Archive for August 2021
Aayi aayi re maalan Singapur se
Posted on: August 31, 2021
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.
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Blog Day : |
4792 | Post No. : | 16551 | Movie Count : |
4506 |
The name of Chimanlal Trivedi, the producer-director may not ring bell in the minds of most of the admirers of old Hindi films. In Mumbai, he was the contemporary of well-known producer-directors like Chandulal Shah, A R Kardar, Mehboob Khan, V Shantaram etc in the 1940s.
After working as a writer in Sagar Movietone, in 1937, he set up a film production company, CIRCO (Cine Industries and Recording Company Ltd.) with the help of some Bombay-based shareholders as a public limited company in association with New Theatres. He became the Managing Director of CIRCO. The arrangement was that films would be produced by New Theatres’ in Kolkata with their artists and the financing/marketing of the films would be done by CIRCO in Mumbai. Both of them would share the profit. In 1939, CIRCO took upon itself the production of films in Mumbai with ‘Laxmi’ (1940).
Sometime in 1940, Chimanlal Trivedi was under cloud as there was a court case against him for mismanagement of funds of CIRCO. He had resiged as Managing Director of CIRCO in April 1941. I felt that perhaps this court case may have something to do with Chimanlal Trivedi leaving CIRCO to set up a new film production company, Laxmi Productions. After intense searches on the internet, I got a reference to CIRCO court case in indiankanoon. It was an 8-page judgement delivered on November 24, 1941 by Bombay High Court. The gist of the court case is as under:
A shareholder of CIRCO filed a petition in Bombay High Court against Chimanlal Trivedi, the managing director for the mismanagement of funds and to wind up CIRCO as insolvent based on its financial statements for the year ended March 1940. The court did not find any evidence against Chimanlal Trivedi of mismanagement of fund of CIRCO. As regards declaring the CIRCO insolvent, the Company put the arguments that there were 3 films under productions – ‘Apna Ghar’ (1942, directed by Debki Bose), ‘Nai Duniya’ (1942, directed by A R Kardar) and ’Mahatma Vidur’ (1943, directed by P Y Altekar). As per the estimates, CIRCO was expected to earn a profit of Rs. 11 lakhs after the release of these three films taking into account the star value of the main actors and the eminent directors. The petitioner argued that these three films can as well run into losses.
The court held the view that it cannot declare a company insolvent merely based on the speculation that there could be losses after the release of the films. None of the creditors of the CIRCO and a majority of the shareholders have supported the petition for winding up. The court dismissed the petition with cost.
One of the interesting example of the mismanagement of funds of CIRCO was that Shanta Apte was paid Rs,90000/- for working as heroine in a single film which, according to the petitioner, was unreasonably high. The film was not even completed when the matter was under discussion in the court. CIRCO responded by revealing that the amount was paid to Shanta Apte as ‘waiting salary’ for the unexpired period of her contract with Prabhat Film Company. If the CIRCO had not done so, several film producers would have grabbed the opportunity to secure her services for their future film productions.
Another bone of contention between the petitioner and the company was the way the profit was measured in the film industry. CIRCO had drawn the profit and loss account with realizable revenue from film distributors and expected revenue from the films under production for which distribution rights had been contracted. The petitioner found this practice not in keeping with the good accounting principles as this accounting system hides the true financial position of the company.
On the other hand, CIRCO maintained that it followed the convention among the film production companies in drawing its profit and loss account. More often, there were long gap between making of a film and releasing it. During the making of the films, a good amount of money was spent while the income from films would accrue only after their releases and that too, over a period of time. During the intervening period, the company will have to show losses in its profit and loss account. Hence an estimate of revenue of the company was made for the films under production based on the commitment by the film distributors and also the likely response from the film audience based on the star value.
If all the film production companies of that time drew their profit and loss account based on the estimated future profit, it amounts to masking their true financial position. Probably, this type of ‘accounting jugglery’ made some of the producers to float multiple film production companies after closing the earlier ones. Chimanlal Trivedi was no exception as after 1951, he had floated film production companies in different names.
Though the court verdict came in favour of Chimanlal Trivedi and the Company, this was short-lived as CIRCO went into liquidation in 1942. So, the apprehension of a shareholder who had filed the petition in the court about the mismanagement of funds turned out to be correct even though the Bombay High Court had dismissed his petition. It is interesting to note that Chimanlal Trivedil had hired A R Kardar to direct ‘Swami’ (1941) and ‘Nai Duniya’ (1942) under CIRCO banner. After the liquidation of CIRCO, it was A R Kardar who bought CIRCO’s studio at Parel for Kardar Productions.
Chimanlal Trivedi seems to have departed from the usual practice of hiring the actors and crew as per the studio system. It is said that he would first plan the film project and then hire the actors and crew as per the requirements of the new film. Often, he would select the most popular lead actors and directors as per their box office success and pay them in lumpsum for the film which would often work out much higher than what actors would have got under the studio system. It was reported in Filmindia magazine that Chimanlal Trivedi’s ‘highjacking’ of star actors and directors from some of the well known film production companies of that time affected their shooting schedules for the films under productions.
For ‘Tamanna’ (1942), the maiden film under Laxmi Productions, Chimanlal Trivedi hired Leela Desai, one of the successful actresses of New Theatres along with Jairaj with 7 crew members from Bengal which included Phani Majumdar as director, K C Dey as actor-music director, Bibhuti Laha as Cinematographer and Robin Chatterjee as Sound Recordist. It was Leela Desai’s maiden film in Mumbai. It is said that his financial offer to Leela Desai was so attractive vis-à-vis her salary in New Theatre that she accepted the offer.
Chimanlal Trivedi produced around 45 films during 1940-1960. Surprisingly, even with high-end star actors and eminent directors, especially in 1940s when he produced 28 films, there was not a single film which can be tagged as an outstadning film under his banners. In the 1950s, most of his films he produced were of ‘B’ Grade.
‘Sharaafat’ (1943) was third film with Leela Desai-Chimanlal Trivedi combination as actor and producer, respectively under the banner of Laxmi Productions. The star cast included Leela Desai, Pahadi Sanyal, Jagdish Sethi, Agha, Moti, Ghulam Rasool, S L Puri etc. The film had 9 songs which were set to music by Ashok Ghosh. Lyricist for all the songs is unknown.
I am presenting the first song, ‘aayi aayi re maalan singapur se’ from the film to appear on the Blog. HFGK is silent on the singers of the song. But it is apparent that the voices in the song are that of Amirbai Karnataki and Pahadi Sanyal with an unknown female voice in between. At the outset, the song appears to be ‘sales pitch’ but after the completion of the song, a long musical orchestration gives an impression of a stage song.
With this song, ‘Sharaafat’ (1943) makes its debut on the Blog.
Audio Clip:
Song-Aayi aayi re maalan Singapur se (Sharaafat)(1943) Singers-Amirbai Karnataki, Pahadi Sanyal, Unknown female voice, MD-Ashok Ghosh
Amirbai Karnataki + Pahadi Sanyal
Lyrics
aayi aayi re
haan aayi aayi re
aayi re maalan Singapur se
haan Singapur se
haan haan Singapur se
oh
aaya aaya re
haan haan aaya aaya re
aaya re maali
haan Rangoon se
haan haan Rangoon se
haan haan Rangoon se
rang birange phool hamaare
rang birange phool hamaare
rang birange gehane
bhaagonwaala le jaayega
bhaagonwaali pehne
gori pehanegi
haan gori pehanegi
dil ke hain naina jaa ke teer se
haan haan jaa ke teer se
haan haan jaa ke teer se
aayi re maalan Singapur se
phoolon se mehka do
more tan ko aaj saja do
phoolon se meha do
more tan ko aaj saja do
bas jaaun aa ke nainon mein
aisa jaal bichhaa do
aao aao ree
haan haan
aao aao ree
raah takoon mein teri der se
haan teri der se
haan haan teri der se
aayi re maalan Singapur se
raat ki raani kaa gajra
champe ki kaliyon kaa jhoomar
kyun deke phoolon ki maala
nargis ke gunchhon ki jhaanjhar
nikhra waah waah roop tihaara
joban dhoom machaaye
nikhra waah waah roop tihaara
joban dhoom macchaaye
nayi jawaani chhaayi raani
jo dekhe lalchaaye
aao aao ri
haan haan aao aao ri
raah takoon mein teri der se
haan teri der se
haan haan teri der se
aayi re maalan Singapur se
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.
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Blog Day : |
4792 | Post No. : | 16550 | Movie Count : |
4505 |
Today’s song is from the film Rai Saheb-1942.
How many of us really know anything about the title ” Rai Saheb” ? I am sure most people may not know.
When the British were ruling a larger part of the world, they had a system of honouring special people for their Loyalty towards the Raj, or for those who had done some great work, those who worked for removing the social ills etc etc. To do this, these people were given special Titles. The British Royalty used to bestow honourable titles for extraordinary work in its Empire, like OBE (Order of British Empire), CBE,CSI and similar titles. Usually such titles used to be given to Royal people of its Empire like Kings, Rajahs, Maharajas etc etc. It was a great honour.
For larger kingdoms like India, titles sounding Indian were used for other important people. RAI SAHEB was one of the titles The next higher one was Rai Bahadur and the next was Dewan Bahadur. These were for Hindus. For Muslims and Parsis it was Khan Bahadur and for Sikhs it was Sardar Bahadur. So you see, the cunning Britishers tried to keep all religions separate from each other in every thing that they did, because this split was useful to them to rule Indians. ( In Maharashtra Rai Bahadur was called Rao Bahadur). Usually, these Rais and Bahadurs were rich people only.
So, film Rai Saheb-42 was a story involving a major role for a millionaire Rai Saheb. The film was the first ever effort of Producer Chhotubhai Desai, who was earlier the production Manager in the famous Wadia Movietone. The film was supposed to be a social comedy. It was a successful film, if you believe Baburao Patel’s comments in his popular magazine Film India. It was released on 16-5-1942 in Lamington Cinema, Bombay and ran for a long time. Baburao Patel’s good comments must have helped the film performance, I guess.
Made by Janak films, this movie was directed by S.M.Yusuf, for whom this was his 7th film as a Director,but first successful film of his career. S.M.Yusuf , born on 20-6-1910, was originally from U.P. and started his career by assisting directors in various studios. He was one cine artist who migrated to Pakistan and became a very successful director there too.
After Partition, several artistes-heroes,heroines,Directors,Comedians,lyricists,Composers, Singers and character artistes migrated to Pakistan. Almost 90% of them failed there miserably. Some of them like Meena Shorey shone for a while but ended up in penury and anonymity. Exceptions were like Malika -e-Tarannum Noorjahan. From the successful artistes,the major chunk was musicians-composers like Khurshid Anwar, Nissar Bazmi, Nashaad etc. Among the directors. S M Yusuf was one of the exceptions who succeeded. The migration of Cine artistes continued till 1965,when President General Ayub Khan banned Indian actors. Shaikh Mukhtar-1963 and Kumar-64 were probably the last to migrate to Pakistan. Till then some artistes like Sheila Ramani, Nasir Khan,Pran, Manorama, Composer Timir Baran etc went and worked in Pakistani films.
S.M.Yusuf started directing films in India from Bharat ke Laal-36. He directed 24 films like, Darban, Aina, Grihasthi, Saheli, Rai Saheb, Mehendi,Guru Ghantal, Bahurani, Maalik, Gujara, Hyderabad ki Nazneen,Bikhre Moti etc. He married actress Nigar Sultana. He also acted in a small role in the film Guzara-54.
In late 50’s he migrated to Pakistan with his talented son Director Iqbal Yousuf. His first film Saheli (1960) was a big hit of that time and was awarded in India also. It was a remake of his film Mehendi, made in India. He also made a remake of his film Ghumastha as Bahu Rani in Pakistan. Film Nek Perveen was a remake of same title film from India.His other films were Aulad, Dulhan, Honahar, Ashyana, Eid Mubarak, Suhagan, Zindagi aik safar hay, Shareek-e-Hayat, Bahu raani, Goonj uthi shehnai, Nek perveen and Haar gaya insaan.
When he went to Pakistan, he made his first film there -“Saheli”, which was a ditto remake of his own Hindi film- Mehendi-1950. This film Saheli became such a great hit that it virtually grabbed all major awards including a Nigar award for S M Yusuf himself. He made about 15 films in Pakistan,before he died on 17-8-1994, at Lahore,from where he had begun his career ! In his last years, he had settled in Canada, but he came to Pakistan on a visit, as if to die in his own place.
The music for film Rai Saheb-42 was by a pair of MDs- Madholal Master and Baldev Nayak, both from the early era of Talkie films. The cast of the film consisted of Jagdish Sethi, Rattanbai, Trilok Kapoor, Kaushalya, Gope, Dalpat, Mirza Musharraf, Kesarbai (she was the paternal aunt of actress Hansa Wadkar. She was instrumental in asking Hansa to join films to sustain her family. Her younger sister Indira Wadkar was also an actress in Hindi and Marathi films. Her youngest sister Susheelabai was the wife of Master Vinayak) and others.
The Heroine of the film was Kaushalya, who was barely 13 year old at the time of this film, but looked beautiful and older than her age. Kaushalya was born in Lucknow in 1929. She was the daughter of the famous dancer Lachhoo Maharaj and actress Daya Devi. Being brought up in the house of dancer and actor, Kaushalya picked up Dance, Music and acting very early. She appeared as a child artiste in films from 1936, when she was just 7 year old. She worked in 11 films as a child artiste. After the film Devbala-38, she did roles in Bhole bhale and Uski Tamanna-both in 1939, made by Sagar Movietone. She even sang in both films.
Then came films like Darshan and Ghar ki laaj, both 1941, and Baraat, Bharat milap, Rai Saheb, Station master and Swapna, all 42. The work poured on her till 1946, when she got married to a boy from Calcutta, when she had gone there to do films. After marriage she found it difficult to work in films, but continued for some more films, till her last film Ek Do Teen-1953.
In all Kaushalya acted in 27 films and sang more than 100 songs in about 35 films, in her short career. As a Heroine she had worked with Prithviraj Kapoor, Ulhas, Kumar, Ishwarlal, Trilok Kapoor etc.
The story of the film, as given in the Film India issue is as follows….
Manorama (Kaushalya) gets the news of her husband Prakash’s death in the city. After an enquiry, praksah’s parents all give up the hope and accept his death, but manorama is not ready to accept that prakash has died. She escapes from the village and goes to the city to find prakash. She changes her name to Shobha and joins a theatre as a dancer. Prakash is saved and adopted by a millionaire Rai Saheb (Jagdish Sethi) and his wife (Rattanbai) as his son-Ramesh. He meets Shobha in the dance theatre and they fall in love, not knowing that they are actually Husband-wife. After many ups and downs, they decide to get married and then come to know their own identities. All’s well that ends well.
With today’s song, film Rai Saheb-42 makes its Debut on this Blog.
Song-Jeet gayee jeet gayee jeet gayee main prem ki baazi jeet gayee (Rai Sahab)(1943) Singer-Kaushalya, Lyricist- Wahid Qureshi, MDs- Madholal Master and Baldev Nayak
Lyrics
Jeet Gayee
Jeet Gayee
Jeet Gayee
main ae ae ae
prem ki baazi
jeet gayee
jeet gayee
jeet gayee
main ae ae ae
prem ki baazi
main roothhe pi ko
manaa aayi
main roothhe pi ko
manaa aayi
main soye bhaag jaga aayi
main soye bhaag jaga aayi
Jeet Gayee
Jeet Gayee
Jeet Gayee
Jeet Gayee
Jeet Gayee
jeet gayee
main ae ae ae
prem ki baazi
jeet gayee
jeet gayee
jeet gayee
dil kahta thha
meri kismat mein kabhi khushi nahin hai
kismat ne chhala
muskuraayi
aur khilkhilaa kar hans padi
har raat ke baad ujaala
aur har dukh ke baad sukh ka aana zaroori hai
muhabbat ne apna jaadoo chalaaya
roothha hua preetam
prem ka bhikhaari ban kar aaya
aur aashaaon ke phool
nichhaawar kar gaya
dil ke saaz mein
geet machalne lage
dil ka toota hua aaina
phir jud gaya
wo dil ka darpan tod gaye thhey
wo dil ka darpan tod gaye thhey
dil ka darpan tod gaye thhey
mujhko rota chhod gaye thhey
mujhko rota chhod gaye thhey
main dil ke tukde jodoongi
main dil ke tukde jodoongi
par saathh na unka chhodoongi
par saathh na unka chhodoongi
Jeet Gayee
Jeet Gayee
Jeet Gayee
Jeet Gayee
Jeet Gayee
Jeet Gayee
main ae ae ae
prem ki baazi
jeet gayee
jeet gayee
jeet gayee
Mere khwaabon mein jo aaye
Posted on: August 30, 2021
- In: expression of love | feel good song | Feelings of heart | joie de vivre | Lata solo | Lata song | Lyrics by Prakashchandra | Lyrics contributed by readers | Series of articles | Songs of 1990s (1991 to 2000) | Songs of 1995 | Yearwise breakup of songs | Yearwise review of Lata Mangeshkar HF songs
- 1 Comment
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.
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Blog Day : |
4791 | Post No. : | 16549 |
Yearwise discussion of Lata Mangeshkar songs in HFM: Part XLIX: Year 1995
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In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1995.
In 1995, 72 Hindi movies containing 492 songs were released. Lata Mangeshkar got to sing in 4 of these movies and she sang 8 songs in these movies. So Lata Mangeshkar’s voice was heard in 6 % of the movies released in 1995. Her voice was heard in 2 % of the songs appearing in the movies of 1995.
Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1995 :-
| 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 | Dilwaale Dulhaniya Le Jaayenge | Jatin Lalit | 1 | 4 | 1 | 3 | 0 | 0 | Anand Bakshi |
| 2 | Guddu | Naushad | 0 | 1 | 1 | 0 | 0 | 0 | Majrooh Sultanpuri |
| 3 | Karan Arjun | Rajesh Roshan | 1 | 3 | 2 | 1 | 0 | 0 | Indeewar |
| 4 | Policewala Gunda | Bappi Lahiri | 0 | 2 | 0 | 1 | 0 | 1 | Maya Govind |
| Total | 4 movies | 4 MDs | 1 | 8 | 3 | 4 | 0 | 1 | 4 lyricists |
Lata Mangeshkar worked with 4 music directors and 4 lyricists in these 4 movies released in 1995. Laxmikant Pyarelal were the most prolific music directors with Lata, with 661 songs in HFM with Lata Mangeshkar by the end of 1995. Shankar Jaikishan with 457 songs in the voice of Lata Mangeshkar were in the second position. R D Burman with 332 Lata Mangeshkar and Kalyanji Anandji with 307 songs were next ahead of C Ramchandra with 274 songs. Other top music directors for Lata Mangeshkar were Chitragupta (239), Madan Mohan (195), S D Burman (179),Naushad (146), Roshan (144), Hemant Kumar (127), Anil Biswas (120), Bappi Lahiri (112), Rajesh Roshan (111), Salil Chaudhary (109), Husnlal Bhagatram (108), and Vasant Desai (104). Together these seventeen music directors composed 3725 songs out of 5130 songs that Lata Mangeshkar had sung in Hindi movies till end of 1995. Anand Bakshi with 697 songs was the top lyricist with Lata Mangeshkar. Other leading lyricists with Lata Mangeshkar were Rajinder Krishan (555), Majrooh Sultanpuri (406), Shailendra (361), Hasrat Jaipuri (301), Prem Dhawan (201), Bharat Vyas (193), Shakeel Badayuni (189), Sahir Ludhianvi (161) and Indeewar (156). These ten lyricists had penned 3217 songs sung by Lata Mangeshkar till that time.
Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1995 :
| 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 | 172 | 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 | 131 | 68 | 12 | 1 | |
| 1960 | 48 movies | 142 | 166 | 102 | 50 | 9 | 5 | |
| 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 | 99 | 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 | 50 | 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 | 29 | 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 | 3 | 41 | 22 | 17 | 0 | 2 | |
| 1987 | 12 movies | 4 | 21 | 13 | 8 | 0 | 0 | |
| 1988 | 21 movies | 9 | 43 | 24 | 17 | 1 | 1 | |
| 1989 | 19 movies | 10 | 38 | 20 | 16 | 1 | 1 | |
| 1990 | 9 movies | 4 | 12 | 3 | 9 | 0 | 0 | |
| 1991 | 16 movies | 6 | 57 | 35 | 20 | 1 | 1 | |
| 1992 | 12 movies | 3 | 25 | 12 | 13 | 0 | 0 | |
| 1993 | 14 movies | 3 | 49 | 22 | 23 | 2 | 2 | |
| 1994 | 12 movies | 4 | 39 | 9 | 28 | 0 | 2 | |
| 1995 | 4 movies | 1 | 8 | 3 | 4 | 0 | 1 | |
| Total upto 1995 | 1840 movies | 3727 | 5130 | 3346 | 1459 | 208 | 117 |
It can be seen from the table of 1995 that Lata Mangeshkar sang 8 songs in 4 movies released in 1995.
1 song sung by Lata Mangeshkar in movies of 1995 has been covered in the blog. That leaves us with 7 songs from 4 movies of 1995 that are yet to be covered.
Alphabetically “Dilwaale Dulhaniya Le Jaayenge”(1995) is the first movie of 1995 that offers us a Lata Mangeshkar song to be covered in the blog.
“Dilwaale Dulhaniya Le Jaayenge”(1995) was produced by Yash Chopra and directed by Aditya Chopra for Yashraj Films, Bombay. The movie had Amrish Puri, Farida Jalal, Anupam Kher, Kajol, Shahrukh Khan, Parmeet Sethi, Mandira Bedi, Karan Johar, Satish Shah, Achala Sachdev, Himani Shivipuri, Pooja Ruparel, Lalit Tiwari, Damayanti Puri, Hemlata Deepak, Arjun Sablok, Anaita Shroff, Pallavi Vyas, Tulika Tripathi, Rajesh Bhatija, Shanker Iyer, Mohit Kumar, Govind Khatri,Mansoor Merchant, etc in it.
The movie had seven songs in it. Four of these songs had the voice of Lata Mangeshkar in them. Two songs from the movie, including One Lata Mangeshkar song has been covered in the past.
Here is the second Lata Mangeshkar song from “Dilwaale Dulhaniya Le Jaayenge”(1995) to appear in the blog. The song is sung by Lata Mangeshkar. Anand Bakshi is the lyricist. Music is composed by Jatin Lalit.
The song is lip synced by Kajol. But before that, the song also shows Shahrukh Khan playing Rugly in England. Overall, the song showcases picturesque locations and sites of England. Farida Jalal and Karan Johar are also visible in the picturisation.
This youthful joie de vivre song is picturised on a 20 year old Kajol (Born 5 August 1974). Lata Mangeshkar at that time was thrice her age ! Lata Mangeshkar had in the past sung for Kajol’s mother (Tanuja). She reputedly even sang for Kajol’s grandmother Shobhana Samarth (or at least sang in a movie – Narsinh Avtaar -1949, where Shobhana Samarth was the leading lady). What longevity ! And she managed to sound youthful even at a age when she was already a senior citizen !
Lyrics of the song and other details have been sent by Prakashchandra.
audio link:
video link:
Song-Mere khwaabon mein jo aaye (Dilwaale Dulhaniya Le Jaayenge)(1995) Singer-Lata, Lyrics-Anand Bakshi, MD-Jatin Lalit
Lyrics(Provided by Prakashchandra)
mere khwaabon mein jo aa..aaaye
aa ke mujhey chhed jaaye
mere khwaabon mein jo aa..aaaye
aa ke mujhey chhed jaaye
uss se kaho kabhi saamney to aaye
mere khwaabon mein jo aa..aaaye
aa ke mujhey chhed jaaye
uss se kaho kabhi saamney to aaye
mere khwaabon mein jo aa..aaaye aey ae ae aey ae
(Female chorus alaap)
kaisaa hai kaun hai woh jaaney kahaan hai
ho o o
kaisaa hai kuan hai woh jaaney kahaan hai
jiske liye aey mere honton pe haan hai
apnaa hai yaa begaanaa hai woh
sach hai ya koyee afsaanaa hai woh o
dekhe ghoor ghooar ke
yoon hee door door se
uss se kaho meri neend na chhuraaye
mere khwaabon mein jo aa..aaaye
aa ke mujhey chhed jaa..aaye
uss se kaho kabhi saamney to aaye
mere khwaabon mein jo aa..aaaye aey ae aey ae
jaadoo saa jaisey koyee chalney lagaa hai aey ae
ho o o o
jaadoo saa jaisey koyee chalney lagaa hai
main kyaa karoon oon
dil machlney lagaa hai
teraa deewaanaa hoon kehtaa hai woh
chhupp chhupke phir kyon rehtaa hai woh o o o
kar baitthaa bhool woh o
le aayaaa phool woh
uss se kaho jaaye chaand leke aaye
mere khwaabon mein jo aa..aaaye ae
aa ke mujhey chhed jaa..aaaye
mere khwaabon mein jo aa..aaaye
aa ke mujhey chhed jaa..aaaye
uss se kaho kabhi saamney to aaye
laaa laaa
laaaa laaa laaaa laaaaa laaaaa
laaa laaa
laaaa laaa laaaa aaaa aaaaa aa aa aa aaa
aaa aaan aaa aaaa
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.
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Blog Day : |
4791 | Post No. : | 16548 |
Today’s song is from the film Rang mahal-1948. This social film was made by Eastern Pictures, Bombay. It was written and directed by Pt. Anand Kumar.
Not much is known about this director. He was one of those aspirants who ran away from home to Bombay- the Dream City, to make a career. In his first attempt he failed, went back to his village to do the ‘run away’ scene again second time, with more money. Even this time he failed, so he returned to his home and became a big and famous writer. He came back to Bombay only when he was invited by the film industry to make use of his skill !
Pt.Anand Kumar was born in Delhi on 4-9- 1907. He was a producer, director, writer and Lyricist. From childhood, he was not interested in studies in English medium. He was taught Urdu, Hindi and Sanskrit by his poor Brahmin Shastri father.
When he was 15 year old, he entered a business. He was always discontented. He wanted to become an actor, but family resisted. He tried fasting and even suicide. Then he stole some money and ran to Bombay. He could not get into any studio and after money finished, he returned to Delhi, only to take more money and run to Bombay again. Even after this failure, he went back to Delhi and started writing stories.
His first book ‘ Mera Huq ‘ became a hot seller and he started earning money. He was invited by film people and he went to Bombay nth time. He wrote stories, dialogues and Lyrics of scores of films and earned name and money. He produced the film ‘Zameen’-43, under his own banner Anand Brothers. He directed 5 films, including a Hit Marathi film, Gora Kumbhar-42. Some of his films as a Lyricist were Suvarn Mandir-34,Katle aam-35, Pratibha-37, Divorce-38, Saathi-38, Alakh Niranjan-40, Punarmilan-40, Charnon ki Dasi-41, Raja Rani-42 etc. As a writer some films were, Divorce-38, Honhaar-36, Saathi-38, Vasant sena-42, Rang mahal-48 etc etc.
The 6 songs of this film were written by Shiv Kumar and were tuned by a pair of MDs, namely K. Datta and V.A. Balsara. The songs are not credited to any specific MD in HFGK. However, singer’s names are given for all the songs. Suraiyya has 3 songs in it, which are already covered in the Blog. Today’s song is the 4th song sung by Shalini and Anant Marathe.
I could not get any information about this singer-Shalini. She was an actress in Hindi films. Starting her career with film Tulsi-1941, which was one of the last films of CIRCO Productions owned by Chimanlal Trivedi. After making 12 films from 1937 to 1942, he sold this company, studio and land to A.R. Kardar, who established his Kardar Sudios in Parel, Bombay. In her first film, Shalini was the Heroine opposite Trilokn Kapoor. Anant marathe was also in this film. Shalini acted in 25 Hindi films. her last Hindi film was Taqdeer-1967. She sang 3 songs in 2 films, Rang mahal-2 songs and Roop Sundari-49 1 song.. She seems to have worked in some Gujarati and Marathi films too.
Anant Marathe also known as Anant Kumar acted in 71 films. He also sang 5 songs in 5 films. His career started in 1936. Anant Marathe aka Anant Kumar was the brother of actor and famous singer Ram Marathe. I was searching for his information for quite some time. My search ended when I found an article written by his son about his father.
Anant Marathe was born in 1936. In a career that spanned over 50 years, he was a witness to many changes and upheavals in the Hindi film industry. Born in Pune, in a family that was doing well for itself, he had three brothers and two sisters. Losing his father at the tender age of four, he was forced to give up education and begin work, to fend for his family. In the process the family left Pune and came to Mumbai, the city that fed every soul.
The world of films, those days, was not an industry. It was just like a 9 to 5 job in an office. Anant Marathe, with his innocent looks, expressive eyes and inborn confidence, was chosen by Master Vinayak, to play a role as a child artiste in a hindi film, Chhayaa. In this film he played the role of a son, who for his own selfish means is used by his father, ( played by Late Shri Chandra Mohan).
The real breakthrough came when he was called for an audition at Prabhat Studios, the most distinguished film company of those days. This 1943-44 film was ‘ Ramshastri’, in which he was to play the part of Chhota (young) Ramshastri. Ramshastri Prabhune was the Supreme Judge of the Peshwa dynasty and known for his supreme judgement. Once he was selected for the role, his grooming as an actor really began. In the storyline, Chhota Ramshastri was depicted as a boy who hates to study and loves to play all day long. He would swim, roam about with his pet dog and enjoy life. For this role Anant marathe was made to learn swimming even though he was scared of water! He could not get along with the puppy dog, even though it was supposed to be his pet. And to top it all, after shooting, the swimming and the sequences with the dog were edited from the film! The song, ‘Don ghadicha daav, yala jeevan aise naav” sung by him was very popular at that time. He received an award for his performance as Ramshastri from Bengal Film Journalists Association as the best supporting actor of the year. This film was screened in a number of National and International film festivals.
Film industry in South India was very active in the early 50’s. Anant Marathe acted in a number of films produced by the South Indian film studios, namely AVM, Gemini studios etc. Shri Chettiar of AVM was planning a socio-mythological film on the life of a famous saint. The lead role was played by Shahu Modak. The film in general was devotional and to bring in an interesting element, a comic character was created, in the form of the saint’s shishya ( pupil ). This role was offered to Anant Marathe and he displayed histrionics that astonished everybody on the sets.
The Director who groomed the great showman Raj Kapoor was Kidar Sharma and Anant Marathe had the privilege to work in one of his films, this time as a villain! The film was Hamaari Yaad Aayegi. This film also launched Tanuja, who would be known as a talented actress in the coming years. Anant Marathe played the role of a character called Pyarelaal, a very deceiving name for a villain! He is a suave character, moving about in the company of elite people but behind the cute face there is a monster of sorts, a wolf in sheep’s clothes. Anant Marathe, with his charming smile was very stunning, not only in his looks but in every move. Kidar Sharma was known to reward any actor who performed a great scene with a 4 anna coin, known as chavanni in those days. A chavanni earned for a great shot was like an achievement. And Anant Marathe earned many, which he cherished till the end.
His journey as an actor continued with great flourish. Since he could speak Marathi and Hindi fluently, he received offers from both Marathi and Hindi films. He was truly a bi-lingual actor.
Manoj Kumar was inspired by the life of Bhagat Singh, the great sikh patriot from Punjab and was planning a film on his life. Manoj Kumar and Prem Chopra were to play the roles of Bhagat Singh and Sukhdev respectively but casting for Raajguru, the third freedom fighter was still to be done, as Manoj Kumar wasn’t happy with the short-listed few, to play the role. Manoj Kumar heard about Anant Marathe, who had acted in many hindi and marathi films. Anant Marathe was asked to come over and meet Mnoj Kumar. One look at him and he had found his Raajguru! The experience of working in a truly patriotic film, that too with a thespian like Pran who played a cameo in Shaheed, was a very inspiring experience for him. Incidently Pran did not charge a single rupee for this role! Shaheed brought a wave of patriotism in the audience, they cheered and loved their heroes. The real mother of Bhagat Singh was felicitated at the premiere of this film at Delhi. She was moved by the performances of every actor in the film. What’s more, a special screening was arranged for the then Prime Minister of India, Late Shri Lal Bahadur Shastri, who praised the film and awarded certificates of honour to all the actors.
Anant Marathe acted in over 250 Hindi and Marathi films, out of which 71 films are Hindi. he also sang 5 songs in 5 Hindi films.When he made his foray in Hindi films, he was not very fluent in Hindi so he took lessons from a tutor who taught him the nuances of Hindi, thus improving the pronunciations so he could speak the language flawlessly. He also learnt English to give his persona the required sparkle, so important for a lead hero. He had to give up formal schooling due to circumstances that prevailed and may be he made up for it in this manner.
Some of the films he acted in are, Bhakta Bilwamangal (Durga Khote), Bhakta Gopalbhaiya (Amir Kanataki), Geeta (Chandra Mohan, Durga Khote), Gokul ( Kamala Kotnis, Sapru), Jivacha Sakha (Durga Khote, Sulochana), Malti Madhav (Durga khote, Baby Shakuntala), Nanda Kumar ((Durga Khote), Sant Janabai (Hirabai Badodekar), Seeta Swayamvar (Durga khote, Baby Shakuntala), Jawaee Majha Bhala, Choravar Mor, Bhintila Kaan Astaat, Shri Krishna Darshan ( (Durga khote, Usha Kiran), Sampoona Ramayan, Bharat Milap and many more.
In “ Barkhaa”, he played the role of a doctor opposite Nanda. The song, “Ek raat mein do-do chaand khile…” became an instant hit. “Bada bhai”, a film starring late Ajit, had him playing Ajit’s younger brother with Amita as the female lead. In “Sanskaar” also he played the lead role opposite Amita. He acted in some Gujarati films also.
In the early stages acting was like a job for him but soon it became a passion. All these years, while he worked in front of the camera as an actor, he learnt the finer details of film making, by observing, making mental notes. He had a flair for writing. In fact, he was a habitual diary writer. He wrote poems for small children and later they were published in the form of a book.
He had a good voice and was planning to be a singer but destiny had something else in store for him, a career in acting.
He wielded the megaphone in 1974, for a Marathi film named “Sonarana Tochala Kaan”, starring comedian and an intense actor Nilu Phule in lead role with Usha Chavan as the female lead. It was inspired by a Hollywood caper with famous comedian, Bob Hope in lead. The film was a huge success all over Maharashtra.
Soon he was set to direct a film in Hindi. After a detailed script was worked out by him, the producer backed out. Losing hope but not the spirit, he turned a new leaf and began work on his next project, once again in Marathi. The name of the film was “ Bijlee”, meaning lightning.
Rangat-Sangat Pratishthan, founded by the wife of late Shri Shahu Modak conferred the Manus puraskaar, an award on him for life-time achievement. The name for this award, for obvious reason is Manus (meaning human), a film by this name had Shahu Modak in a memorable role as a Havildaar.
Anant Marathe lived a contented life. Having worked in films from the age of 8 took its toll on him and he passed away in 2002.(Thanks to http://www.writewrong.wordpress.com, muVyz, HFGK, and my notes).
With this duet song singer Shalini makes her Debut on the Blog.
Song-Bachpan tu mera daaman chhod zaraa (Rang Mahal)(1948) Singers- Shalini, Anant Marathe, Lyricist- Shiv Kumar, MD- K.Datta and V.A.Balsara
Lyrics
Bachpan tu mera aa aa aa
daaman chhod zaraaa aa aa aa
daaman chhod zaraaa aa aa aa
jaa
le ja apne khel khilaune jaa aa aa aa
Bachpan tu mera aa aa aa
daaman chhod zaraaa aa aa aa
daaman chhod zaraaa aa aa aa
chanka ki kanghi se
ab main uljhe baal sanwaaroongi ee
aasmaan se tod ke taare
aasmaan se tod ke taare
maang mein apni daaroongi ee
maang mein apni daaroongi
kheloongi
koi kheloongi
kheloongi koi khel niraala sa aa aa aa
jaa
le ja apne khel khilaune
jaa aa aa aa
Bachpan tu mera aa aa aa
daaman chhod zaraaa aa aa aa
daaman chhod zaraaa aa aa aa
bijli si chanchalta lekar
nainon mein bhar loongi main
phoolon se muskaan chheen kar honthon mein bhar loongi main
le loongi koyal se ae
le loongi koyal se
madhur gala aa aa aa
jaa
le ja apne khel khilaune
jaa aa aa
Bachpan tu mera aa aa aa
daaman chhod zaraaa aa aa aa
daaman chhod zaraaa aa aa aa
phoolon ke ras ke laalach mein
main bhanwra ban jaaooonga
koyal ki sunkar madhur kook main
vasant ban aaunga
main phool ban
tu bhanwra ban kar aa aa aa
khelenge
koi khel niraala saa aa
jaa
le ja apne khel khilaune
jaa aa aa
Bachpan tu mera aa aa aa
daaman chhod zaraaa aa aa aa
daaman chhod zaraaa aa aa aa
Moti ho to baandh ke rakh doon
Posted on: August 29, 2021
- In: "Get together" song | Devnagri script lyrics by Avinash Scrapwala | expression of love | Feelings of heart | Guest posts | Kishore Kumar solo | Kishore Kumar songs | Lyrics contributed by readers | Party song | Post by Avinash Scrapwala | Songs of 1980s (1981 to 1990) | Songs of 1981 | Yearwise breakup of songs
- 4 Comments
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.
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Blog Day : |
4790 | Post No. : | 16547 |
Pancham’s Music – Eighties (1981-1990) -1 (1981)
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We are back to ‘Pancham’s musical world’ again, or rather let me take you there once again 😊!
Regulars on the blog are well aware that I have been looking for movies that made their debut in the initial months of the blog and later got neglected so much so that, they had to wait for their second song on the blog for more than ten to twelve years.
Today’s movie is one such movie. Though this movie got its second song posted immediately after its’ first song, but now it has been more than twelve years that this movie is waiting for the third song.
This movie is ‘Daulat-1981’. Knowledgeable readers must surely be aware of the scintillating music of this movie which was composed by R.D. Burman.
I had also listened some of its songs earlier, but I was not aware that they were from ‘Daulat-1981’.
Two songs from this movie ‘Daulat-1981’ have been posted on the blog – the first one ‘zindagi ye zindagi’ on 30th January’2009, and the second song posted was – ‘teri har adaa hai haseen’ – posted on 1st February’2009.
Both these songs have very nice music and especially I like ‘zindagi ye zindagi’ very much.
But when I checked the remaining songs of this movie, I discoverd today’s song. I was surprised that this lesser-known movie had such great songs too. I am saying it a lesser-known movie because I do not remember to have heard or read about this movie during all these years.
I am sure readers must be remembering today’s song very well or they may have listened to it frequently on radio.
This song is sung by Kishore Kumar.
Lyrics for all songs of this movie are written jointly by Vitthalbhai Patel and Nida Fazli.
HFGK Vol-VI (1981-1985) mentions this in the footnote of this movie’s information.
Today’s movie ‘Daulat-1981’ was directed by Mohan Saigal for ‘Milan Movies, Bombay’.
It was produced by Jawaharlal Bafna- C.D. Mehta –Vasant Doshi- Smt. B.N. Shah
It had Vinod Khanna, Zeenat Aman, Raj Babbar, Sarika, Deven Verma, Dr Shreeram Lagoo, Amjad Khan, Om Shivpuri, Dev Kumar, Mohan Shery, Ramesh Deo, Poornima Jairam, Chand Usmani, Shivraj, Yunus Parvez, Mac Mohan, Brahm Bharadwaj, Yusuf Khan, Birbal, Padma Chavan, Parveen Pal, Madhu Malhotra, Gauri Verma, Asha Chandra, Ranveer Raj, Manmauji, Raj Kaul, Prince Shakeel, Madhav Achwal, Shabnam, Sunil Dhawan, Baby Geeta, Master Raju, Master Gautam, Master Rajesh, C.S. Dubey, Ashok Saxena, Bholanath, Raj Kishore, Gopal Saigal, Yogesh Chandra, Baby Gazala, R.R. Somaiyya and others.
This movie was passed by Censor Board on 11.12.1981.
(As per HFGK Vol-VI (1981-1985) there have been two more movies with the same title ‘Daulat’ passed by Censor Board in ‘1937’ and ‘1949’).
This movie had five songs as per details given below.
| SNo | Song Title | Singer/s |
|---|---|---|
| 01 | Moti ho to baandh ke rakh doon | Kishore Kumar |
| 02 | Teri har adaa hai haseen | Asha Bhonsle, Kishore Kumar |
| 03 | Main to hoon sholaa badan | Asha Bhonsle, chorus |
| 04 | Aa aa aji taaron mein chamak | Asha Bhonsle, Suresh Wadkar, Chandrashekhar Gadgil, chorus |
| 05 | Zindagi ye zindagi, do ghadi ki zindagi |
Lyrics writing for above songs is jointly credited to Vitthalbhai Patel-Nida Fazli.
As mentioned above music for this movie was composed by R.D. Burman.
In spite of having good songs, no songs from this movie featured in the ‘annual list’ of ‘Binaca Geetmala’ of the year 1981.
However, songs from the following movies, where R.D. Burman had composed music, featured in the ‘Binaca Geetmala annual list of 1981’. (Though top three songs in this list were ‘non-Pancham’ songs.
1) Love Story-1981
2) Shaan (1980)
3) Rocky – 1981
4) Biwi O Biwi – 1981
5) Sanam Teri Kasam (1982)
(Songs of the following movies where music was composed by R.D. Burman and passed by Censor Board in ‘1981’ made it to the ‘annual list of Binaca Geetmala-1982’, but again none of them featured in the ‘top three’ of the list.
1) Zamaane Ko Dikhaanaa Hai – 1981
2) Satte Pe Sattaa – 1981
3) Kaaliyaa – 1981)
Let us have a look on the movies passed by Censor Board in 1981 and where the music is composed by R.D. Burman with their respective status on the blog.
| Sno | Movie Title | Director | Lyricist | Date of Censor Certificate | Status on the Blog |
|---|---|---|---|---|---|
| 1 | Angoor | Gulzar | Gulzar | 31.12.1981 | Yippeeee’ed |
| 2 | Barsaat Ki Ek Raat | Shakti Samanta | Anand Bakshi | 06.02.1981 | 3 of 5 songs posted |
| 3 | Baseraa | Ramesh Talwar | Gulzar | 05.09.1981 | 1 of 6 songs posted |
| 4 | Biwi O Biwi | Rahul Rawail | Vitthal Bhai Patel, Nida Fazli | 15.05.1981 | 2 of 7 songs posted |
| 5 | Daulat | Mohan Saigal | Vitthal Bhai Patel-Nida Fazli | 11.12.1981 | 2 of 5 songs posted |
| 6 | Dhuaan | Dulal Guha | Majrooh Sultanpuri | 23.03.1981 | Yet to be introduced |
| 7 | Gehra Zakhm | Deepak Bahri | Vitthal Bhai Patel, Nida Fazli | 05.10.1981 | 1 of 5 songs posted |
| 8 | Ghunghroo Ki Aawaaz | Tulsi Ramsay-Shyam Ramsay | Vijay Anand | 29.09.1981 | 2 of 5 songs posted |
| 9 | Harjaai | Ramesh Behl | Gulshan Bawra, Vitthal Bhai Patel, Nida Fazli | 22.04.1981 | 4 of 8 songs posted |
| 10 | Jail Yaatraa | Bhappie Soni | Majrooh Sultanpuri | 07.09.1981 | Yet to be introduced |
| 11 | Kaaliyaa | Tinu Anand | Majrooh Sultanpuri | 11.12.1981 | Yippeeee’ed |
| 12 | Kachche Heere | Narendra Bedi | Majrooh Sultanpuri | 10.07.1981 | Yippeeee’ed |
| 13 | Love Story | Rahul Rawail-David Dhawan | Anand Bakshi | 21.01.1981 | 2 of 6 songs posted |
| 14 | Mangalsutra | B. Vijay | Kavi Pradeep, Nida Fazli | 13.03.1981 | 1 of 5 songs posted |
| 15 | Naram Garam | Hrishikesh Mukherjee | Gulzar | 28.02.1981 | 3 of 6 songs posted |
| 16 | Qudarat | Chetan Anand | Majrooh Sultanpuri, Qateel Shifai | 27.02.1981 | Yippeeee’ed |
| 17 | Rakshaa | Ravikant Nagaich | Anand Bakshi | 31.10.1981 | 2 of 5 songs posted |
| 18 | Rocky | Sunil Dutt | Anand Bakshi | 28.04.1981 | 3 of 6 songs posted |
| 19 | Satte Pe Sattaa | Raj N. Sippy | Gulshan Bawra | 28.12.1981 | 3 of 7 songs posted |
| 20 | Zamaane Ko Dikhaanaa Hai | Naseer Hussain | Majrooh Sultanpuri, Joseph Alwariz | 30.12.1981 | 3 of 6 songs posted |
From the above list we can already see how this year ‘1981’ was a great year for Pancham as he delivered some of his very best music in many of the movies as mentioned above…
We now move to the listening of the today’s wonderful song from ‘Daulat-1981’…
On screen Vinod Khanna is lip syncing for Kishore Kumar’s voice and also seen in the picturisation of the song is Zeenat Aman and others.
Video
Audio (Longer)
Song-Moti ho to baandh ke rakh doon (Daulat)(1981) Singer-Kishore Kumar, Lyrics-Vitthal Bhai Patel-Nida Fazli, MD-R D Burman
Lyrics
moti ho to baandh ke rakh doon
pyaar chhupaaun kaise
wo chehraa hai
har chehre mein
usey bhulaaun kaise
moti ho to baandh ke rakh doon
pyaar chhupaaun kaise
wo chehraa hai
har chehre mein
usey bhulaaun kaise
moti ho to baandh ke rakh doon
pyaar chhupaaun kaise
wo chehraa hai
har chehre mein
usey bhulaaun kaise
ho o chaand nahin
phool nahin
koyi nahin unsaa haseen een een
chaand nahin
phool nahin ee ee
koyi nahin unsaa haseen
kaun hai wo
kya naam hai unka
yahaan bataaun kaise
moti ho to baandh ke rakh doon
pyaar chhupaaun kaise
wo chehraa hai
har chehre mein
usey bhulaaun kaise ae
ho o khoya huaa hai har samaa aa
yaar binaa soonaa hai jahaan aan aan
khoya huaa hai har samaa aa aa
yaar binaa soonaa hai jahaan
neel gagan ke chaand ko baanhon mein
le aaun kaise
moti ho to baandh ke rakh doon
pyaar chhupaaun kaise
wo chehraa hai
har chehre mein
usey bhulaaun kaise ae
ho o chaahe jinhen meri nazar
haaye nahin unko khabar r r
chaahe jinhen meri nazar
haaye nahin unko khabar
band hai mandir ka darwaaza
phool chadhaaun kaise
moti ho to baandh ke rakh doon
pyaar chhupaaun kaise
wo chehraa hai
har chehre mein
usey bhulaaun kaise ae
usey bhulaaun kaise ae
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Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————–
मोती हो तो बाँध के रख दूं
प्यार छुपाऊं कैसे
वो चेहरा है
हर चेहरे में
उसे भुलाऊं कैसे
मोती हो तो बाँध के रख दूं
प्यार छुपाऊं कैसे
वो चेहरा है
हर चेहरे में
उसे भुलाऊं कैसे
मोती हो तो बाँध के रख दूं
प्यार छुपाऊं कैसे
वो चेहरा है
हर चेहरे में
उसे भुलाऊं कैसे
हो ओ चाँद नहीं
फूल नहीं
कोई नहीं उनसा हसींन ई
चाँद नहीं
फूल नहीं ई ई
कोई नहीं उनसा हसीन
कौन है वो क्या नाम है उनका
यहाँ बताऊँ कैसे
मोती हो तो बाँध के रख दूं
प्यार छुपाऊं कैसे
वो चेहरा है
हर चेहरे में
उसे भुलाऊं कैसे ए
हो ओ खोया हुआ है हर समा आ
यार बिना सूना है जहान आँ
खोया हुआ है हर समा आ
यार बिना सूना है जहान
नील गगन के चाँद को बाहों में
ले आऊं कैसे
मोती हो तो बाँध के रख दूं
प्यार छुपाऊं कैसे
वो चेहरा है
हर चेहरे में
उसे भुलाऊं कैसे ए
हो ओ चाहे जिन्हें मेरी नज़र
हाए नहीं उनको खबर ,र ,र
हो ओ चाहे जिन्हें मेरी नज़र
हाए नहीं उनको खबर ,र ,र
बन्द है मंदिर का दरवाज़ा
फूल चढाऊं कैसे
मोती हो तो बाँध के रख दूं
प्यार छुपाऊं कैसे
वो चेहरा है
हर चेहरे में ए
उसे भुलाऊं कैसे ए
Morey man mitwaa
Posted on: August 27, 2021
- In: Duet | expression of love | Feelings of heart | Guest posts | Mukesh songs | Mukesh- Suman Kalyanpur duet | Post by Mahesh Mamadapur | Song from regional movies | Songs of 1960s (1961 to 1970) | Songs of 1965 | Suman Kalyanpur songs | Theme song | Title song | Yearwise breakup of songs
- 4 Comments
This article is written by Mahesh Mamadapur, 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.
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Blog Day : |
4788 | Post No. : | 16545 |
Mukesh and his Composers – 22
——————————–
We pay tributes to legendary singer Mukesh on his Remembrance Day today (22 July 1923 – 27 August 1976). His voice, songs, and the rich legacy left behind continues to be remembered and cherished by fans across the globe.
February 12, 1982, Music Director’s Association had organized a programme at Mumbai’s Shanmukhananda Auditorium to celebrate 50 years of sound in Indian Cinema. Off course, the mega event is now also fondly remembered for Noor Jahan’s only travel from across the border after partition and her active participation in it.
In the programme, anchor Shabana Azmi, while introducing the life and singing career of Mukesh says that for having such pathos and honestly in the voice, it is necessary that apart from being a good singer, the person himself has to be a noble soul. I liked her description of Mukesh immensely and hence including it in his special post for the day. This nobility of Mukesh and his good deeds for society and his co-workers, has been mentioned in quite a few of my previous posts.
For adherent Mukesh fans, it very easy to pick a sample of their most favorite songs for the simple reason that there exists no sample and his entire body of thousand odd songs can be counted as best loved.
Continuing the series on Mukesh and his composers, I take up his association with composer Dattaram.
We all know that Dattaram was one of the main pillars on which the empire of Shanker Jaikishen stood and flourished. He worked for SJ camp almost all of his career but also had several opportunities to compose on his own name in many of the films. It is now an established fact that he could not come out of the shadows of SJ completely in spite of being immensely talented and hard working.
The curious cases of Dattaram and another favourite of mine Ghulam Mohammed intrigues me to no end. They had everything in them to create name and fame for themselves, but it appears they were too reluctant to venture out on their own to a far extent.
There are many videos, interviews, articles and blogs available on the web for the works of Datttaram and I am skipping referring the same.
Below is the table of collaboration of works of Mukesh with the composer.
An interesting fact on initial glance reveals that two prominent names of SJ camp are missing. Lyricist Shailendra and singer Lata. Off course, both have worked for Dattaram but when we filter Mukesh songs, we find them missing.
Again, what should I write about the songs enlisted below. Its signature Mukesh all the way starting with the immortal “aansoo bhari hain”. This song will forever remain an indisputable proof of the wonders the voice could create in lower tones of pathos songs with or without instruments. It was 1958 and Mukesh had just come out the clutches of his failed experiments and he grasped the year with all his might and went on to become Mighty Mukesh.
A cursory glance through the second column in the table below brings to the mind several memories of humming these songs. And, for obvious reasons, I again skip describing each of the songs.
Needless to say, I have again relied on the highly reliable Mukesh Geetkosh by Shri Harish Raghuvanshi ji and thank him for the same.
| S.No | Name of the song | Movie (Year of release) | Co-singer if any | Lyricist |
|---|---|---|---|---|
| 1 | Aansoo bhari hain | Parwarish (1958) | Hasrat Jaipuri | |
| 2 | Dil ne usey maan liya (Happy and Sad version) | Santaan (1959) | Hasrat Jaipuri | |
| 3 | Dil dhoondhtaa hai | Kaala Aadmi (1960) | Hasrat Jaipuri | |
| 4 | Ae dil dekhe hain humne | Shreemaan Satyawaadi (1960) | Hasrat Jaipuri | |
| 5 | Ik baat kahoon wallaah | Shreemaan Satyawaadi (1960) | Mahendra Kapoor, Suman Kalyanpur | Gulzar |
| 6 | Haal e dil hamaara | Shreemaan Satyawaadi (1960) | Hasrat Jaipuri | |
| 7 | Rut albeli mast samaan | Shreemaan Satyawaadi (1960) | Gulzar | |
| 8 | Maano ya na maano | First Love (1961) | Suman Kalyanpur | Gulshan Baawra |
| 9 | Mere pyaar mein ya wafa | First Love (1961) | Gulshan Baawra | |
| 10 | Mujhe mil gayi hai | First Love (1961) | Gulshan Baawra | |
| 11 | Kabhi kisi ki khushiyaan | Zindagi aur Khwaab (1961) | Kavi Pradeep | |
| 12 | Ae meri jaane wafaa | Neeli Aankhen (1962) | Gulshan Baawra | |
| 13 | More Mann Mitwa Suna | Morey Man Mitwaa (1965) | Suman Kalyanpur | Harishchandra Priyadarshi |
| 14 | Dekhi teri duniyaa arre | Farishta (1968) | Asad Bhopali |
The duo worked together for 14 songs of which 13 are already represented on the blog and is yet another proof regarding their popularity. One duet with Suman Kalyanpur remains to be covered and is the song under consideration for the post. This duet is from a 1965 movie, Morey Man Mitwa, a Magadhi language film. The producer and director of the film are R. D. Bansal and Girish Ranjan respectively.
A chirpy and hummable love song, I am sure readers will like it on first listening.
Song-Morey man mitwa (Morey man mitwa)(Magadhi)(1965) Singers-Suman Kalyanpur, Mukesh, Lyrics-Harishchandra Priyadarshi, MD-Dattaram
Lyrics
morey man mitwa
suna de o geetwa
suna de o geetwa
balam ho
balam ho
geetwa jagaawe more man maa
balam ho
geetwa jagaawe more man maa
sun goriya kaise sunaiha o geetwaa
sun gori kaise sunaiha o geetwaa
sajaniya hey
sajaniya hey
geetwa jagawai tor man maa
sajaniya hey
geetwa jagawai tor man maa
man ma ??
milan ma ke galema
milan ma ke galma
nainwa ke korwa sajaawaa na sapan maa
sajaawaa na sapan maa
man ma ??
milan ma ke galma
milan ma ke galma
lalki ?? kiraniya aitai
hamre anganma
hamre singaar toohi
hamre sajanma
hamre sajanma
balam ho
balam ho
chhun chhun boley kanganwa
balam ho
chhun chhun boley kanganwa
ban ke baawariya
rachaawa na laganma
rachaawa na laganma
torey bin chain naahin
paawe more man maa
na paawe more manwaa
ban ke baawariya
rachaawa na laganma
rachaawa na laganma
dilwa se door karde
man ke bharam ma
na ham singaar tohre
na hi sajanma
ho na hi sajanma
sajaniya hey
sajaniya hey
jud le judaito na paranma
sajaniya hey
jud le judaito na paranma
more man mitwa
suna de o geetwaa
suna de o geetwaa
balam ho
balam ho
geetwa jagaawe more man maa
balam ho
geetwa jagaawe more man maa
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.
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Blog Day : |
4788 | Post No. : | 16544 | Movie Count : |
4504 |
Today’s song is from the film Pratigya-1943.
In HFGK the name of the film in Hindi is correct-” प्रतिज्ञा ”, but in English it is written as ” Pratigya “. I do not understand why it could not be written correctly as ” प्रतिज्ञा “. Even film Sant Gyaneshwar-1940 had the same problem. In Hindi it is written correctly, but in English it is Gyaneshwar. Some English language scholars must solve this puzzle. My guess is, because in colloquial Hindi language ज्ञ is pronounced as ग्य . Like ग्यान for ज्ञान . HFGK must have opted for this spelling. It is funny – in Hindi it is written correctly, but in English, this way. If it was the other way round, I could have understood, since colloquial Hindi is Gya. I can’t somehow digest this awatar of English words !
Film Pratigya-43 was made by Chitra productions and was directed by Nandlal Jaswantlal. He was one of the few foreign trained directors of Hindi films. Unfortunately, he died quite young and suddenly. The music director for this film was Ninu Majumdar ( it is not mentioned in HFGK, but Harish Raghuwanshi ji has confirmed it). Incidentally, his father was also working in this film. The cast of the film was Motilal, Swarnalata, Baby Meena (Meena kumari), Veena Kumari, Nagendra (Ninu Majumdar’s father), Hari Shivdasani (father of Babita), Bhudo Advani, Majid etc.
Motilal was one of my favourite actors because his acting was so natural and casual. In the film industry, there were few other actors too like – Ashok kumar, Balraj Sahni, Sanjeev Kumar etc. of course the senior most and the first such actor was Motilal. While his first film Shehar ka Jaadu came in 1934, Ashok Kumar’s first film Jeevan Naiya came in 1936. Initially Ashok Kumar’s acting was not natural, it was very awkward. He did not know what to do with his hands. Because of this dilemma, his acting became theatrical. However in his 13 th film-Naya Sansar-41 in which his role was of a Journalist, he had to smoke in the role. This actually solved his hand’s problem completely and from this film onwards his acting became mature and very natural. But the ‘cigarette in hand’ became his trademark in almost every film.
Motilal started his career in Sagar Movietone.In his first film his Heroine was a senior actress Sabita Devi. Their pair became so popular that they acted in 10 films together. Sabita Devi and Motilal’s first movie as a pair in the famous Sagar Movietone, was Lure of the City (aka Shaher ka Jadoo) which released on 29 th September 1934 at the Imperial Cinema Bombay. This movie was directed by Kaliprasad Ghosh and music was composed by K.C.Dey (the blind singer). Cast : Sabita Devi, Motilal, M.Kumar, K.C.Dey and Kamalabai.
This was the sound debut of Kaliprasad Ghosh at Sagar after a few successful movies directed in the silent era. Mehboob Khan was earlier selected for the lead role and was later replaced by Motilal. This was actor Motilal’s debut film and Motilal – Sabita made the best couple of the Sagar Film Company since then in many other movies under the banner of the Sagar such as, Silver King (1935), Dr Madhurika (1935), Lagna Bandhan (1936), Jeevan Lata (1939), Kulvadhu (1937), Kokila (1937), three hundred days and after (1938) and later in Sudhama Films in Ap Ki Marzi (1939) and Minerva’s Prarthana (1944).
Motilal earned millions and spent millions. He loved a good life. He was fond of good food, good clothing, good wine and a Royal lifestyle. He played on Race course and had few Race Horses too. He was the first actor to have his own small aeroplane. He had a Pilot’s licence. However, in his last days, he lost everything and became a pauper.
” A broken and a defeated man, he did not live to see the release of the one film he produced. ‘Chhoti Chhoti Baaten’ (1965)– a very close autobiographical presentation of his own life, turned out to be a production disaster for him. The loss of finances and assets may not have meant much to him, but it was the turning away of the ones he considered to be lifelong friends that probably broke him completely.
Near the end of his days, he was suffering with health problems, and was in the hospital. His pet project ‘Chhoti Chhoti Baaten’, was nearing completion, but the remaining work was moving very slowly due to financial and other difficulties. Anil Biswas, whom he had given the music composition responsibility, was those days in Delhi, working for All India Radio. He came to visit Motilal. In the hospital, Motilal implored Anil Biswas to complete the music for the film, so that it could be made ready for release. Anil Biswas responded, almost heartlessly, asking to be paid for the work that was already done and for the remaining work for background music. Motilal was stunned. And then he passed away a few days later. The work on the film was eventually completed through the efforts of Mukesh, his cousin, who convinced Anil Biswas to complete the work on the film. The film got critical acclaim and also won a special certificate of merit from the President of India, as part of that year’s national awards. Alas, but he himself was not around to see it.” ( an extract from Sudhir ji’s post, with thanks.)
In the cast of this film there is a name Veena Kumari. Today’s song is also sung by Veena Kumari and Amirbai Karnataki. We all know that there was another famous actress Veena in the same period. Here is a fresh case of ” SAME NAME CONFUSIONS “. In my first book, released in 2018, I had clarified about 56 artistes coming under the SNC category. In the last one and half years I have discussed 14 such new artistes and including today’s case, there will be 16 artistes. The total comes to 72 and surprisingly there are 36 Males and 36 female artistes in this group, so far. However, I feel, as the time passes by, there are still few more cases yet to come to light and that, finally in this, the females will outnumber the males in numbers.
One of the reasons for this could be that in the early era, actresses came from Muslim Tawayef families or even poor families. In such families, the girls’ names were pretty common – like Nurjahan, Zubeida, Khurshid, Naseem or Shameem etc. Those who came first in films kept their original names, others had to change their names. But even then, the limited stock of names created problems. For example, Khursheed Akhtar changed her name to Shyama, but there were already 2 Shyamas working in films. One more example was today’s case. Originally Nurjahan, changed name to Veena Kumari, but there was another Veena working in films.
The trouble with same names is when you want to write about them, their Filmography is mixed up. Secondly, most sites, blogs and Fb pages invariably mix up even their Bio data, in addition to Filmography. My B.P. goes up when I see this . Whenever possible, I try to give explanations to make corrections, but every time it is not possible. Further they quote from sites like Wiki and IMDB, who are the major culprits in creating, sustaining and nurturing the same name confusions.
Anyway, let us now see who this Veena Kumari was. Her original name was Nurjahan. Her father was a landlord in Lucknow. She was born in 1916. As per customs of those times, she never went to school, but being well to do, got private tutors and she learnt Urdu and English sufficiently to read and speak. She was a typical good looking girl. She was very fond of seeing silent films with her father. When the Talkie films started, her interest grew much more and she decided to join films. She was a natural good singer too and this helped her get into films.
Her first film was Inteqam-33, where she worked without any fees. Here she was credited with her real name Nurjahan. In the 1939 film Swastik, made by Mohan Pictures, she became the Veena kumari-heroine of Jeevan. She continued working in films like Radhika,Asra and Kasauti- all 1941, Gharib and Zevar in 42, pratigya, masterjee and Chiragh in 43, Mujrim-44, Gunjan and Shauhar in 48. Shauhar was made by her own banner-Dil-Sitan arts. The film was directed by her. Her last film was Basera-50. She sang 22 songs in 7 films. She was quite good at singing. When you hear her today’s song, you will agree with me.
Now let us see what proves they were 2 different persons. Firstly, Veena Kumari started her career much earlier than Veena. Secondly, Veena started acting in Punjabi films in 1941 only and then came to Bombay for film Yaad-42, Najma-43,Rajputani-44, Humayun-45 etc. Thirdly, Veena kumari was a B grade actress and her films were made by smaller banners, whereas, from the beginning, Veena was in the Big league of Mazhar khan, Ranjit, Mehboob, Kardar, K.Asif, Minerva etc. Fourthly, Veena kumari stopped working in 1950, while Veena continued till 1983. The most important point was, Veena could not sing, whereas Veena kumari sang 22 songs in 7 films. All this clearly separates them as different actresses.
Veena acted in about 100 films in her 40 years’ career. Her Biodata is available freely on the Internet as well as on this Blog. So much for the Same Name Confusion in this case.
Now let us listen to today’s song. With this song, film Pratigya-1943 makes its Debut on this Blog.
Song- Hum kidhar chale ri sakhi hum kidhar chale (Pratigya)(1943) Singers-Veena Kumari, Amirbai Karnataki, Lyricist- Unknown, MD- Ninu Majumdar
Both
Lyrics
Hum kidhar chale ri sakhi
Hum kidhar chale
le chali taqdeer jidhar
hum udhar chale
Hum kidhar chale ri sakhi
Hum kidhar chale
le chali taqdeer jidhar
hum udhar chale
pal mein yahaan pal mein wahaan
hum chale na jaane kahaan
pal mein yahaan pal mein wahaan
hum chale na jaane kahaan
is dagar kabhi to kabhi us dagar chale
is dagar kabhi to kabhi us dagar chale
le chali taqdeer jidhar
hum udhar chale
le chali taqdeer jidhar
hum udhar chale
barsaat ka din hai
saawan ka maheena
barsaat ka din hai
saawan ka maheena
ban ban mein bajaati hai koyal ?? veena
barsaat ka din hai
saawan ka maheena
pyaar ke mausam mein sakhi hum kidhar chale
is pyaar ke mausam mein sakhi hum kidhar chale
le chali taqdeer jidhar
hum udhar chale
le chali taqdeer jidhar
hum udhar chale
aa main tujhe le chaloon saajan ki nagariya
aa main tujhe le chaloon saajan ki nagariya
beech ke panghat pe sakhi bhar le gagariya
teri bhar le gagariya
beech ke panghat pe sakhi bhar le gagariya
teri bhar le gagariya
tujh to milegaa tera saajan ?? tale
tujh to milegaa tera saajan ?? tale
hum jidhar chale
hum jidhar chale
le chali taqdeer jidhar
hum udhar chale
le chali taqdeer jidhar
hum udhar chale
hum kidhar chale ri sakhi
hum kidhar chale
le chali taqdeer jidhar
hum udhar chale
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.
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Blog Day : |
4787 | Post No. : | 16543 |
‘Ghunghroo’ (1952) was produced under the banner of Filmkar, owned by Rajendra Jain which had produced ‘Deedar’ (1951) and later, ‘Maan’ (1954). The film was directed by Hiren Bose. The star cast included Om Prakash, Sumitra Devi, Kuldeep Kaur, K N Singh, Murad, Badri Prasad etc. A feature of the film’s casting was that Om Prakash was the lead actor in a double role – one as a shy man and the other in a role of a lead actor in a theatre.
Om Prakash, who commenced his filmy career in a small role of a villain in his maiden film, ‘Dassi’ (1944) followed by another villain role in ‘Dhamki’ (1945), had worked in lead roles in ‘Aai Bahaar’ (1946), ‘Shahar Se Door’ (1946) and ‘Pagdandi’ (1947). However, all these three films failed at the box office and with this, his dream of becoming a lead actor was shattered. The partition in 1947 further compounded his problems for he had to start afresh his career in Hindi films in Mumbai. After remaining unemployed for a year, Om Prakash accepted whatever roles that were offered to him. In about 2 years from his first film in Mumbai – ‘Lakhpati’ (1948) in post-partition period, Om Prakash had become a busy actor doing various character roles.
Against this background, it must be a pleasant surprise for Om Prakash that after a gap of 5 years, he got not only the lead role but also a double role in ‘Ghunghroo’ (1952). But the film failed so miserably that in no time, it went into the list of obscure films. It appeared that Om Prakash was destined to become a popular actor in his various typles of character actor’s roles some of which became unforgettable like in ‘Pyaar Kiye Jaa’ (1966), ‘Padosan’ (1968), ‘Gopi’ (1970), ‘Chupke Chupke’ (1975) and many more.
Having watched Om Prakash in character roles in many films, I wish, I could have watched him as a hero in ‘Ghunghroo’ (1952). Unfortunately, the film seems to have been lost forever for viewing. A few of the lobby images available on-line featuring Om Prakash with Sumitra Devi and Kuldeep Kaur looked interesting. I have incorporated a couple of them in the video of the song which I propose to present with this write-up.
As with most of the obscure films, I could not find the story and review of ‘Ghunghroo’ (1952) on the internet, After some intense searches, I could get a synopsis of the story from one of many lesser known websites on Hindi films which appers to be copied from the film’s song-synopsis booklet because it was written in typical synopsis style language without revealing the ending of the film. From what I could gather from the synopsis, I present the gist of the story as under:
Vinod (Om Prakash) is a shy person who lives in Pune. He is in love with Hema (Sumitra Devi) but does not have enough courage to disclose to her. When he comes to know that Hema also loves him he is the happiest person.
Vinod has a twin brother, Baalam (Om Prakash) who works for a theatre in Mumbai as a lead actor. He often pairs with Kamini (Kuldip Kaur) and their pair is very popular thus making them a box office attraction. Baalam gets attracted towards Kamini and she exploits this by her false love to him to keep her popularity intact at the box office. In this way, she earns fortunes by way of gifts from royal and aristocratic visitors to the theatre.
Kamini’s exploitation game is exposed to Baalam. After a quarrel, she gets Baalam killed with the help of her accomplice, Hiralal (K N Singh). The ghost of Ballam cames out and starts taking revenge on his enemies. Baalam’s ghost also appears in Vinod’s house and enters Vinod’s body. Vinod suddenly becomes Baalam Baalam’s ghosht takes Vinod to Mumbai as Baalam. Hema followes him to Mumbai. Now starts the vicious circle of chase. Heart-broken Hema ran after Vinod who, in turn, runs for his life from Baalam. Baalam runs after Kamini for his revenge. Vinod turned Baalam is dragged by Hiralal and his goons. Thus, all of them find inyolved in a chain resulting in ‘comedy of errors’.
I have no idea as to how the film ends in reality. But in such a type of the story, the villains, K N Singh and Kuldip Kaur would be exposed and arrested with Om Prakash and Sumitra Devi united.
‘Ghunghroo’ (1952) had 9 songs, all written by Rajendra Krishan which were set to music by C Ramchandra. All the 9 songs are available which I have heard and find them melodious with typical brand of C Ramchandra’s compositions.
I am presenting the 5th song from the film, ‘dil kisi ko deejiye dil kisi kaa leejiye’ sung by Zohrabai Ambalewaali, Mohmmed Rafi and chorus. The song appears to be a part of the stage show in the film.
Audio Clip:
Song-Dil kisi ko deejiye dil kisi ka leejiye(Ghunghroo)(1952) Singers-Zohrabai Ambalewaali, Rafi, Lyrics-Rajinder Krishan, MD-C Ramchandra
Both
Lyrics
dil kisi ko deejiye
dil kisi kaa leejiye
zindagi hai chaar din
yahi kaam keejiye
yahi kaam keejiye
dil kisi ko deejiye
dil kisi kaa leejiye
zindagi hai chaar din
yahi kaam keejiye
yahi kaam keejiye
le na jaaye dil koi aapka mazaaq mein
le na jaaye dil koi aapka mazaaq mein
ae ji zara soch ke ki soch ke
aisi baat keejiye
aisi baat keejiye
dil kisi ko deejiye
dil kisi kaa leejiye
zindagi hai chaar din
yahi kaam keejiye
yahi kaam keejiye
aaaa aa aaa
aaaa aa aaa aaa
aa aa aa aa
aaa aa aaa aa
aaa aa aaa aa
aa aa aa aa
zindagi hai chaar din
yahi kaam keejiye
yahi kaam keejiye
aapko huzoor kyon husn ka guroor hai
aapko huzoor kyon husn ka guroor hai
aaine mein dekh ke ki dekhe ke
phir se baat keejiye
phir se baat keejiye
dil kisi ko deejiye
dil kisi ka leejiye
zindagi hai chaar din
yahi kaam keejiye
yahi kaam keejiye
aaaa aa aaa
aaaa aa aaa aaa
aa aa aa aa
aaa aa aaa aa
aaa aa aaa aa
aa aa aa aa aa
zindagi hai chaar din
yahi kaam keejiye
yahi kaam keejiye
dil hamaara thhaa kabhi
ab tumhaara ho chuka
dil hamaara thhaa kabhi
ab tumhaara ho chuka
aapki khushi huzoor
deejiye na deejiye
deejiye na deejiye
dil kisi ko deejiye
dil kisi kaa leejiye
zindagi hai chaar din
yahi kaam keejiye
yahi kaam keejiye
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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