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

Zakhmon ko naya zakhm lagaata hai zamaana

Posted on: August 8, 2021


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 :

4769 Post No. : 16518

Today’s song is from an obscure film-Paaro-1947. It was made by Navyug Film co. One of the partners of this film company was Marathi’s famous writer, novelist and journalist Acharya Atre. By coincidence, the name of the Music Director of film Paaro-47 was Rasheed Atre. He, of course, was Muslim and Acharya Atre was a Hindu Bramhin.

The film was directed by one Shorey Daulatlavi, who was originally a Cinematographer with Minerva Movietone. His first film as a Director was Pathron ke saudagar-44, made by Minerva Movietone. Sohrab Modi was not known for recognising talents of his staff and encouraging them or rewarding them. He must have secured the services of Daulatlavi as a director for a negligible fee. Fed up with his attitude, Dalatlavi left Minerva and joined Navyug. Here he directed 3 more films namely, Din Raat-45, Paaro-47 and Sajan ka ghar-48. After this film, his name became traceless. Possibly he took up cinematography again.

Music Director Rasheed Atre was one of the 10 MDs I wrote about in my series ” Gems from the Migrators” in November 2014, about 7 years ago, on this Blog. This was about MDs, who started their careers in India and migrated to Pakistan after Partition. Many Muslim artistes had migrated to Pakistan. Let us take a look at the scenario of those times.

In undivided India, Lahore (then in the Punjab) was important as a showbiz centre. It had an established film-making centre. The first Talkie film ever to be made in a Lahore studio was Heer Ranjha-1932 and thereafter many Urdu and Punjabi films were produced from Lahore every year. The partition of India into two independent states – India and Pakistan, caused irreparable damage to film production in Lahore. Most of Lahore’s film producers were Hindus and as the city fell on the side of the Islamic state of Pakistan, they migrated to India. This deprived Lollywood, as Lahore is referred to in film circles, of much needed investment and expertise in film production and distribution.

LAHORE, an important city in the undivided Punjab in the pre-independence days was one of the major Film making Centres in India. Talented actors and musicians from all Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artiste’s dream to go to Bombay and shine there.

The film activity at Lahore increased considerably in the early 40s in terms of film production and Music. Those days many actors and musicians shifted their base to Bombay from there. The list of such people is very long, but it will suffice to mention some well known names-
Noorjehan, Pran, Saigal, Prithwiraj Kapoor and his sons, Shyam, Dilip Kumar, Surinder, Karan Dewan, Dev Anand, Balraj Sahni, Singer Khursheed, Mumtaz Shanti, Veena, Begum Para, Meena Shorey, Suraiya, Manorama, Kamini Kaushal, Shyama(Khursheed Akhtar), A R Kardar, M Sadiq, Suresh(Nazim Ahmed), Amar, Chetan Anand, Zande Khan, Ghulam Hyder, Pt.Amarnath and his brothers Husnlal-Bhagatram, Hansraj Behl, S.Mohinder, Firoz Nizami, Khursheed Anwar, Khayyam, Vinod, Shyamsunder, Kidar Sharma, Krishna Chander, O P Dutta, Saadat Hasan Manto, Qamar Jalalabadi, D N Madhok, Tanvir Naqvi, Prem Dhawan etc etc. Many of the actors and producers used to shuttle between Lahore and Bombay for their work.

And when the PARTITION took place in 1947, in the communal frenzy, polarisation of artistes took place. Some Hindus shifted to Bombay and Some Muslims left for Lahore.

At the actual time of Partition some artists were in Lahore for film work. They were B R Chopra, Ramanand Sagar, I S Johar, Gulshan Rai, Omprakash, Jeevan, O P Nayyar, Rajinder Singh Bedi, Naqsh Lyallpuri, Surinder and Prakash Kaur Manorama and Pushpa Huns. They all left Lahore hurriedly and reached Bombay Safely.

Same way many artists from Bombay left for Lahore and ALL of them reached safely. some of the Directors who migrated to Pakistan were-

Syed Shaukat Hussain Rizvi, S M Yousuf, Najam Naqvi, Munshi Dil, Nakshab Jarachavi, M Sadiq, Zia Sarhadi, Sibtain Fazli(of Fazli Brothers), S T Zaidi , Zahoor Raja, Wali saheb, A R Kardar,Nazir,W Z Ahmed,Masood Pervez, Shareef Nayyar,Luqmaan,Dawood Chaand,Rakhan,Nusrat Mansoori,M H Qasim,Roop K Shorey,Butt Kasher,Barkat Mehra and Manto.

Some of the Actors/actresses were- Nazeer, Sadiq Ali, Masood, Sudhir, Santosh, Ratan Kumar, Najmul Hussain, Suresh and Nasir khan(both came back to India later), Sh.Mukhtar, M.Ismail, Ajmal, Gulam Mohd, Kumar, Ghori, Majeed, Shahnawaz, Himalayawala, Shyam Kumar, Allauddin, Shah Shikarpuri, Charlie, Nazar Faizi Noorjehan, Meena Shorey, Khursheed, Zeenat Begum, Asha Posley, Najma, Kalawati, Rehana, Swarnalata, Ragini, Bibbo, Renuka Devi, Geeta Nizami, Maya Devi etc.
Some from the music field were- Khursheed Anwar, Inayat Hussain, Rafiq gaznavi, G A Chisti, Ghulam Hyder, Firoz Nizami, Nissar Bazmi, Nashaad, Tufail Faruqi, Tanvir Naqvi, Faiyaz Hasmi, Iqbal Bano, Premlata,Khursheed,Zeenat Begum,Shevan Rizvi,Rasheed Atre,Fateh Ali khan,Babul etc.

With so many people migrating to Pakistan at a time and given the condition of the Pakistan Film Industry then, it is a moot question, whether all these migrants could get work there and shine ?

(Notes- 1.All lists are only indicative and not exhaustive

2.Migrants means between 1947 to 1970 period.)

After partition,this turmoil subsided after a short period in India and it was business was as usual here, while in Lahore, Pakistan had to build up from scratch, but the Film Industry there too stabilised in a few years’ time. The base of Film industry in Pakistan was built by people who migrated from India. Migration from India to Pakistan continued till about 1970 for the pre-partition artistes. In fact till about 1965 there was an exchange of artistes from both sides to work in other countries, but after the 65 war, this working stopped completely.

Music Directors who left India after Partition had done a very good job here. Composers like Nissar Bazmi, Rasheed Atre and Feroz Nizami became exceptionally successful in Pakistan, but Nashad, Rafiq Ghaznavi and others were not successful to that extent. Khursheed Anwar, a very highly respected composer here remained a father figure even in Pakistan.

I always wondered, how some composers, who were found mediocre here, without much spark, giving music only to B and C grade films, became extremely popular and successful in Pakistan, winning accolades ? examples are is Nisar Bazmi, Rasheed Atre etc.. To understand this strange phenomena, one must consider the state of affairs in Pakistan Film Industry for 5-6 years post Partition. Here is a part of an article on this issue that I found on a Pakistani site, filmbirth.com

” Pakistan has been a part of India up until 1947. Up to that point Lahore was one of the thriving cinema producing centers in India. The first film made in a Lahore studio was “Delhi Express” (1935) and Urdu and Punjabi films were to follow. The partition of India into two independent states – India and Pakistan, caused the demise of the Lahore film industry. Most Hindu filmmakers in Pakistan fled the region when the Islamic Pakistani government became independent. Without the Indian funding and production facilities, the migration of many renowned filmmakers and stars and a lack of proper distribution channels, Lahore (Lollywood) soon became less than a footnote in the regional cinematic landscape.

Fortunately, the outflow from Lahore was accompanied by an inflow into the city. Affected by the same political change, a number of talented Muslims who have established themselves in Bombay’s (now Mumbai) film circles, moved back to Lahore. Prominent among them were film producer Syed Shaukat Hussain Rizvi, his wife actress and singer Noor Jehan, actress Swarn Lata, actor Nazeer, director W. Z. Ahmad, director Luqman, director Sabtain Fazli, music director Feroze Nizami and music director Khwaja Khursheed Anwar. These creative artists laid the foundation of the Pakistani film industry. They were also responsible for producing some of the best films ever made in Lollywood.

The creative energy of Lahore’s film people began to express itself as soon as the partition frenzy subsided. Lollywood became alive again and Teri Yaad was the first film released after partition. Featuring Nasir Khan, brother of film icon Dileep Kumar and Asha Posle, it was released at Lahore Parbhat Cinema on Sept 2, 1948. Its producer was a Hindu named Diwan Sardari Lal, Daud Chand was the director while Nath was the music director. The following year, Anis Productions released a Punjabi film Pheray. Featuring Nazeer (who was also its director) and Swarn Lata, the film proved to be a success and became the first Pakistani film to complete a 25-week run at cinema houses. Another important film was Naubahar Films’ Do Ansoo which was released in 1950. Produced by Sheikh Latif and directed by Anwar Kamal Pasha, it won popularity and became first Urdu film to complete its silver jubilee. “

Due to a shortage of composers, all were welcomed with open arms. Those who had talents did extremely well here. Unfortunately the second generation of composers of calibre were not prepared and once these migrants disappeared from the scene,the musical fields of Pakistan dried up. According to an article on Wiki, there are 7 ages in Pakistan Film music –

S No Phase Period
1 Independence and growth 1947-1958
2 The Golden Age of Pak Film Music 1959-77
3 The age of Disaster (Onslought of VCR and brain Drain to Bangladesh) 1977-88
4 Politics,Islamisation and downfall 1979-87
5 Collapse 1988-2002
6 Decline 2002-2009
7 New wave and Hopes 2010 onwards

Anyway, Nisar Bazmi and Rasheed Atre prospered during the Golden Age period and got all the benefits.

Composer RASHEED ABDUL ATRE was born in Amritsar on 15-2- 1919. His father Khushi Mohammed was a well known musician and singer. Rasheed learnt music from Ustad Khan saheb Ashfaq Hussain. Then he went to Calcutta and worked under R.C.Boral. During his stay in Calcutta he is presumed to have composed songs for films “Pardanasheen”-1942 and “Mamta”-1942, under the name R.A.Atra. After coming back to Bombay he joined Jhande Khan and Gobindram in composing songs for “Pagli”-43. He was assistant to composer Amir ali in “Panna”-44. With Pt.Amarnath,he composed songs for “Shirin Farhad”-45. Then came Room No.9-46,Nateeja-47,Paro-47 and Shikayat-48. From 43 to 48 he gave music to 6(confirmed) films. Not much, but then he did not get much time either.

Nateeja was a Muslim social made by Bombay Talkies and he was specially called for it. Nateeja music was his best in India and all its songs became very popular. for Room No 9-46,he worked in Navyug Chitrapat co. where one of the owners was P K Atre, a noted Marathi writer and Dramatist. P K Atre was ,of course, a Hindu,but it was a coincidence.

After Partition Atre went to Pakistan. He first served Radio Pakistan, Rawalpindi and then at Lahore. He prospered in Pakistan and gave music in 54 Urdu and Punjabi films. He was awarded the coveted Nigar Award 3 times in a row. The famous Marching song of Pakistan ” Allah o Akbar ” was composed by Rasheed Atre. The first Pakistani film for which Rasheed Attre lent his music was director Masood Pervez’s Beli (1950).

Three years after Beli, Rasheed was in-charge of music for director Nazir Ahmed Khan’s Punjabi film, Shehri Babu (1953), whose evergreen songs still are popular in Pakistan . Attre’s music for director W.Z. Ahmed’s 1954 family-friendly film Roohi (1954) was a huge success.

Rasheed Attre’s music is all very praise-worthy in director Nazir Ahmed Khan’s film Khatoon, which was popular for its thumri. Attre’s composition exhibits an astonishing range and power in director Anwar Kamal Pasha’s superhit film Sarfarosh (1956). In 1956, Rasheed was also given the responsibility of composing songs for director Anwar Kamal Pasha’s golden jubilee punjabi film Chann Mahi (1956) (lyrics: Tufail Hoshiarpuri, starring: Bahar, Aslam Pervaiz). Attre was, indeed, a powerhouse of a musician and a case in point is director W.Z. Ahmed’s all-time favorite film, Waada (1957), which happened to be a movie from a more idealistic time. At the height of his fame, Attre came up with his magical composition for film director Anwar Kamal Pasha’s semi- historical movie, Anarkali (1958). To be precise, it was a joint venture of 2 film music composers Rasheed Attre and Master Inayat Hussain.

Rasheed Attre passed away on December 18, 1967, at the age of 48.

Today’s song is sung by Sulochana Kadam and M.Aslam. There is also a solo by M.Aslam of the same song in the film.


Song- Zakhmi ko naya zakhm lagaata hai zamaana (Paaro)(1947)Singers- Sulochana Kadam, M Aslam, Lyricist- Not known, MD- Rasheed Atre
Both

Lyrics

Zakhmi ko naya zakhm lagaata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
har tarah gareebon ko sataata hai zamaana
har tarah gareebon ko sataata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana

kya hamne zamaane mein bigaaa hai kisi ka
kya hamne zamaane mein bigaaa hai kisi ka
kyun hamko nigaahon se giraata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana

tadbeer kisi kee ee ee ee ee
tadbeer kisi ke ke
muhabbat mein hansenge
tadbeer to ki thhi ki
muhabbat mein hansenge
taqdeer to roti hai
rulaata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana

muflis ki tamanna kabhi
poori nahin hoti
poori nahin hoti
muflis ki tamanna kabhi
poori nahin hoti
poori nahin hoti
?? har naaz uthhaata hai zamaaana
Zakhmi ko naya zakhm lagaata hai zamaana

jiska nahin ee eeduniya mein koi
ee ee ee ee ee ee ee ee
uska khuda hai
uska khuda hai

jiska nahin duniya mein koi
uska khuda hai
jiska nahin duniya mein koi
uska khuda hai
ye baat magar bhoolta jaata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana
har tarah gareebon ko sataata hai zamaana
Zakhmi ko naya zakhm lagaata hai zamaana

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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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