Archive for November 2021
Prem yog ab karna yogi
Posted on: November 30, 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.
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Blog Day : |
4883 | Post No. : | 16679 |
Songs from Artiste Name Films….Second Season….No. 4
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Today’s song is from the film Saadhana-1939, made by Sagar Movietone. The name Sadhana today, immediately brings to mind the face of the famous actress Sadhana, who debuted as a Heroine in the film “Love in Simla”-1960. Her lovely face and unique haircut- which was fashioned in the style of Hollywood star Audrey Hepburn, was carved in the minds of the audience in her heydays. Sadhana was a craze during the 60’s and early 70’s. In this period, according to one source, she was the highest paid Heroine in Hindi cinema.
However, we are not going to talk about that Sadhana, who was named after the famous dancer actress of the 40’s, from Bengal. We will talk about the original Sadhana…( the Bangla pronunciation Sadhona ), who made her Debut in Hindi films with the film ” Kumkum-The Dancer ” in 1940.
Sadhana Bose did not act in the film Sadhana-1939 made by Sagar. Her debut Hindi film was made by Sagar only, just one year later….. the film Kumkum-The Dancer-40. This was the only film she did for Sagar Movietone. Anyway, Sagar movietone itself got merged with National Studios in 1940. In those days Bangla artistes were reluctant to act in Hindi films because of their weakness in talking in Hindi language. Of course, there were some actors like Pankaj Mullik, Ashit Baran, K C Dey and a few others who did act in Hindi films. But their Bangla accent in speaking Hindi was unmistakable. ” Kumkum-The Dancer” was a Bi-lingual film in Hindi and Bangla. It had a Bengali cast and its director as well as Music Director were Bengalee.
Granddaughter of Brahmakesari Keshab Chandra Sen, Sadhona was born on 20-4-1914, in a prosperous Brahmo family and received education as was common with Brahmo girls of those days. Her father was Saral Chandra Sen and she was the second of his three daughters. Her elder sister Binita was married into a royal family of Chittagong (now Bangladesh)and settled into household life, while the youngest Nilina pursued a career in Indian Classical music and earned herself a position of eminence and was known in record circles as Naina Devi.
Sadhona married Madhu Bose, film maker working in Bengal, British India, at a young age, and joined the Calcutta Art Players, a theatrical company owned by husband Modhu Bose and took part as heroine in the plays produced by the unit. Later on Sadhona joined films and played Marjina in Alibaba (1937), made in Bengali under the banner of Bharata Lakshmi Pictures. This film was a runaway hit and is remembered well by film enthusiasts. Modhu Bose had earlier directed a number of films but he tasted real success with Alibaba. For Sadhona this film meant a permanent place in the history of Bengali films. This was followed by Abhinoy (Bengali-1938), another major success for the couple.
They migrated to Bombay and again created history with the immensely popular Kumkum (1940), made in two languages, Hindi and Bengali and thereafter went on to create the first triple version (English, Bengali, Hindi) film of India, Rajnartaki (1941). Sadhona did come back to Calcutta for a double version Bengali movie Meenakshi (1942)with the handsome Jyoti Prakash as the hero. Going back to Bombay soon after the completion of this film where she starred in major films like Shankar Parvati, Vishkanya, Paigham, For Ladies Only, Bhola Shankar and Shin shinaki Boobla Boo.She also sang 7 songs in 2 films, namely Paigham and Shankar Parvati- both in 1943. She firmly established herself as a heroine in her own right without the backing of husband Modhu Bose.
In fact they had fallen quite apart by the mid forties and most unfortunately Sadhona started living much too abandoned a life heavily engaged in drinks,parties and men and slowly lost her carefully earned position. She came back to calcutta after a reconciliation with Modhu Bose but had by this time lost her magic hold over the audiences and acted in films again directed by her husband like Shesher Kabita and Maa O Chhele, without remarkable success.
Sadhona was a dancer in the first place and all her film successes were in dancing roles, although she was also a very fine actress and sang her own songs in some of her films including her first Alibaba.With film offers becoming too infrequent, she formed a dance troupe of her own and made all India tours with plays like Wither now, Hunger and others and met with success again as she was bound to be as a personality trained in dancing. She passed into oblivion slowly.
Even in retired life she could not part with the bottle and without any income worth the name she found herself in the most difficult conditions financially. Modhu bose was ill and it was difficult to get treatment for him. She lost her husband in 1969 and had no money to sustain herself and thereafter came the greatest tragic period of her life when she had to resort to begging in the streets, in and around Park Street of calcutta. It was during this phase of her life that passers by and street walkers came across an old lady, looking distinguished, dressed in clothes that were expensive at one time but now showing the wear and tear asking for help. Some recognised her and gave her enough to go on for some days while some others gave her a rude rebuff. She took all that with a smile.
Sadhana Bose was responsible for the names of at least 2 actresses in Bombay.
Actress Sadhana Shivdasani’s mother was very much impressed with the dancing skills of Sadhana Bose. She was her fan and saw her films repeatedly. When she was carrying for Sadhana, she had decided that if she gets a girl, her name would be Sadhana only. Thus Bombay Sadhana got the Calcutta Sadhana’s name.
Secondly, actress/Dancer Kumkum’s real name was Zebunnisa. When she was selected by Director Shahid Lateef, for his film Sheesha-1952, first time for Debut, there was already an actress Zebunnisa existing. What’s more, this Zebunnisa was also in the film Sheesha-52, so Shaheed was thinking of a new name for the newcomer. He remembered that his favourite Sadhana Bose had acted in a film by the name ‘Kumkum-the Dancer”-1940, so he selected the name Kumkum for this new Dancer and Kumkum got her name.
After Sadhona stopped her dance films as a Heroine, she resumed her work as a Choreographer. In the early 50s, she choreographed in films like Bhola shankar-51, Nandkishore-51, Shinshinaki Boobla Boo-52. She used to do bit roles too in these films to earn money.
Just before her death she got appointed as dance trainer in Calcutta’s prestigious Star Theatre, courtesy her one time boy friend Timir Baran. She trained junior artistes for the play Janapad Badhu and once again her name featured in the newspapers in the advertisements of the play. However, the end had come very near and she passed away on 3-10-1973. A very tragic and unfortunate way indeed for an all India star who at a time had captured the heart and imagination of millions. It is very sad that she died in penury and neglect, but artistes in the 40s and 50s-many of them- had similar stories. (Based on an article by Dr.J.P.Guha, ‘Nayika’ by Babu Moshai, muVyz, HFGK with thanks and my notes).
Film Sadhana-1939 was quite a successful film and its songs also were popular. The MD was Anupam Ghatak, whose name may not be even heard by the new generation readers, because he died in 1947 itself. The music Director Anupam Ghatak – the second-generation Bengali-Hindi composer (after Rai Chand Boral and Pankaj Mullick) was born on 4-12-1911 at Mymensingh(now in Bangladesh). He took music lessons from father Atul Ghatak and Keshav ganesh Dhekan. He became an excellent Flautist. After a short stint in AIR,as a singer in 1930, he joined as asst. to Bishen Chand Boral (brother of Raichand Boral) and later to R C Boral himself for Vidyapati-1937
First independent film score: Payer Dhulo. Later worked at Sagar Film in Bombay, composing Zia Sarhadi’s Bhole Bhale and a series of films for Badami, Luhar et al. (1939). Returned to Calcutta, notably for Barua’s Shapmukti; thereafter had assignments in both Calcutta and Lahore. Known for his wide range, from the sentimental Ekti paisa dao go babu in Shape Mukti to the experimental Gane mor kon indradhanu in Agni Pareeksha.
His Hindi film career started with ‘Tarzan ki Beti’-38 and Bhole Bhale-39. He gave music to only 17 Hindi films,which included Ladies Only, Service Ltd., Sadhana, Uski tamanna, Civil marriage, Sri ramanuj etc. In Lahore he did Champa, Badnami and Shalimar, before Partition. His other films as MD were, Khush Naseeb-46, Aai bahar-46, faisla-47, Aisa Kyun-47 and Banjare-48. He had also sung 4 songs in his first film Tarzan ki beti-1938. His last Hindi film was Shamsheer, which was released only in 1953,after he died on 5-2-1947 itself.
The story of film Sadhana-1939 was ……
Ganesh kaka was a renowned judge .people from his and surrounding villages used to come to solve their disputes. His widowed sister’s son Yogesh studied in a Bombay college.He loved his village but he loved more Sadhana, the moneylender’s daughter.Ramesh the Mukhiya’s son also loved her.The moneylender is pressurised by the Mukhiya to declare the marriage of Sadhana and Ramesh.Sadhan’s mother does not like it as she too favours Yogesh.Ganesh kaka is also helpless.
Few days prior to the marriage, an unwed mother Prema comes to Ganesh kaka, with a complaint that Ramesh is the father of her child. On enquiries, it is proved that the culprit is Ramesh only. Ganesh kaka pronounces his verdict-Prema and Ramesh and Sadhana and Yogesh should get married in the same Mandap.
Today’s song is sung by Prem Adeeb. This was his second film with Shobhana Samarth. The first was Industrial India-1938, They worked in total 13 films together as lead pair. They had become famous all over India, after they had done the roles of Shri Ram and Seeta in films like Bharat Milap-42 and Ram Rajya-43.
Song- Prem yog ab karna yogi (Saadhna)(1939) Singer- Prem Adib, Lyricist- Kanhaiyalal Chaturvedi, MD- Anupam Ghatak
Lyrics
Prem yog ab karna yogi
Prem yog ab karna
sab kuchh sahna
kuchh mat kehna
sab kuchh sahna
kuchh mat kehna
ankhiyan tum na chhalakna yogi
ankhiyan tum na chhalakna yogi
Prem yog ab karna yogi
Prem yog ab karna
sab kuchh sahna
kuchh mat kehna
sab kuchh sahna
kuchh mat kehna
ankhiyan tum na chhalakna yogi
ankhiyan tum na chhalakna yogi
Prem yog ab karna yogi
Prem yog ab karna
yaad kiyaa thha ab tak jisko
ab se yaad na karna yogi
ab se yaad na karna
yaad kiyaa thha ab tak jisko
ab se yaad na karna yogi
ab se yaad na karna
yogi
jo kuchh bhi ?? bhool mujhse
yogi
yogi
?? kisi ki bhool ??
sab kuch khatm samajhna yogi
sab kuch khatm samajhna yogi
Prem yog ab karna yogi
Prem yog ab karna
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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4881 | Post No. : | 16677 |
Songs from Artiste Name Films….Second Season….No. 3
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What is Beauty ?
Everybody’s definition of Beauty is different. It all depends upon individual likings. Some like good eyes, some like long hair, some like a round and attractive face….long nose…good smile… etc etc. Because of this, Shakespeare ended this debate by saying ” Beauty lies in the beholder’s eyes”. In other words, to each his own. However, there are many who go by the majority.
There have always been debates in the film industry as to who is the most beautiful actress and as expected there was no common answer. In the early times of cinema neither the audience nor the filmmakers ever bothered about the beauty of the actresses. In the 30’s, the stress was on film producing company names and the story of the film. It was in the 1940s that the point of beauty of the film heroine took prominence. When one sees the magazine and newspaper advertisements of that time, one notices this point.
During the 40’s decade two actresses were declared beautiful. One was Naseem Bano- who was called ‘ Pari Chehra” (face of the Fairy), and the other was Ragini- who was called “Aahoo Chashm” (Magical Eyes). Ragini’s eyes were Brown, which is a rarity. in all those years, there have been only three actresses, who had brown eyes. One was Vanmala, the second was Kamla Kotnis and the third was Ragini. However, it was only Ragini, who was given extraordinary publicity through newspapers, Hoardings and magazine articles, of being the ” Aahoo Chashm ” !
Ragini was born Shamshad Begum, on 11-12- 1923, at Gujranwala, in a bazaar, where, to quote that great sage, Agha Hashr, “Days are dormant and nights wide awake.” Her mother named her Shamshad Begum, and her father, Seth Diwan Parmanand, happily allowed a Muslim name. But, her mother died during her childhood, and Diwan took this young girl from Gujranwala to Lahore.
Even this early, Ragini had the looks that made her noticeable. In those days, the classical sense of beauty was quite different. Large, sparkling eyes and a fair complexion was enough for any girl in the films to be termed beautiful. Aahoo Chashm Ragni and Pari Chehra Naseem (Saira Bano’s mother) were both considered the epitome of beauty, although young people question those attributes today as “just average”. Ragini had Brown eyes. In Indian cinema there were only 3 Heroines who had such Brown eyes. Ragini was one, Kamla Kotnis was second and the third was Vanmala.
Ragini was not able to go to school for undisclosed reasons, although she had a happy childhood. Diwan Sahab’s good friend, Roop K. Shorey was a well known film maker, and one day, while visiting his house, he noticed the girl child. “Isn’t she cute?” he said. “She has the looks of a fine film actress.” Although Diwanjee had some reservations about allowing the girl to join the industry, Shorey pledged that he would look after her at every step of the shootings. In those days, there were very few girls in the industry. To find a seventeen year old girl as the heroine meant that you had hit the jackpot.
Shorey cast Shamshad as Ragini, in Kamla Movietones’ Punjabi film, Dulla Bhatti in 1940. M.D. Kunwar was the hero, while Ragini played Nooran in the film. It was a hit and people were spellbound by her charm. Her next film, Sehti Murad did not make such a bang. She also did ‘himmat’ and ‘Raavipaar’. Later, she worked in many films before Partition, including her first Hindi film,Nishani-42,,naila,Anarkali,Poonji, Kaise Kahoon, Dasi, Shirin Farhad,farz and others. In Kardar’s film, Shahjahan, Ragini played Mumtaz Mahal, while her first hero, M. D. Kunwar, who had done Dulla Bhatt’s role, characterized Shahjahan with great aplomb. Kunwar was so enamoured of Ragini that he had requested Kardar for the role, to be close to Ragini. Unfortunately, Ragini did not respond to his romantic advances, and Kunwar sank himself in perpetual drunkenness, which led to his getting infected by tuberculosis and his death soon after that.
After Kardar’s Shahjhan, Ragini did a few more films before Partition, namely Nek Parveen, Farz, etc. Amongst these, director Niranjan’s film, Farz was Sudhir’s first film too, and Ragini played the lead with him. Ragini acted in 14 Hindi films, before her migration. Ragini got married to mian Mohd. Aslam in 1945 and took a break to raise a family. After Partition,she migrated to Pakistan and was welcomed with open arms in Pakistan. She worked as the heroine in films like Mundri, Akeli, Nazrana, Beqarar, Shararey, Mumtaz and Zanjeerin Pakistan. Radio Pakistan , during its creative days, used to play the hit songs of Beqarar, Naukar and Bedari in the 1960s. The song from producer S. Gul and director NazeerAjmeri’s 1950 film, Beqararis, still played on the radio. Dil ko laga ke kaheen thokar na khana. It was sung by Ali Bux Zahoor and Munawwar Sultana, and remains one of the earliest hit duets of Pakistani films.
Ragini was an expressive character actress, who did a variety of roles in films like Husn o Ishq, Anarkali, and Aab e Hayat She made a perfect Mumtaz Mahal in Naseem usSaqlain’s Taj Mahal, although she wore a half veil in some of the scenes. It was a remarkable spectacle, but flopped because the local audience could not understand its historical significance. A huge expense to uplift it, with superb costumes, apart from the details taken care of during the royal procession shown in the film, are its high points. Ragini was able to use her arching eyebrows and expressive eyes brilliantly in Taj Mahal. Much has been written about her intimacy with famous producer, S. Gul, but he always maintained and proved by his actions that he had sympathy and reverence for her and shared her grief and heart felt fondness for the good times she had spent in the undivided India.
Ragini was invited to India to do two films,Chamkee-52 and Insaan-52. She completed these and went back to Pakistan. Later she divorced her first husband and married producer Gul. Her last days in Pakistan were very sad. She was thrown out of her house by her Son in Law,as he did not want an actress in his house. She spent her last days in a small room in Lahore and died unsung on 27-2-2007 at the age of 85 years. (information collated from various sources like pak.mag, cinerang by Isaq Mujawar, muVyz, HFGK,Flashback, Chanderi Smriti Chitre by Samant, upperstall with thanks and my notes)
Today’s song is from the film Ragini-1945. Actress Ragini was not in the film. The film cast consisted of Smriti Biswas, Najam ul Hasan, Pran, Aruna Devi, Gyani ji, Roofi and many others. The film was made by Maheshwari Pictures, Lahore and was directed by Shankar Mehta. He directed only 4 films in his career-Pagli -43, Ragini-45, Aai Bahar-46 and Rokshawala–60 ( for which he was also one of the producers). The music was by Pt. Amarnath – the eldest brother of Pt. Husnlal and Pt. Bhagatram.
The Hero of the film Ragini (RAGNI, as per the HFGK)-45 was Najam, who was (in)famous for eloping with Devika Rani of Bombay Talkies. Najmul Hasan was born on 5-9-1910, into a noble family of Lucknow. He was tall and very handsome and was bitten by the urge to act in the films. He left his Law studies and headed for Bombay. He met Sarojini Naidu, who was a family friend. She strongly recommended his name to Himanshu Rai. His Screen test was taken in which he passed. Though at first sight, Himanshu Rai was not impressed with his manner of behaviour, he still selected him for the First film of Bombay Talkies, opposite Devika Rani in Jawani ki Hawa-1935.
During Jawani ki Hawa-35- which was loosely based on Agatha Christie’s “Murder On The Orient Express”, published in 1934 only- Devika Rani fell in love with Najmul Hasan and they decided to elope. Their second film- Jeewan Naiyya-36 went on floor and the love birds flew to Calcutta. There was a great commotion in Bombay Talkies. Shashdhar Mukherji the production manager was close to his Bengali Boss Himanshu Roy. Mukherjee traced the couple to Calcutta, met Devika Rani and convinced her to return to Himanshu. Devika Rani returned, Himanshu Roy pardoned her, but not Najmul Hasan.
Najmul Hasan did not come back to Bombay. He joined the New Theatres in Calcutta and did films like Anath Ashram-37,Dushman-38,Kapal kundala-39,Jawani ki Reet-39, and Nartaki-40. Even in Calcutta, Najmul Hassan had a rocking affair with superstar Jahan Ara Kajjan. After doing the film Meenakshi-42, Najmul Hasan did some films like Daasi-44 , Ragini-45 and kaise Kahoon-45 in Lahore and then he decided to migrate to Pakistan in 1947. In Pakistan he did some films like Eid-1951, Ashiyana, Doctor, Mirza Jatt, Taxi Driver and Heer Ranjha etc.
Najmul Hasan, a very bitter man for the treatment he received in Pakistan, died in 1980 in Pakistan. (Based on information from सुंदर ती दुसरी दुनिया by Ambarish Mishra,pak.mag, The magical world of Bombay Talkies by Lalit Joshi with thanks and my notes)
Today’s song is sung by Zeenat Begum, who was not only a find of Pt. Amarnath, but also his main singer for many of his films.
Song- Ik hook si uthhti hai dil mein baar baar kyun(Raagini)(1945) Singer- Zeenat Begum, Lyricist- not known, MD- Pt. Amarnath
Lyrics
Ik hook si uthhti hai dil mein baar baar kyun oon
aankhon ne baandh rakkha hai ashkon ka taar kyun oon
ik hook si uthhti hai dil mein baar baar kyun oon
maatam hai jiski aarzuon ka jahaan mein aen
maatam hai jiski aarzuon ka jahaan mein aen
har cheez mein gar ho rahi hai sogwaar kyun
aankhon ne baandh rakkha hai ae ashkon ka taar kyun oon
ik hook si uthhti hai dil mein baar baar kyun oon
hook uthh raha hai dil mein janaaza ummeed ka
taar taar samne sab ro karaar kyun oon
aankhon ne baandh rakkha hai ae ashkon ka taar kyun oon
ik hook si uthhti hai dil mein baar baar kyun
barbaad ho chuka hai mera aashiyaan ??
barbaad ho chuka hai mera aashiyaan ??
bijli chaman mein kaundhhti hai baar baar kyun oon
aankhon ne baandh rakkha hai ae ashkon ka taar kyun oon
ik hook si uthhti hai dil mein baar baar kyun oon
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 : |
4880 | Post No. : | 16676 |
“Devtaa”(1956) was produced by K S Narayanan and directed by Patanna for Narayanan and Company, Bombay. This “kaalpnik” movie had Anjali Devi, Vyjyanti Mala, Ganesh, Kumari Kamla, Bipin Gupta, Krishna Kumari, Agha Indira, Nambiar, Roop Kumar, Kamal Krishn etc in it.
The movie had eight songs in it. Four songs have been covered in the past.
Here is the fifth song from “Devtaa”(1956) to appear in the blog. This song is sung by Manna Dey. Rajinder Krishan is the lyricist. Music is composed by C Ramchandra.
The song is picturised as a background song. The picturisation shows a princess getting married to an ugly and deformed man and as befits an Ideal Bhartiya Nari, she is supposed to follow in the footsteps of her husband wherever he goes. That is the message that this song conveys in the background.
I am unable to identify the actors in the picturisation. I request our knowledgeale readers to throw light on the picturisation of the song.
Song-Udhar Chali jaa Jaanki jidhar chale tere Raam(Devtaa)(1956) Singer-Manna Dey, Lyrics-Rajinder Krishan, MD-C Ramchandra
Lyrics
mud kar bhi na dekh suhaagan
mahlon ki ye shaan
is duniya mein ab tera bas
pati hi hai bhagwaan
udhar chali ja jaanki
jidhar chale tere raam
chhod na apna raasta
le himmat se kaam
jaanki le himmat se kaam
udhar chali ja jaanki
jidhar chale tere raam
chhod na apna raasta
le himmat se kaam
jaanki le himmat se kaam
bhaarat ki santaan hai tu
saawitri ka roop
bhaarat ki santaan hai tu
saawitri ka roop
sita ban kar sahti jaana
ban ban ki tu dhoop
hanste hanste ladti ja
tu jeewan ka sangraam
chhod na apna raasta
le himmat se kaam
jaanki le himmat se kaam
pativrata tere tej ke aage
sooraj bhi sharmaaye
pativrata tere tej ke aage
sooraj bhi sharmaaye
tere ek ishaare se ye baadal jal barsaaye
tere ek ishaare se ye baadal jal barsaaye
tere jaisi satiyon se hi bhaarat ka hai naam
chhod na apna raasta
le himmat se kaam
jaanki le himmat se kaam
pati kahe to phool chhod kar
kaante gale laga le ae ae
pati kahe to phool chhod kar
kaante gale laga le
preetam ke charnon mein apna
tu sansaar basa le
preetam ke charnon mein apna
tu sansaar basa le
kutiya mein bhi tujhe milega
mahlon ka aaraam
chhod na apna raasta
le himmat se kaam
jaanki le himmat se kaam
udhar chali ja jaanki
jidhar chale tere raam
chhod na apna raasta
le himmat se kaam
jaanki le himmat se kaam
Sundar sapna ban ke aali
Posted on: November 26, 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.
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Blog Day : |
4879 | Post No. : | 16675 |
Songs from Artiste Name Films….Second Season….No. 2
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Sulochana (Ruby Meyers), Zubeida, Prithviraj Kapoor, Devika Rani, K L Saigal…. These are some names which can be called as the artistes who shaped the early Talkie cinema and gave it an identity. Great filmmakers like Baburao Painter, Ardeshir Irani, B N Sircar; directors like V Shantaram, Master Vinayak, Debki Bose and Music Directors like R C Boral, Pankaj Mullik, Shankarrao Vyas, Govindrao Tembe etc were people who contributed to early cinema, developed the next generation and experimented in the film making.
While enough information about them and their contribution is available, it is not in circulation, because people who would have been interested to know about them are diminishing. Except for hard core lovers of old films and students of early cinema, hardly anyone shows interest in discussing these artistes’ lives and careers.
Through this series,I will attempt to portray their contributions to Indian cinema and give a nostalgic feeling to old film lovers.
Prithviraj Kapoor is called the head of the First family of Hindi cinema, because his family, through several generations, has been in this field for almost a Century – considering that Prithviraj began his acting career in the 20’s decade of the last century. He made his film debut in 1928 with the silent film ” Be Dhaari Talwar” (Double edged sword), made by the Imperial Film Company, Bombay.
Prithviraj Kapoor was very handsome with a good physique and personality. He was a thorough gentleman and a good friend. His interest in stage was more than in films. Today’s song is from the film ” Prithviraj Sanyogita “-1946, made by Shalimar Pictures, owned by W.Z.Ahmed, husband of the Heroine of the film-Neena. The film was directed by Najmul Hasan Naqvi. The music was by S.K.Pal, the in-house Music Director of Shalimar. The cast was Prithviraj Kapoor, Neena, Tiwari, Bharat Vyas, Ram Avtar, Uma Dutt etc etc. The film was released on 17-5-1946 at Lamington Cinema in Bombay.
The story of the love affair of Prithviraj Chauhan and Sanyogita is a glorious chapter in Indian History. The story of their love as depicted in the film was…
Prithviraj Chauhan ( 1149-1192) was the king of the Chauhan dynasty whose rule extended to parts of present day Rajasthan, Haryana, Delhi and some parts of Madhya Pradesh and Uttar Pradesh. He is also hailed as the last Rajput king to rule Delhi before the Muslim conquest of the Indian subcontinent. Prithviraj was a valiant king and his glory surged to new heights after he defeated Muhammad Ghori, the Sultan of Ghurid Empire (present day Afghanistan) in the first battle of Tarain. Legend has it that Ghori attacked Delhi 17 times, and was defeated 16 times at the hands of Prithviraj Chauhan and his army.
Soon enough, the heroic tales of Prithviraj’s valour reached the ears of Sanyogita, the daughter of Kannauj king, Jayachand. But before love could flourish between the two, the relationship between Jayachand and Prithviraj Chauhan was strained. Jayachand wanted to assert his supremacy over the other Rajput kings and hence decided to do a Rajsuya Yagya. Prithviraj, however, refused to accept Jayachand’s supremacy and this marked the beginning of their enmity. But while Jayachand was enraged by Prithiviraj’s refusal to accept him as the supreme king, his daughter Sanyogita was smitten. She had heard about Chauhan’s heroic expeditions and was absolutely in love with him.
According to legend, they fell in love when a painter from Prithviraj’s court, Panna Ray, visited Kannauj and showed his painting of the king to the princess. The same painter, upon returning, painted Sanyogita’s portrait and showed it to Prithviraj. Needless to say, he too was smitten by her beauty.
At this time, Jayachand decided to arrange a swayamvara for his daughter. He sent an invite to all the kings except Prithiviraj. To add to the insult, he got a statue of Prithviraj made and installed it as a doorman. But Sanyogita had already given her heart to him. When she came to know that he wasn’t even invited to the swayamvara, she was devastated and wrote him a letter expressing her desire to marry him. To this, Prithviraj promised her that he would come to the swayamvara.
On the day of the swayamvara, Sanyogita walked past all the kings and princes, rejecting each one of them, and finally reaching the statue. At that moment, Chauhan, who was hiding until then, came out and Sanyogita put the garland around his neck. Prithviraj Chauhan then openly challenged Jayachand to stop him from taking his wife. This made Jayachand shake with rage at the insult in front of a huge gathering of kings and princes.
That day, thousands of soldiers laid their lives to make sure that Prithviraj Chauhan escaped safely from Kannauj, with his newly-wedded wife Sanyogita.
Jayachand was raging with anger and he wanted to take revenge. So, he formed an alliance with Muhammad Ghori, whom Prithviraj had previously defeated 16 times, and extended his support to Ghori’s army to attack Delhi. When Ghori’s army attacked this time, Prithiviraj lost the war and Ghori captured him. Legend has it that Chauhan had begun to ignore state affairs after his marriage to Sanyogita.
Chauhan was defeated, but he refused to bow his head in front of the Sultan. So, Ghori’s soldiers blinded him, using hot iron rods. Seeing his king helpless and in pain, Bardai – the court poet – who had been accompanying Prithviraj in the war, tricked the Sultan into organising an archery performance by Prithviraj Chauhan. Apparently, Prithviraj could hit a target with just his sense of sound.
An archery competition was held and Bardai subtly told his blind king about the exact place where the Sultan was standing. He said:(Translation: Sultan is sitting four measures ahead of you and twenty four yards away when measured with eight fingers. Don’t miss your target, Chauhan).
When Muhammad Ghori ordered the blind king to shoot, Prithviraj took aim based on Bardai’s hints and shot the arrow at him. He didn’t miss his target and Muhammad Ghori was killed. The court-poet then stabbed Prithviraj and himself to avoid further humiliation at the hands of Ghori’s soldiers. (Thanks to whoopscoop).
Now let us know more about Prithviraj Kapoor, because he last acted exactly 50 years ago. Almost 2 Generations have gone after that and so most readers may not be knowing much about his life, work and career in Indian Cinema. Prithviraj Kapoor (born Prithvinath Kapoor; 3 November 1906 – 29 May 1972) was an actor, film producer, writer, and film director, who is also considered to be one of the founding figures of Hindi cinema. He was associated with IPTA as one of its founding members and established the Prithvi Theatres in 1944 as a travelling theatre company based in Bombay.
He was the patriarch of the Kapoor family of Hindi films, four generations of which, beginning with him, have played active roles in the Hindi film industry, with the youngest generation still active in Bollywood. His father, Basheshwar Nath Kapoor, also played a short role in his movie Awara. The Government of India honoured him with the Padma Bhushan in 1969 and the Dadasaheb Phalke Award in 1971 for his contributions towards Indian cinema.
Kapoor was born on November 3, 1906 in Samundri, Lyallpur District, Punjab into a Punjabi Hindu Khatri family.His father, Basheshwarnath Kapoor, served as a police officer in the Indian Imperial Police in the city of Peshawar, North West Frontier Province while his grandfather, Keshavmal Kapoor, was a Tehsildar in Samundri.Kapoor’s childhood was largely spent in Lyallpur, Punjab, where his grandparents and extended family lived. Later, his father was transferred to Peshawar, North West Frontier Province, and after and later at Edwardes College Peshawar in Peshawar.
Kapoor began his acting career in the theatres of Lyallpur and Peshawar. In 1928, he moved to Bombay, Bombay Presidency with a loan from an aunt. There he joined the Imperial Films Company and started acting in minor roles in movies. In 1928, he made his acting debut as an extra in his first film, Be Dhari Talwar. He went on to earn a lead role in his third film, titled Cinema Girl, which was released in 1929. After featuring in nine silent films, including Be Dhari Talwar, Cinema Girl, Sher-e-Arab and Prince Vijaykumar, Kapoor did a supporting role in India’s first film talkie, Alam Ara (1931).
In 1931 his two sons died accidentally. He left films and joined Grant Anderson Theatre company. In 1932 when they were at Calcutta, on tour, the company closed down and Kapoor decided to try luck in Calcutta. He joined New Theatres and acted in more than 12 films. He became friends with K N Singh and Kidar Sharma as well as K L Saigal. In 1939, he realised that Bengalees were preferred for roles, he left Calcutta and came back to Bombay joining Ranjit. After sometime he became a Freelancer and worked in films of Minerva, Prakash, Wadia and with Shantaram. He did Historical, Mythological, Social and Stunt films equally. After Raj Kapoor became a producer and director he acted in his films. He developed a reputation as a very fine and versatile actor on both stage and screen.
By 1944, Kapoor had the wherewithal and standing to found his own theatre group, Prithvi Theatres, whose première performance was Kalidasa’s Abhijñānaśākuntalam in 1942. His eldest son, Raj Kapoor, by 1946, had struck out on his own; the films he produced had been successful and this was also an enabling factor. Prithviraj invested in Prithvi Theatres, which staged memorable productions across India. The plays were highly influential and inspired young people to participate in the Indian independence movement and the Quit India Movement. In over 16 years of existence, the theatre staged some 2,662 performances. Prithviraj starred as the lead actor in every single show. One of his popular plays was called Pathan (1947), which was performed on stage nearly 600 times in Mumbai. It opened on 13 April 1947, and is a story of a Muslim and his Hindu friend.
As Kapoor progressed into the 50s, he gradually ceased theatre activities and accepted occasional offers from film-makers, including his own sons. He appeared with his son Raj in the 1951 film Awara as a stern judge who had thrown his own wife out of his house. Later, under his son, Shashi Kapoor, and daughter in law Jennifer Kendal, Prithvi Theatre merged with the Indian Shakespeare theatre company, “Shakespeareana”, and the company got a permanent home, with the inauguration of the Prithvi Theatre in Mumbai on 5 November 1978.
In 1996, the Golden Jubilee year of the founding of Prithvi Theatre, India Post, issued a special two Rupee commemorative postage stamp. It featured the logo of the theatre, the dates 1945–1995, and an image of Kapoor. The first day cover, (stamped 15-1-95), showed an illustration of a performance of a travelling theatre in progress, on a stage that seems fit for a travelling theatre, as Prithvi theatre was for sixteen years, till 1960. On the occasion of 100 years of the Indian cinema, another postage stamp, bearing his likeness, was released by India Post on 3 May 2013.
His filmography of this period includes Mughal-e-Azam (1960), where he gave his most memorable performance as the Mughal emperor Akbar, Harishchandra Taramati (1963) in which he played the lead role, an unforgettable performance as Porus in Sikandar-e-Azam (1965), and the stentorian grandfather in Kal Aaj Aur Kal (1971), in which he appeared with his son Raj Kapoor and grandson Randhir Kapoor. He did 95 films in Hindi. He directed one film Paisa-1957. He had also sung a song in the film Dagabaz Ashiq-1932.Kapoor starred in the legendary Punjabi film Nanak Naam Jahaz Hai (1969), a film so revered in Punjab that there were lines many kilometres long to purchase tickets.
He also starred in the Punjabi films Nanak Dukhiya Sab Sansar (1970) and Mele Mittran De (1972).
He also acted in the Kannada movie Sakshatkara (1971), directed by Kannada director Puttanna Kanagal. He acted as Rajkumar’s father in that movie.
In 1954, he was awarded the Sangeet Natak Akademi Fellowship, and in 1969, the Padma Bhushan by the Government of India. He remained a Nominated Rajya Sabha Member for eight years.
He was posthumously awarded the Dadasaheb Phalke Award for the year 1971. He was the third recipient of that award, the highest accolade in Indian cinema.
1954: Sangeet Natak Akademi Fellowship by the Sangeet Natak Akademi
1956: Sangeet Natak Akademi Award by the Sangeet Natak Akademi
1969: Padma Bhushan by the Government of India
1972: Dadasaheb Phalke Award (Posthumous) for the year 1971, for his immense contribution to Indian theatre and cinema
Kapoor was aged 17 when he was married to the 15-year-old Ramsarni Mehra, a lady of his own community and similar background, in a match arranged by their parents in the usual Indian way. The marriage was harmonious and conventional and lasted all their lives. In fact, the wedding had been held even earlier, a few years prior to this, and it was the gauna ceremony (farewell) which was celebrated when Ramsarni reached the age of 15 and became old enough to leave her parents and reside with her husband and in-laws. Ramsarni’s brother, Jugal Kishore Mehra, would later enter films.
The couple’s eldest child, Raj Kapoor, was born the following year in Peshawar, North West Frontier Province, on 14th December, 1924; making Prithviraj a father at age 18. The couple went on to have three more children: sons Shamsher Raj (Shammi) and Balbir Raj (Shashi) (who were to become famous actors and filmmakers in their own right), and daughter, Urmila Sial.
After his retirement, Prithviraj settled in a cottage called Prithvi Jhonpra near Juhu Beach, West Bombay. The property was on lease, which was bought by Shashi Kapoor, and later converted into a small, experimental theatre, the Prithvi Theatre. Both Prithviraj and Ramsarni had cancer and died about a fortnight apart. Prithviraj died on 29 May 1972. (Thanks to information from wiki and the book Beete kal ke sitare by shriram Tamrakar).
Here is a good song by Sitara Kanpuri from the film Prithviraj Sanyogita-1946. Enjoy….
Song-Sundar sapna ban ke aali (Prithviraj Sanyukta)(1946) Singer- Sitara Kanpuri, Lyricist- Akhtar-ul-Iman, MD- S K Pal
Lyrics
Sundar sapna ban ke aali
ban ke aali
Sundar sapna ban ke aali
ban ke aali
nainan mein kaun samaaya
kaun samaaya
ye kaun samaaya
kaun samaaya
ye kaun samaaya
Sundar sapna ban ke aali
ban ke aali
nainan mein kaun samaaya
har umang mein
har tarang mein
har umang mein
har tarang mein
phool paat mein
rang rang mein
rom rom mein
ang ang mein
rom rom mein
ang ang mein
ek hi ko paaya
kaun samaaya
Sundar sapna ban ke aali
ban ke aali
nainan mein kaun samaaya
man matwaara aashaaon ki god mein
god mein aen
jhoola jhoolen
jhoola jhoolen
palchhin paayen sang usi ko
uski baat na bhoolen aen
uski baat na bhoolen aen
kuchh soch soch kar phoolen
kuchh soch soch kar phoolen
ye kaisa rang jamaaya aa aa aa
kaun samaaya
Sundar sapna ban ke aali
ban ke aali
nainan mein kaun samaaya
meethhi yaad kisi ki
man mein amrit ghol rahi hai
man mein amrit ghol rahi hai
saanson ke taaron se tan ki
veena bol rahi hai
veena bol rahi hai
sab duniya dol rahi hai ae
sab duniya
sab duniya dol rahi hai
ye kaisa jaadoo chhaaya aa aa
kaun samaaya
Sundar sapna ban ke aali
ban ke aali
nainan mein kaun samaaya
kaun samaaya
ye kaun samaaya
kaun samaaya
ye kaun samaaya
Hai aaj kal ki fikar hi kya
Posted on: November 26, 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 : |
4879 | Post No. : | 16674 |
Do not dwell in the past, do not dream of the future, concentrate the mind on the present moment – Lord Buddha
Thinking about the past events in the life and planning for the future is one of the common activities of human beings most of the time. This, at times, can become a stressful activity during which negative thoughts can creep in the mind. In this process, we tend to lose focus on the current activities. We try to neatly plan for the future based on the past experiences. But not all the parameters of the future plan run on the basis of what was determined at the time of planning. The reason is that there are many uncertainties on the way to attaining the goal. I will give the example of planning my Himalayan treks to elucidate the tyranny of uncertainties.
I have always made a well-charted plan for each of my Himalayan treks. But the uncertainty starts when the train or the flight which we have booked gets delayed by a few hours jeopardizing the connecting travels to the base town/village from where the trek is to start. The second uncertainty is through natural calamities. A landslide or a flooded water stream cutting across the road can block the vehicle movements for a considerable time. The third element of the uncertainty is the weather. A rain/snow storm during the trek can force one to stay inside the tent or in a shelter on the way for a considerably long time. Lastly, the last-minute health issues of a trekker can force him the abandon the trek mid-way. Ultimately, one is not sure whether the trekker’s goal to reach his destination would be achievable or not.
Because of these perceived uncertainties, for the next trek, we plan more meticulously than what is necessary. Things work out smoothly and at the end of the trek, though we are happy to complete the trek in time without hic-cups, we feel cheated by the nature. We are left with extra days which means additional expenses. In short, there is no fixed solution in the planning for the future.
Because of the futility of the past memories and the uncertainty of the future, a philosophical thought has emerged which is known as ‘live in the moment’. This philosophy reminds us that our presence is in the present only. We cannot live in the past as that timeframe is over. We cannot plan for the future as there are many uncertainties. When we think of our past, the thought process influences our future goals. There is no guarantee that our past experiences would lead to achieving the future goals successfully.
Perhaps, it was in this context, Lord Buddha advised his followers to forget about the past, not to dream about the future and devote full time for present moment. In other words, there is no need for Mungerilal ke haseen sapne as there is no guarantee – kal ho na ho. So, enjoy the present moment on which the human beings have some control. Just go with the flow of life as beautifully visualised by Sahir Ludhianv in the song, main zindagi ka saath nibhaata chala gaya.
There may be many among us who are following ‘living for the moment’ philosophy, albeit unknowingly. After reading about this philosophy, I have realised that I have unwittingly followed this philosophy covering the important social and financial events in my life. I had flown with then current situation as needed without bothering about the future – especially in regard to my education, employment, buying a residential house, financial planning for the future etc. I had not made any financial planning for my future as at that time, I felt that my provident fund balance and the gratuity amount would take care of my future financial requirements. As I see it today, I was not completely right about this thinking as interest earned on this amount would not have taken care of a good standard of living in my post-retired life. Fortunately, when my job became pensionable in 1997, it helped me to maintain a good standard of living after retirement.
Let me add a caveat to the ‘live in the moment’ philosophy. Each one of us follow a different life style. Some will thrive with their life to flow with the needs as and when arise without planning for the future. Some may like to have a perspective plan for their future life, may be with some flexibilities. There is also the third possibility – a sort of mix of both where one partially plans and also partially swims with the flow.
I found a rare song from the film ‘Dukh Sukh’ (1942) which depicts, more or less, the ‘live in the moment’ philosophy, probably for a drunkard in a tavern. The song is ‘hai aaj kal ki fiqar hi kyaa, majhe se pee aur majhe se khaa’ which is rendered by Rajkumari Dubey. The words are of Wali Sahab which are set to music by Khemchand Prakash.
Audio Clip:
Song-Hai aaj kal ki fikar hi kya (Dukh Sukh)(1942) Singer-Rajkumari, Lyrics-Wahi Sahab, MD-Khemchand Prakash
Lyrics
hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa
hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa
ye aaj tere haath hai
ye aaj tere haath hai
kal ki kal ke saath hai
kal ki kal ke saath hai
kal kaa din jo aayega
kal kaa din jo aayega
to kal ko dekha jaayega
to kal ko dekha jaayega
hai kal ki tujhko fiqar hi kyaa
maze se pee aur maze se khaa
hai kal ki tujhko fiqar hi kyaa
maze se pee aur maze se khaa
shabaab phir na aayega
ye abr phir na chhaayega
shabaab phir na aayega
ye abr phir na chhaayega
ye chaar din hain pyaar ke ae
ye chaar din hain pyaar ke ae
maz utha tu bahaar ke
maze utha tu bahaar ke
bahaar ke tu maze uthha
maze se pee aur maze se khaa
bahaar ke tu maze uthha
maze se pee aur maze se khaa
hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa
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Blog Day : |
4878 | Post No. : | 16673 |
“Amar Deep”(1958) was directed by T Prakashrao for Shivaji Productions, Bombay. This movie had Dev Anand, Vyjayantimala, Ragini, Johny Walker, Padmini, Pran, David, Bipin Gupta, Mukri, Shivraj etc with Guest appearances by Om Prakash, Anwar Hussain and Randheer.
The movie had 12 songs in it. Ten songs have been covered in the past.
Here is the eleventh song from “Amar Deep”(1958) to appear in the blog. This song is sung by Asha Bhonsle. Rajinder Krishan is the lyricist. Music is composed by C Ramchandra.
Vyjyanti Mala was the lead actor in the movie with Dev Anand and so this song has to be pictuurised on them. But I have my doubts about the identity of the lady. I request our knowledgeable readers to help identify the lady.
Song-Kisi din zara dekh mera bhi ho ke (Amar Deep)(1958) Singer-Asha Bhonsle, Lyrics-Rajinder Krishan, MD-C Ramchandra
Lyrics
hmm hmm hmm
aur dard se majboor
o o o o
kyun phir bhi nahin meri mohabbat tujhe manzoor
kisi din zara dekh mera bhi hoke
kisi din zara dekh mera bhi hoke
kahaan tak diye jaayega dil ko dhokhe
kahaan tak diye jaayega dil ko dhokhe
kisi din zara dekh mera bhi hoke
kisi din zara
wo aaraam jiski zaroorat hai tujhko
zaroorat hai tujhko
wo aaraam jiski zaroorat hai tujhko
zaroorat hai tujhko
milega tujhe
ho milega tujhe meri baahon mein khoke
kisi din zara dekh mera bhi hoke
kisi din zara
tera dil hi khud tera dushman hai warna
tera dil hi khud tera dushman hai warna
tujhe muskuraane se kyun koi roke
kahaan tak diye jaayega dil ko dhokhe
kisi din zara dekh mera bhi hoke
kisi din zara
mere iltiza hai sama bhi ja inmein
ho sama bhi ja inmein
mere iltiza hai sama bhi ja inmein
khule hain in aankhon ke kab se jharokhe
kisi din zara dekh mera bhi hoke
kisi din zara
Aao pardesi mere dwaar
Posted on: November 23, 2021
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 : |
4876 | Post No. : | 16671 |
“Roopkumari”(1956) was produced by Chimanlal Trivedi and directed by Manibhai Vyas for Chitrabharti, Bombay. The movie had Shakila, Mahipal, Chandrashekhar, Tiwari, Maruti, Kamal, Ratnamala, Krishnakumari, Moni Chatterjee, Roopmala, Jankidas, Ramesh Thakur, Jagdish, Dubey etc in it.
This movie had seven songs in it. Three songs have been covered in the past.
Here is the fourth song from “Roopkumari”(1956) to appear in the blog. The song is sung by Asha Bhonsle. B D Mishra is the lyricist. Music is composed by S N Tripathi.
Only the audio of the song is available. I request our knowledgeable readers to throw liht on the picturisation of this song.
Song-Aao pardesi mere dwaar (Roopkumari)(1956) Singer-Asha Bhonsle, Lyrics-B D Mishra, MD-S N Tripathi
Lyrics
Aao pardesi mere dwaar
Aao pardesi mere dwaar
tumhaare binaa saara sansaar soona laage
tumhaare binaa saara sansaar soona laage
dhoondhhoon main tohe dwaar dwaar
tumhaare binaa saara sansaar soona laage
tumhaare binaa saara sansaar soona laage
dukh ka ik toofaan uthhaa hai
chhaaya hai andhiyaara
beech bhanwar meri naav phansi hai
aaye na khewanhaara
ab koi na khewanhaara
tooti aashaa ki patwaar
tumhaare binaa saara sansaar soona laage
tumhaare binaa saara sansaar soona laage
o o pardesi
jag saara hai sukh ka saathhi
wo dukh kya pehchaane
birhan ka dukh birhan jaane
aur na koi jaane
dukh aur na koi jaane
eena hua hai dushwaar
tumhaare binaa saara sansaar soona laage
tumhaare binaa saara sansaar soona laage
o o pardesi
I don’t know why na jaane kyon
Posted on: November 22, 2021
- In: Background song | Lata solo | Lata song | Lyrics by Prakashchandra | Lyrics contributed by readers | Movie ending song | Multi Version Song | Multiple version song | Series of articles | Shaan Solo Songs | Shaan Songs | Songs of 2000s (2001 to 2010) | Songs of 2010 | Theme song | Title song | Yearwise breakup of songs | Yearwise review of Lata Mangeshkar HF songs
- 3 Comments
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 : |
4875 | Post No. : | 16670 | Movie Count : |
4544 |
Yearwise discussion of Lata Mangeshkar songs in HFM: Part LXI: Year 2010
———————————————————————————————————
In this episode, the 61st episode, we cover Lata Mangeshkar songs that she sang in Hindi movies released in 2010.
By the first decade of the millenium, Lata Mangeshkar’s share in Hindi movie playback had dwindled to a trickle. Searching for her songs in movie of this decade was like searching for needle in a haystack.
In 2010, Lata Mangeshkar sang just one song in one movie released in 2010.
Here are the details of the song sung by Lata Mangeshkar in Hindi movies released in 2010 :-
| 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 | Dunno Y..Na Jaane Kyon | Nikhil Kamat | 0 | 1 | 1 | 0 | 0 | 0 | Satyaprakash |
| Total | 1 movie | 1 MD | 0 | 1 | 1 | 0 | 0 | 0 | 1 lyricist |
Lata Mangeshkar worked with 1 music director and 1 lyricist in this one movie released in 2010.
Laxmikant Pyarelal were the most prolific music directors with Lata, with 664 songs in HFM with Lata Mangeshkar by the end of 2007. 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 275 songs. Other top music directors for Lata Mangeshkar were Chitragupta (239), Madan Mohan (204), 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 3742 songs out of 5242 songs that Lata Mangeshkar had sung in Hindi movies till end of 2010. Anand Bakshi with 731 songs was the top lyricist with Lata Mangeshkar. Other leading lyricists with Lata Mangeshkar were Rajinder Krishan (555), Majrooh Sultanpuri (407), 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 3252 songs sung by Lata Mangeshkar till that time.
Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 2010 :
| 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 | 17 movies | 51 | 57 | 42 | 8 | 4 | 3 | |
| 1949 | 40 movies | 142 | 160 | 105 | 35 | 13 | 7 | |
| 1950 | 36 movies | 116 | 143 | 93 | 32 | 14 | 4 | |
| 1951 | 49 movies | 190 | 223 | 158 | 52 | 10 | 3 | |
| 1952 | 43 movies | 151 | 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 | 173 | 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 | 190 | 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 | 100 | 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 | 62 | 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 | 60 | 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 | 4 | 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 | 5 | 39 | 9 | 28 | 0 | 2 | |
| 1995 | 4 movies | 2 | 8 | 3 | 4 | 0 | 1 | |
| 1996 | 5 movies | 2 | 14 | 7 | 7 | 0 | 0 | |
| 1997 | 5 movies | 1 | 21 | 2 | 14 | 4 | 1 | |
| 1998 | 3 movies | 4 | 11 | 3 | 7 | 0 | 1 | |
| 1999 | 7 movies | 3 | 14 | 6 | 7 | 0 | 1 | |
| 2000 | 2 movies | 3 | 5 | 1 | 2 | 0 | 2 | |
| 2001 | 6 movies | 2 | 12 | 6 | 5 | 0 | 1 | |
| 2002 | 2 movies | 1 | 8 | 3 | 5 | 0 | 0 | |
| 2003 | NIL movies | 0 | 0 | 0 | 0 | 0 | 0 | |
| 2004 | 1 movie | 4 | 9 | 2 | 4 | 0 | 3 | |
| 2005 | 3 movies | 1 | 4 | 3 | 1 | 0 | 0 | |
| 2006 | 1 movie | 1 | 1 | 0 | 1 | 0 | 0 | |
| 2007 | 1 movie | 1 | 1 | 0 | 1 | 0 | 0 | |
| 2008 | 0 movie | 0 | 0 | 0 | 0 | 0 | 0 | |
| 2009 | 1 movie | 1 | 1 | 1 | 0 | 0 | 0 | |
| 2010 | 1 movie | 0 | 1 | 1 | 0 | 0 | 0 | |
| Total upto 2010 | 1882 movies | 3765 | 5242 | 3388 | 1515 | 213 | 126 |
“Dunno Y..Na Jaane Kyun”(2010) is the only movie released in 2010 that has a song sung by Lata Mangeshkar.
“Dunno Y..Na Jaane Kyun”(2010) was produced by Rajkumari Satyaprakash and Yuvraaj Parashar and directed by Sanjay Sharma for Movies Masti Magic Studios. The movie had Kapil Kaustubh Sharma aka Kapil Sharma, Zeenat Aman, Kabir Bedi, Hazel Croney, Helen, Yuvraj Parashar, Asha Sachdev, Rituparna Dasgupta, Parikshat Sahni, Maradona Rebello, Mahabanoo Modi-Kotwal, Vinay Apte, Tara Sharma etc. Special appearances were by Aryan Vaid, Vivek Vaswani,Tara Sharma. Others in the movie were Ganesh Yadav, Sonam Arora, Vikran Rai, Akhlaque Khan, Jennifer Maryani, Neena Singh, Rishi Dwivedi, Devendra Gautam, Mansi, Bharat Kale, Kamlesh Rathore, Raisuddin Ansari, Meet Sharma, Hetvi Shah, Parveen, Prishita Sood, Rehan Shah, Vijay Shankar, Rasraj, Rajendra Ganotra, Mohan Iyer, Aryan Seth, Nary, Nishi, Shri, Kumkum, Sanjana, Rahul Chaudhary, Aryan Seth, Nayan, Shamonisha, Tarun Joshi, Raj Udhan etc.
The movie had nine songs in it. The title song of the movie had male and female version. The female version was sung by Lata Mangeshkar. That song was her only song in the movie.
Here is that song. The female version song is picturised as a background song. One can see Kabir Bedi, Zeenat Aman, Rituparna Sengupta, Kapil Sharma, Yuvaraj Parashar and Asha Sachdev in the picturisation.
The male version song sung by Shaan gets played towards the end of the movie as movie ending song as credits roll in and audience begin to leave the hall.
Lyrics are penned by Satyaprakash. Music is composed by Nikhil Kamath.
Lyrics of the song and other details were sent to me by Prakashchandra.
With this song, the movie makes its debut in the blog.
Audio link female version(Longer )
video link female version(shorter than the audio link)
Audio link male version
Song-I don’t know why na jaane kyon (Dunno Y Na Jaane Kyun)(2010 Singers-Lata/ Shan, Lyrics-Satyaprakash, MD-Nikhil Kamath
Lyrics(Provided by Prakashchandra)
————————–
Female version (Audio version)
—————————
(Chorus voice singing)
pal mein hi nazrein milti hain
pal mein hi chaahat khilti hain
ajnabi bhi pyaaraa lagtaa hai aey ae ae ae
pal mein hi rishtey badaltey hain
pal mein hi armaan pighaltey hain
aisa zindagi mein hotaa hai aey ae ae ae
I don`t know why
na jaaney kyon
aisa zindagi mein hotaa hai
don`t know why
na jaaney kyon
aisa zindagi mein hota hai aey ae ae ae ae ae
(Chorus voice singing)
pal mein hi nazrein milti hain
pal mein hi chaahat khilthi hain
ajnabi bhi pyaaraa lagtaa hai aey ae ae ae
pal mein hi rishtey badaltey hain
pal mein hi armaan pighaltey hain
aisa zindagi mein hotaa hai aey ae ae ae
I don`t know why
na jaaney kyon
aisa zindagi mein hotaa hai
don`t know why
na jaaney kyon
aisa zindagi mein hotha hai ae aey ae
(Chorus voice singing)
jo lamhe aen aen aen
sang hum jiyein aen aen (sang hum jeeyein aen)
taazee hain ae ae ae
woh khushboo`oyein aen aen (woh khushboo`oyein ae)
jo lamhein aen aen aen
sang hum jiyein aen ae
taazee hai ae ae ae
woh khushboo`oyein ae ae
aaj bhee saanson mein
mehkey ehsaason mein
aaj bhee saanson mein
mehkey ehsaason mein
tann badan ye aey ae
tere liye aey ae ae
pal pal ye raatein dhalti hain
pal pal betaabi badhti hai
bechain dil ho jaataa hai aey ae ae ae
pal pal baatein yaad aati hain
pal pal ye jaan jaati hai
sabr dil kaa kho jaata hai aey ae ae
don`t know why
na jaaney kyon
aisa zindagi mein hota hai
don`t know why
na jaaney kyon
aisa zindagi mein hota hai ae ae aey ae ae
kitni haseen thhee zindagee (thhee zindagee)
kho gayee woh o o o
saari khushee (saari khushee)
kitni haseen thhi zindagee
kho gayee woh o o saari khushee
door tum ho gaye ae ae
door hum ho gaye ae
door tum ho gaye
door hum ho gaye
har taraf hai ae ae bas bebasee
pal mein jo apney se lagte hain
pal mein woh sapney se lagatey hain
kuchch bhee na bas mein rehtaa hai ae ae
pal pal lamhe guzratey hain
ek pal na ye thehartey hain
waqt yoon chaltaa rehtaa hai ae ae
don`t know why
na jaaney kyon
aisa zindagi mein hota hai
don`t know why
na jaaney kyon
aisa zindagi mein hota hai ae ae ae
hoke judaa aaa aaa
tum kho gaye ae (tum kho gaye)
kya se kyaa aa aa
hum ho gaye ae aey ae ae (hum ho gaye ae)
hoke judaa aaa aaa
tum kho gaye aey ae ae
kyaa sey kyaa hum ho gaye ae ae
pyaar kee raah par
bas milee aah bhar
pyaar kee raah par
bas milee aah bhar
jo bhulaayenge ae
naa umr bhar.r.r.r
pal mein hi mausam badaltey hain
pal mein hi har gham ubhartey hain
jab chhot dil pe lagti hai aey ae ae
pal mein hi dard saa uthhtaa hai
jab koyee sheeshaa chhataktaa hai
beqararee see badh jaati hai aey ae ae aey ae ae
don`t know why
na jaaney kyon
aisa zindagi mein hota hai
don`t know why
na jaaney kyon
aisa zindagi mein hota hai ae ae aey ae ae ae ae
don`t know why
na jaaney kyon
aisa zindagi mein hota hai
don`t know why
na jaaney kyon
aisa zindagi mein hota hai ae ae aey ae ae ae ae ae
———————————-
Male version (Based on audio link)
———————————–
(Chorus voice singing)
pal mein hi nazrein milti hain
pal mein hi chaahat khilti hai
ajnabi bhi pyaaraa lagtaa hai aey ae ae ae ae
pal mein hi rishtey badaltey hain
pal mein hi armaan pighaltey hain
aisa zindagi mein hotaa hai aey ae ae ae ae
I don`t know why
na jaaney kyon
aisa zindagi mein hotaa hai
don`t know why
na jaaney kyon
aisa zindagi mein hota hai aey ae ae ae
(chorus voices singing)
pal mein hi nazrein milti hain
pal mein hi chaahat khilti hai
ajanabi bhi pyaaraa lagtaa hai aey ae ae ae ae
ho o o o ho o o o
pal mein hi rishtey badaltey hain
pal mein hi armaan pighaltey hain
aisa zindagi mein hotaa hai aey ae ae ae ae
I don`t know why
na jaaney kyon
aisa zindagi mein hotaa hai
don`t know why
na jaaney kyon
aisa zindagi mein hota hai aey ae ae ae
(chorus voices singing)
ik pal gham..mmm
ik pal khusheee..ee
hai ajab see ee
ye zindagi..eee
ik pal gham ek pal khushee..eee..eee
hai ajab see ye zindagee..ee…eee
kis ki manzil hai kyaa
kis ko haasil hai kyaa
kis ki manzil hai kyaa
kis ko haasil hai kyaa
koyee jaaney ae
na ye kabhee..ee..eee…ee
pal mein gharondey ujadtey hain
tinkey tinkey bikhartey hain
leher jab saagar mein uthhati hain..aen..en..en
pal mein hi duniyaa kho jaati hai
pal mein hi khushiyaan kho jaati hain
hawaa jab gham ki chalti hai aey ae ae ae
I don`t know why
na jaaney kyon
aisa zindagi mein hotaa hai
don`t know why
na jaaney kyon
aisaa zindagi mein hotaa hai aey ae ae ae ae ae
kitni haseen..een
thhi zindagee…eee
kho gayee woh..oo..oo
saaree khushee..ee
kitni haseen thhi zindagee..ee..ee
kho gayee woh..oo saaree khushee..ee..ee
door tum ho gaye
door hum ho gaye
door tum ho gaye
door hum ho gaye
har taraf hai ae ae ae
bas bebasee..ee..eee..ee..ee…eee
pal mein jo apney se lagte hain
pal mein woh sapney se lagatey hain
kuchch bhee na bas mein rehtaa hai ae aey ae ae
pal pal lamhei guzratey hain
ik pal na ye thehartey hain
waqt yoon chaltaa rehtaa hai..ae…aey..ae
I don`t know why
na jaaney kyon
aisa zindagi mein hota hai
don`t know why
na jaaney kyon..on
aisa zindagi mein hota hai ae ae ae aey ae
hey aey ae ae hey aey ae ae ae ae ae
hey aey he ae aey hey ae
hey aey he ae aey hey ae
aey hey ae aey he ae
aey hey aey ae ae
aey ae ae
ae ae
milke galey ae ae hum kho gaye ae
ek jaan sey ae hum ho gaye ae ae
milke galey ae hum kho gaye ae ae
ek jaan sey ae hum ho gaye ae ae
na koyee darmiyaan
bekhabar hai samaa
na koyee darmiyaan
bekhabar hai samaa
pyaar dil mein aen
hai be-intehaa..aa..aan..aa..aa
pal pal ye saansein mehakti hain
pal pal ye dhadhkan behakti hai
bekhudi kaa aalam hotaa hai aey ae ae ae
hai aey ae ae ae
aey ae ae hey aey ae
pal pal dooree simatati hai
pal pal masti see chadhti hai
be-qaabu dil ho jaataa hai ae ae ae
I don`t know why
na jaaney kyon
aisaa zindagi mein hotaa hai
don`t know why
na jaaney kyon
aisaa zindagi mein hotaa hai aey ae ae ae ae ae ae ae ae ae
I don`t know why
na jaaney kyon
aisaa zindagi mein hotaa hai
don`t know why
na jaaney kyon
aisaa zindagi mein hotaa hai aey ae ae ae ae ae ae ae ae ae
aey ae ae ae ae
ae ae ae aey ae
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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