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

Meharbaan main hoon tumhaari

Posted on: June 2, 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 :

4702 Post No. : 16404

During my school days it was my hobby (or habit?) to see films on every Saturday and Sunday. Ours was a big joint family and my absence was hardly noticed by anyone. May be my absence was welcome ! I do not know. Anyway, during the holidays more films were seen. Language was no bar. I saw Hindi, English, Marathi, Telugu, Tamil and Kannada films. Out of these Hindi films were kore and other languages films were much less.

The preference for films was Hindi-English-Telugu-Tamil-Marathi and kannada. The basis for this was that kannada films were rare. Marathi ran for a month, Telugu/Tamil changed every week and Hindi films were in many theatres and different films for Morning and Regular shows. English films were generally in Morning shows only. But there were some theatres which showed exclusively English films in regular shows. These were in the Cantonment area of Secunderabad-the twin city. We used to see films there also at night.

In the 50’s decade a lot of remakes of South films used to come. Sometimes the same film in 3 languages ran in 3 different theatres, like the film Miss Mary-57 for example. Hindi film Miss Mary was running in one Cinema, Missiamma, the Tamil original was in another and Missamma, Telugu version was in yet another theatre. It became a game for us friends to see these films and discuss what the differences were in each version.

Forget our game, but in South India, the game of competition in capturing the Hindi market was in full swing in the 50’s. Since the film Chandralekha-48 became extremely successful all over India, with its Hindi version, other producers of the South started observing SS Vasan, who had found ” Alibaba’s Cave ‘ in the Hindi market. He had started making films in 3 languages to capture Hindi markets.

He dug up his old Tamil hit films and made remakes in Telugu and Hindi. Thus Tamil film Apoorva Sahodargal-49 ( based on Alexandre Dumas’ ‘The Corsican Brothers’) was made in Telugu as Apoorva Sahodarlu and in Hindi as Nishan-49. Then Vasan remembered his hit film Mangamma Sabatham-1943 in Tamil. He made a Hindi remake as Mangala-50. Later a Telugu remake Mangala Shapatham-65 was made, with NTR and Jamuna in the lead.He even made a remake in Simhalese language as Mathalan.

Observing Vasan making remakes and running to his bank very often, the other South producers were not to be outdone. The giant AVM dug up their Tamil hit of the 1949 Vazhkai and made a Telugu remake Jeevitham-50 as well as a Hindi remake Bahar-50, introducing Vaijayanti mala. In 1953 AVM made the film Ladki in Hindi and its remakes in Tamil and Telugu. AVM’s Tamil hit film Missiamma was made in Telugu as Missamma and in Hindi as Miss Mary, all in 1957. Film Chandirani was made in 3 languages in 1953.

The number of multi language films was huge. If you visit IMDB and look for remade Hindi films, you will get a loooooong list.During the 50’s a time came when multi language films were made at Calcutta, Madras and Kolhapur/Poona/Bombay. To get the actors speaking both the language dialogues was comparatively easy in Maharashtra, where Hindi speaking is not a problem. But for films remade in Bangla-Hindi or Tamil/Telugu- Hindi was indeed a problem.

As a solution, while the original actors remained the same in all versions, their Hindi dialogues were dubbed. Sometimes it caused a lip-synch problem, especially in close-ups. Some actors spoke their dialogues in Hindi themselves, but the pronunciation was a give away. This problem caused most Bangla, Tamil and Telugu actors to independently work in Hindi films. So, we find that most lead actors of these languages stayed away from Bombay made Hindi films. There were, however, few actors who did this successfully.

Thus, while we can see most lead actors of South and Bangla films in either dubbed or remade versions, it is only Dr. Rajkumar- the Kannada Superstar who NEVER acted in any Hindi films. In fact except ONE Telugu film ” Kalahasti Mahatmyam”-1954, he did not act in any other language than only Kannada..

By the end of the 50’s the South markets developed rapidly and fully, so the necessity of Hindi market diminished and so also remade and dubbed films. Today’s song is from film Mangala-50. It was a Gemini film directed by SS Vasan. There was a team of 3 composers – M.D.Parthasarathy, Balkrishna Kalla and E.Sankar Sastry. Sometimes I wondered how a man like Sankar, who was an Internationally famous and honoured Instrumental (Veena) musician worked in a studio as a composer. But then I realised that in his first half of career he was in films, but the second half was more into Veena Vadan.

Emani Sankar Sastry was a very famous and renowned Veena player of International recognition. Born on 23-9-1922 in a small village of Andhra, he hailed from a family of celebrated classical musicians. He was trained in traditional Veena by several experts. He did independent concerts all over India.

He joined Gemini Studios in 1948 and stayed for 10 years as MD. During this period he was involved in the Music Direction of Hindi films like, Mangala, Sansar, Bahut din huye, Mr. Sampat, Krishna Kanhaiya and Do Dulhe, as well as the English version of Chandralekha-48.

He joined A.I.R Madras in 1959 and rose to become Director and Chief Producer of Music. He won several awards including Academy award, Kala Parishat Award and Padma Shri. He played Veena in the Rome Festival and at UNESCO in New York.

E.Sankar Sastry died in 1987.

In the cast of the film Mangala-50 one finds the name of Bhanumathi. Outside South India, most people are unaware of the greatness of some artistes from South. Here is a short Bio of Bhanumathi, but it brings out her greatness only partly.

P. Bhanumathi Ramakrishna (7 September 1925 – 24 December 2005) was an actress, director, music director, singer, producer, novelist and lyricist. Widely known as the first female super star of Telugu cinema, Bhanumathi appeared in over 100 films predominantly in Telugu and Tamil languages. She was awarded the Padma Bhushan in 2001 for her contribution to the Indian cinema. She was honored among “women in cinema” at the 30th International Film Festival of India.
Bhanumathi was born on 7 September 1925 in Doddavaram village of Prakasam district, near Ongole, Andhra Pradesh. She is the third child to Saraswatamma and Bommaraju Venkata Subbaiah. She grew up watching her father perform in various stage shows. Her father, Venkata Subbiah, was a lover of classical music and trained her in music from an early age.

Bhanumathi entered the film industry in 1939, and acted in over 100 films in Telugu and Tamil. She was also called Ashtavadhani by the film industry people as she was a writer, actor, director, producer, singer, music director, editor and studio owner. She also had a good knowledge of astrology and philosophy. She is regarded as the first female super star of Telugu cinema.

She made her debut in Telugu cinema in 1939 as Kalindi (a 13 years old girl who is forced to marry an old man and ended her life by committing suicide) in Vara Vikrayam (Telugu), directed by C. Pullaiah. Her first film in Tamil was Ratnakumar in the year 1949 along with the famous hero of those days P. U. Chinnappa. This film was directed by Krishnan–Panju. Her first Hindi film was Nishan-1949. In 1953, she made her directorial debut with Chandirani (made simultaneously in Tamil, Telugu and Hindi).

Her last film was made in 1998, entitled Pelli Kanuka. C. N. Annadurai gave her a title “Nadippukku Ilakkanam” (Grammar for acting) that suits her aptly. She was revered by many actors she had worked with like N.T.Rama Rao, Sivaji Ganesan, M. G. Ramachandran, Akkineni Nageswara Rao, Nagarjuna, Balakrishna, ChiranJeevi, Pawan Kalyan, Venkatesh for her bold and prolific versatility. One of her memorable movies in Tamil was Annai, in the year 1962 directed by Krishnan–Panju, where her acting was appreciated by all and also got the National Award for the film and for also performances in movies Anthasthulu and Palnati Yudham (1964) she received National Awards (Rashtrapati Award). She is the last recipient of Rashtrapati Award.

Due to her rift with Aluri Chakrapani, she left her role in Missamma movie (Initially Bhanumathi was shot for some scenes in the movie before being replaced by savitri ) but after the release of the movie she watched and commented that “she lost a wonderful role but industry gained a talented actress like savitri” which showed her sportiveness and encouragement towards new actors. Due to clash with Aluri Chakrapani, she produced a satirical movie on him titled Chakrapani which was a huge hit and became a classic in Tollywood for this movie she also worked as Music Director.

She acted in 8 Hindi films namely, Nishan-49, Mangala-49, Rani-52, Shamsheer-53, Chandirani-53, Hamen bhi jeene do-62, Nai Roshni-67 and Itni Jaldi kya hai-86. She directed 2 Hindi films – Chandirani-53 and Itni Jaldi kya hai-86. She also sang 12 songs in 4 Hindi films – Mangala, Rani, Shamsheer and Chandirani.

She is the first south Indian actress to receive Padma Awards. Apart from being a fine actress, she was also a talented musician. She was adept in both Carnatic and Hindustani music. She gave voice to her songs despite it being the norm to use playback singers for actors. Some of her songs are still popular.

During her later years, she served on various movie related organizations. She was a Member of the State Film Awards Committee for two years. She was also a Visiting Professor at the Film Institute for one year. She was a Member of Children Film Society for 5 years, from 1965 to 1970.

In India, she was the first and the only woman to have owned a film studio, first actress to act in a dual role and the first woman to have directed a movie simultaneously in three languages.

Bhanumati was also a talented writer with a number of short stories to her credit. Her autobiography Nalo Nenu was published in Telugu and later, released in English as Musings. Andhra Pradesh Sahitya Academy awarded her as the best short story writer for her popular short stories “Attagari Kathalu”. She was a Member of Lalit Kala Academy for 5 years, and Sahitya Academy, Andhra Pradesh for 10 years. She served as Director and Principal of the Tamil Nadu Government Music College,

During the shooting of the film Krishna Prema, she met P. S. Ramakrishna Rao, an assistant director for that film. He was a film producer, director and editor of Telugu and Tamil Films. The couple married on 8 August 1943 and have one son, Bharani. Later they launched a popular production company, Bharani Pictures on their son’s name. She died at the age of 81 years.( Thanks to wikipedia, Cinerang by Isak Mujawar, Ateet ke sitare, HFGK, muVyz and my notes ).

Today’s song is sung by Bhanumathi. many of the songs of this film are copies of songs by Carmen Miranda. Enjoy….


Song-Meherbaan main hoon tumhaari(Mangala)(1950) Singer- P Bhanumathi, Lyricist-Pt. Indra, MD- E Sankar Sastry

Lyrics

mamamamama
mamamami
mamamami
meharbaan main hoon tumhaari
tanananana
tanananana
tanananana
nanana
mamamamamami
mamamani
kadardaan tum ho hamaare
tanananana
tanananana
tanananana
nananana

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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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