai
aa haa
wo waisa bharta hai
aa haa
ke maarne wala khud bhi marta hai
khud bhi marta hai
marta hai re
jo jaisa

haan
karta hai
haan
wo waisa bharta hai
ke maarne wala khud bhi marta hai re ae ae

kans ko maare kanhaiya aa
bhaiyya re bhaiya re
paap ki naiyya re
beech talaiya re
duniya kehti hai ae
aaj ho ya kal doobke rehti hai ae
ae bhaiyya re bhaiyya re
daiyya re daiyya re

kehte hain dilwaale
sun le sab dhanwaale
ye doston ko dushman bana daale

dushman bana dale ae ae
kehte hai dilwaale
aa haa
sun le sab dhanwale
aa haa
ye doston ko dushman bana daale ae
haa haa aisi hai cheez rupaiyya
daiyya re daiyya re
paap ki naiyya re
beech talaiya re
duniya kehti hai

aaj ho ya kal doobke rehti hai ae ae
daiyya re daiyya re ae
bhaiyya re bhaiyya re ae

oopar se aur hai
aa haa
andar se kuch aur hai
aa haa
tu chor hai na jaane ke mor hai ae ae ae
mor hai
oopar se

haan
aur hai
haan
andar se kuch aur hai
tu chor hai na jaane ke mor hai ae ae ae

tu hai bhanwar ya khivaiyya
bhaiyya re bhaiyya re
paap ki naiya re
beech talaiya re
duniya kehti haia e ae
aaj ho ya kal doobke rehti hai
hey bhaiyya re bhaiyya re
daiyya re daiyya re
hey bhaiyya re bhaiyya re
daiyya re daiyya re
hey bhaiya re
daiya re
bhaiya re
daiya re
bhaiyya re
daiya re


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular 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

This article is the 4900th guest post overall in the blog and 400th guest post by Avinash Scrapwala in the blog.

Blog Day :

4727 Post No. : 16443

Today 27th June 2021 is the eighty-second birth anniversary (27.06.1939 – 04.01.1994) of music composer Rahul Dev Burman or Pancham Da as we fondly know him.

On this occasion we remember him and celebrate his birth anniversary by listening to songs composed by him. That way we pay our humble tributes to this great genius who ruled Hindi Film Music from the seventies to mid-eighties.

Though more than seven hundred R D Burman songs are already showcased in the blog, I was still confused about the song to be selected for today’s presentation, seeing that many of Pancham’s well known songs are still not yet covered on the blog. Nowadays I am listening to Vividh Bharati daily and I am regularly coming across many of his songs on the radio (not yet covered here). whenever I listen to them, I feel like sharing the lyrics of those songs in the blog. Out of 1755 songs estimated to be composed by him in HFM we have posted only 739 songs on the blog so far. So we have yet to reach the halfway mark as far as R D Burman songs in the blog is concerned.

(I have also noted couple of new topics about the songs composed by R.D. Burman and will try to bring them on the blog in future).

As observed above, we are still a long way off from enjoying the ‘music’ of the great genius Rahul Dev Burman fully in the blog.

A lot has already been written about Pancham Da’s music, his geniuses, his ‘era’ of ‘music’, his ‘rise’ in the Hindi Film Music and the days when he was ‘left alone’ by the people in the Film Industry. Few books have also been published about ‘the man and his music’ i.e., R.D. Burman. There have been many articles on him on our blog itself. So I ill not repeat the same details and I will straightway to today’s song now.

Today we will listen to one of the songs composed by R.D. Burman which is from the movie ‘Chalta Purza-1977’. It was produced and directed by Bhappi Sonie for his home productions. This movie had Rajesh Khanna, Parveen Babi, Rakesh Roshan, Ajit, Ranjeet, Asrani, Purnima, Baby Chintu, Sonia Sahni, Sudhir, Manmohan, V. Gopal, Leena Disuza, Kirti Kumar, Kuljit, Dhoomal, Aparna Chaudhary, Madan Keni, Bramha Bharadwaj, Shyam Kumar, Mumtaz Begam, Lalita Kumari, Manorama, Habib, Keshav Rana, Madhup Sharma, Kamal, Kamaldeep, Dilip Dutt, Jankidas and others. Bindu make a special appearance in this movie, while Murad, Raj Mehra, Komila Virk, Keti Mirza and Dev Kumar make a guest appearance in this movie.

Story and Screenplay of this movie was written by Sachin Bhaumick and dialogues were written by Kader Khan. Editing for this movie was done by M.S. Shinde.

This movie was passed by Censor Board on 16.06.1977, that is almost forty-four years back.

There were four songs in this movie composed by R.D. Burman and written by Anand Bakshi. Asha Bhonsle, Kishore Kumar, Lata Mangeshkar and Sushma Shreshtha gave their voices to the songs in this movie.

Following is the list of songs of this movie-

S.No. Song Title Singer Posted on the blog on
01 Ye raat ne rang jamaaya hai, nayaa khilaadi aaya hai Asha Bhonsle
02 Aa gaye ham dildaar teri gali mein dilbar yaar Kishore Kumar, Lata Mangeshkar Being presented today
03 Baby ghar chalo ghar tum bin hai soona Kishore Kumar, Sushma Shreshtha 29.12.2016
04 Aapne farz nibhaaya hai … band lifaafe mein jaise paighaam likha hota hai Kishore Kumar, Lata Mangeshkar 06.02.2013

As mentioned above two songs from this movie ‘Chalta Purza-1977’ have been posted on the blog. (We can also see that we are going in ascending order 😊 in posting of the songs of this movie).

Today’s song is the third song from this movie to be posted on the blog. Today’s song is
sung by Lata Mangeshkar and Kishore Kumar and on the screen Bindu and Rajesh Khanna have lip-synced for the voices of Lata Mangeshkar and Kishore Kumar, respectively. The song seems to be happening in a marriage ceremony in the movie, I guess its marriage ceremony of Rakesh Roshan who can be seen with Rajesh Khanna, Bindu, and many others in the picturization of this song.

I would request knowledgeable readers to throw more light on this movie and its songs.

Let us now enjoy today’s song …

Video

Audio

Song-Arre aa gaye hum dildaar teri gali mein dilbar yaar(Chalta Purza)(1977) Singers-Kishore Kumar, Lata Mangeshkar, Lyrics-Anand Bakshi, MD-R D Burman

Lyrics

Are aa gaye ham dildaar
Teri gali mein
Dilbar yaar
Nakhre chhad ho ja tayyar
Gaadi chhoot jaayegi
Arre aa gaye hum dildaar
Teri gali mein
Dilbar yaar
Nakhre chhad ho ja tayyar
Gaadi chhoot jaayegi
O main nahin jana tere saath
Main nahin jana tere saath re
Main nahin jana tere saath
Leja waapas ye baaraat
Phir mat karna aisi baat
Yaari toot jaayegi
Main nahin jaana tere saath
Leja waapas ye baaraat
Phir mat karna aisi baat
Yaari toot jaayegi

Bade naseebon waali hai tu
Lagi hai hamko pyaari
Bade naseebon waali hai tu
Lagi hai hamko pyaari
Ham chal diye to
Reh jaayegi saari umr kunwaari
Are mere liye bahut hain ladke
Laga hua hai mela
Mere liye bahut hain ladke
Laga hua hai mela
Main na mili to reh jaayega
Saari umr akeyla

Taane mat maar
Jhagdaa mat kar beech bazaar
Nakhre chhad ho ja tayyar
Gaddi chhoot jaayegi
Main nahin jana tere saath
Leja waapas ye baarat
Phir mat karna aisi baat
Yaari toot jaayegi

Gali gali phirte hain tere jaise
Kayi deewaane
Mujhe to shaq hai bhool gaya hai
Rastaa tu anjaane

Mujhe kayi khat likhe toone
Gharwaalon se chori
Mujhe kayi khat likhe toone
Gharwaalon se chori
Chupke se mere haathon mein de de haath o gori
Maang na mera haath main na doon tujhko khairaat
Phir mat karna aisi baat
Yaari toot jaayegi

Are aa gaye hum dildaar
Teri gali mein
Dilbar yaar
Nakhre chhad ho ja tayyar
Gaadi
Are
Chhoot jaayegi ee

____________________________________________________________

Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————

अरे आ गए हम दिलदार
तेरी गली में
दिलबर यार
नखरे छड हो जा तैयार
गाडी छूट जायेगी
अरे आ गए हम दिलदार
तेरी गली में
दिलबर यार
नखरे छड हो जा तैयार
गाडी छूट जायेगी
ओ मैं नहीं जाना तेरे साथ
मैं नहीं जाना तेरे साथ रे
मैं नहीं जाना तेरे साथ
लेजा वापस ये बारात
फिर मत करना ऐसी बात
यारी टूट जायेगी
मैं नहीं जाना तेरे साथ
लेजा वापस ये बारात
फिर मत करना ऐसी बात
यारी टूट जायेगी

बड़े नसीबों वाली है तू
लगी है हमको प्यारी
बड़े नसीबों वाली है तू
लगी है हमको प्यारी
हम चल दिए तो
रह जायेगी सारी उम्र कुंवारी
अरे मेरे लिए बहुत हैं लड़के
लगा हुआ है मेला
मेरे लिए बहुत हैं लड़के
लगा हुआ है मेला
मैं ना मिली तो रह जाएगा
सारी उम्र अकेला

ताने मत मार
झगडा मत कर बीच बाज़ार
नखरे छड हो जा तय्यार
गाडी छूट जायेगी
मैं नहीं जाना तेरे साथ
लेजा वापस ये बारात
फिर मत करना ऐसी बात
यारी टूट जायेगी

गली गली फिरते हैं तेरे जैसे
कई दीवाने
मुझे तो शक है भूल गया हैं
रास्ता तू अनजाने

मुझे कई ख़त लिखे तूने
घरवालों से चोरी
मुझे कई ख़त लिखे तूने
घरवालों से चोरी
चुपके से मेरे हाथों में दे दे हाथ ओ गोरी
माँग ना मेरे हाथ मैं ना दूं तुझको खैरात
फिर मत करना ऐसी बात
यारी टूट जायेगी

अरे आ गए हम दिलदार
तेरी गली में
दिलबर यार
नखरे छड हो जा तैयार
गाडी
अरे
छूट जायेगी


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular 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 :

4727 Post No. : 16442 Movie Count :

4463

Wadia Movietone has been one of the well-known Hindi film production companies which was set up by Wadia Brothers – J B H Wadia and Homi Wadia in the late 1920s. Wadia Brothers’ partnership continued till 1942 when the brothers decided to split with Homi Wadia forming Basant Pictures while J B H Wadia continue to produce films under his own name.

Recently, I came to know that there was one more Wadia in Hindi film industry as a producer under his banner D R D Productions. I was aware of this banner but was not aware that it belonged to D R D Wadia, fondly called as ‘Daddy Wadia’ in the film circle. He was Bar-at-Law, an industrialist, an amateur photographer and the radio enthusiastic of international repute. I have seen some of the photographs taken by him in the 1940s including a few with Mahatma Gandhi on the Google Photos.

D R D Wadia set up his film production company, D R D Productions in 1942 almost at the same time when V Shantaram was setting up his Rajkamal Kala Mandir. Another coincidence was that D R D Productions maiden film, ‘Ishaara’ (1943) and Rajkamal Kala Mandir’s maiden film, ‘Shakuntala’ (1943) had the same writer – Dewan Sharar. While ‘Ishaara; (1943) was adapted from Dewan Sharar’s internationally well-known novel ‘The Gong of Shiva’ (1935), the screen-play and dialogues for ‘Shakuntala’ (1943) was written by Dewan Sharar.

After the box office success of ‘Ishaara’ (1943), D R D Productions produced ‘Aaina’ (1944), ‘Nek Parveen’ (1946) and ‘Pati Seva’ (1947) which seems to be the last film produced by the banner.

‘Nek Parveen’ (1946) was directed by S M Yusuf. The star cast included Ragini (Sr.) and Ulhas in the lead role with W MKhan, Yakub, Yashodhara Katju, Mirza Musharaf, Kumar, Nazir Kahsmiri, Shakir in the subsidiary roles. It was a Muslim social film, a love triangle. The story, screen-play, dialogues and songs were written by Waheed Qureshi.

Surprisingly, the film is available for viewing on one of the video sharing platforms on the internet. The lead actress, Ragini has been known for her tear-jerking performances just as Nimmi got branded as such in the 1950s. So, before watching the film ‘Nek Parveen’ (1946), I was sure that it would have a tear-jerking story. The film was released on June 14, 1946 in Mumbai’s Novelty theatre. The story of the film is as under:

Afzal (Ulhas), Shaukat (W M Khan) and his crony Nabbu (Yakub) are friends. They often meet to play cards and gamble in Shaukat’s gambling den. Both Afzal and Shaukat love Parveen (Ragini). Except for card gambling as his vice, Afzal is a good person while Shaukat has all the bad vices and is also the leader of the gang of gamblers and drunkards. The elders in Parveen’s family had already approved Afzal as a husband of Parveen.

Shaukat is not happy about Parveen getting married to Afzal. So, with the help of Nabbu, he devises a plan to make Afzal a vagabond person in the eyes of Parveen and her aunt. Both of them make him a habitual drunkard and a visitor to a courtesan. Afzal’s newly acquired vices are resented by Parveen’s aunt. After some initial hesitation, Parveen’s aunt, who has looked after her after the death of her father, agrees for the marriage of Parveen with Afzal. Their married life is smooth. But Shaukat is bent upon spoiling their married life.

With the help of Nabbu, Afzal is induced to gambling and drinking in Shaukat’s gambling den. In the process, Afzhal loses all his money. Even his palatial house is mortgage to Shaukat. In the gambling den, a heated argument between Shaukat and his friend, Munir results in the death of the latter. The murder is falsely pass on to Afzal who was found drunk near Munir’s dead body. When Afzal realises the seriousness of the situation, he runs away from the den before the police forces arrive. To wood wink the chasing police forces, Afzal boards a running train to Mumbai. In the train, he meets one businessman( Kumar) who offers him employment.

In the meanwhile, Parveen’s aunt dies leaving her alone with a kid to fend herself. The trusted servant, Thasin (Shakir) looks after Parveen and her child with his meagre savings. Afzal is untraceable to the police and after some time, he is presumed dead as a dead body was found under the same train in which he was travelling.

Shaukat is trying to win over Parveen and persuade he to marry him. But she is not interested in the marriage. Afzal with his new employer in Mumbai performs well and over a period of time, he becomes financially well off. Once he visits his house incognito and finds that Shaukat has kidnapped Parveen and the child. Afzal visits Shaukat’s den incognito where Shaukat is forcing Parveen to accept nikah with him. In this effort, Nabbu refuses to help Shaukat and in a fit of rage, Shaukat kills Nabbu. Some one from the den informs the police about the murder of Nabbu. Before, the police arrive, Shaukat is overpowered by Afzal and is handed over to the police. Afzal and Parveen are united.

‘Nek Parveen’ (1946) has 7 songs written by Waheed Qureshi which have been set to music by Feroz Nizami.

I am presenting the film’s first song ‘sun le meri iltija, sun le khuda meri dua’ to appear on the Blog which is sung by Zeenat Begum. The song is picturised on Ragini who has preferred Zeenat Begum’s voice in most of her films in which she had lead actress roles. Ulhas is also seen in the picturization of the song.

This is a ‘iltija’ (prayer) song which Ragini sings after her marriage with Ulhas for the well being of their married life. A feature of this song is that there is no interlude music. I like the song’s soft musical composition and Zeenat Begum’s rendition.

With this song, ‘Nek Parveen’ (1946) makes its debut on the Blog.

Video Clip:

Audio Clip:

Song-Sun le tu meri iltija (Nek Perveen)(1946) Singer-Zeenat Begam, Lyrics-Waheed Qureshi, MD-Feroz Nizami

Lyrics

sun le tu meri iltija
sun le khuda meri dua
sun le tu meri iltija
sun le khuda meri dua
lamba safar hai zindagi
ham do musaafir ajnabi
lamba safar hai zindagi
ham do musaafir ajnabi
bhool naa jaayen raasta
sun le khuda meri dua
sun le tu meri iltija
sun le khuda meri dua

ham ko tu kar de ek jaan
ghar ko bana de gulsitaan
ham ko tu kar de ek jaan
ghar ko bana de gulsitaan
tujhko nabi kaa waasta
tujhko nabi kaa waasta
sun le khuda meri dua
sun le tu meri iltija
sun le khuda meri dua

jhoole kushi ke jhoolen ham
paas naa aaye koi gham
jhoole khushi ke jhoolen ham
paas naa aaye koi gham
tu meharbaan rahe sada
sun le khuda meri dua
sun le tu meri iltija
sun le khuda meri dua


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular 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 :

4726 Post No. : 16441

Blog 10-Year Challenge (2011-2021) – Song No.28
——————————————————————-

After the successful release of Prabhat Film’s ‘Padosi’ (1941) on January 25. 1941, V Shantaram, the director, remained inactive for more than one year in Prabhat Films which was unusual for him. His next directorial venture was ‘Shakuntala’ (1943) under his own banner which was released sometime in the second half of 1943. Apparently, there was something unusual happening in Prabhat Films.

To know what was going on in Prabhat Films in general and with V Shantaram in particular, I browsed through the available issues of ‘Filmindia’ magazine of the yeas 1941 and 1942 wherever there were references to Prabhat Films and V Shantaram. What I gathered from the various columns of the magazine is summarized below which explanins as to why V Shantaram got sidelined in Prabhat Films:

(1) The grapevine was that all was not well among the 5 partners of Prabhat Film Company after the release of ‘Padosi’ (1941). It was speculated that some of the partners were not on the speaking terms and they rarely met to discuss the future plans. This discontentment was evident from the fact that in January 1941, there was an announcement that V Shantaram will direct Prabhat’s next film, ‘Omar Khayyam’ with Jayshree in the lead role. The screen-play and dialogue writing were completed and film was to go on shooting floor in April 1941. But no progress was made beyond screen-play and dialogue writing. Eventually, the film was shleved.

(2) Sometime in the middle of the year 1941, Prabhat Film Company had spared the services of V Shantaram to Government of India as the Chief Producer for its Film Advisory Board (later called as Film Division) at a remuneration of Rs.2500/- per month. He was the first Indian to head the Film Advisory Board of the Government of India. Although he was allowed to work for Prabhat Films whenever his services were required, Prabhat Films did not give him any assignment.

(3) Around the same time, V Shantaram married Jayshree Kamulkar who was the lead actress in Prabhat Film’s Marathi version of ‘Padosi’ (1941), titled as ‘Shejari’. Earlier, one of the partners of Prabhat Films, Keshavrao Dhaiber had married actress Nalini Tarkhud who was the heroine in Prabhat’s ‘Rajput Ramani’ (1936). For this, he was made to exit from the partnership of Prabhat Films. Since then, there was a rule in Prabhat Films that any partner marrying the actress in the payroll of the Company would have to leave the partnership. This rule would also apply to V Shantaram.

Since V Shantaram did not immediately exit from the partnership of Prabhat Films after the marriage, it is quite possible that sparing his services to the Film Advisory Board was a way out to keep V Shantaram out of Prabhat Films. This arrangement may have also suited V Shantaram as he got the time to plan for his future film ventures before he finally exited from his partnership in Prabhat Films.

V Shantaram exited from the partnership of Prabhat Films in May 1942. He continued with his new assignments with Film Advisory Board until September 1942 when he resigned his post as the Chief Producer. By this time, he had set up Silver Screen Exchange, his film distribution company for Western India and was in advance stage of setting up of his film production company. He had already announced ‘Shakuntala’ (1943) as the first film under his newly set up banner, Rajkamal Kala Mandir. He had almost finalised buying National Studio for Rs.7 lakhs and he had already made the announcement to this effect.

But unlike doing business in Kolhapur and Pune, Mumbai was highly competitive. When the news of his buying National Studio became known in the film industry, Keki Mody, the Chief of Western India Theatres put his bid for National Studio at much higher price and snatched away the deal from V Shantaram. It was a setback for V Shantaram as he had planned to start the shooting of ‘Shakuntala’ (1943) soon after the acquisition of the National Studio.

The necessity of buying a studio become a prestige issue for V Shantaram more than for the immediate requirement for the commencement of shooting for his first film. So, he immediately bought Wadia Movietone’s studio for Rs.2 lakhs – much lower price than his bid for National Studio. But it had a hidden cost – the cost of renovation and the resultant delay of about 3 months to commence the shooting of ‘Shakuntala’ (1943).

The shooting of ‘Shakuntala’ (1943) started in January 1943 and got completed in July 1943. Therafter the film was released. It ran for 104 weeks in a single theatre in Mumbai. Thus the two years of inactivity of V Shantaram in commercial cinema was rewarded with a grand success of ‘Shakuntala’ (1943).

10 years ago on this date (26 June 2011), one song from the film ‘Shakuntala’ (1943) was posted on the Blog. So far, 10 songs (out of 13) from the film have been posted on the Blog, details of which are as under

Sr. No. Song Posting Date
01 Jeewan ki naao na doley 09/06/2011
02 Kamal hai mere saamne 25/06/2011
03 Pyaari pyaari ye sukhad maatribhoomi apni 26/06/2011
04 Jhooloongi jhooloongi 30/06/2011
05 Tumhe prasann yoon dekh ke 04/05/2014
06 Chaand sa nanha aaya 06/05/2014
07 Na jaane kahaan ka ye jaadoo kiya hai 24/07/2017
08 Chali apne ghar ko Shakuntala 18/08/2018
09 Mere baba ne baat meri maan li 04/08/2019
10 Ek prem ki pyaasi bani banwaasi 25/06/2021

I am presenting the 11th song, ‘meri biraha ki rain thhi ek to badi’ from the film ‘Shakuntala’ (1943). The song is rendered by Amirbai Karnataki. There were two lyricists – Diwan Sharar and Ratan Piya for the film. However, for the song under discussion, individual accreditation is not available.

The song is picturised on a dancer whom I am not able to identify. The situation of the song is that as soon as King Dushyant gets to see the ring which he had presented to Shakuntala after his marriage with her, his memories of the time he spent with Shakuntala is restored. He becomes restless and is eager to see Shakuntala. This song is the reflections of what is going in the mind of King Dushyant.

Lyrics of the song were sent to me by Prakashchandra.

Audio Clip:

Video


Song-Mere birha ki rain thhi ik to badi (Shakuntala)(1943) Singer-Amirbai Karnataki, MD-Vasant Desai

Lyrics (provided by Prakashchandra)

mere birha ki rain thhi ik to badi
dooje badhti ee gayi
aur badhti gayi
mere birha ki rain thhi ik to badi
uthhi rang(?) ki siyaahi se kaali ghataa
kaali raat ke chadhti ee
chadhti ee gayi
mere birhaa ki rain thhi ik to badi

hai biyog ki lambi kahaani meri
kabhi ant main uska likh naa saki ee
kabhi likhti rahi
kabhi padhti gayi ee
phir likh likh
likh kar
padhti gayi
mere birha ki rain thhi ik to badi


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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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