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

Archive for May 2022


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5052 Post No. : 16965

Today’s song is from the movie ‘Amar Kirtan-1954’.

The song is ‘Hari Om Tatsat’ sung by Geeta Dutt. I had come across this song in 2014 and had noted it then. However so far it remained to be posted on the blog.

When I had shared this song (lyrics only) earlier in ‘2014’ I was not equipped with HFGK Vol-III (1951-1960). Now, when I was preparing this write-up to present this song, I check the HFGK Vol-III for more information of this movie and the list of its other songs.

I find that there is a ‘part-2’ of this song sung by S.D. Batish and Asha Bhonsle as mentioned in HFGK. However, when I looked for the link of this song I do not find it except that I find a link where both the female & male versions are combined together.
When I listened to it I noted that the male version abruptly ends at one place though after two stanzas (the second one being incomplete). (So we don’t know if this song was in a male and female version or a female and a duet version).

On this combined link of this song we can read a comment from the ‘YouTube’ account ‘Ragmala’. ‘Ragmala’ is the official channel of Batish family.
The comment on this song link says that the tempo of recording in this song is faster and it should be on lower tempo. After reading this comment we can conclude (?), that this song should be a male-female version only. And there is no duet version of this song. The comment doesn’t mention anything about the complete song in it.

“Amar Kirtan-1954” was directed by K.C. Pandit for ‘Punjab Film Corporation, Bombay’.
It had Asha Mathur, Shahu Modak, Jayant, Naaz, Rajendra, Sita Bose, S. Prakash, Prem Kumar, Sitaram, Maya Das, Heera Sawant, Kumkum, Lalan, Bansari, Chand Burq, and others. Kumari Amita Devi, Kamal Mehra, and Madan Puri make a guest appearance in this movie.

This movie was passed by Censor Board on 27.07.1954.

This movie had eleven songs (including two two-part songs) all written by Wali Sahab.

Music for this movie was composed by S.D. Batish.

Here is the list of songs of this movie:-

SNo Song Title Singer/s Posted On
01 Jai gurudeva, jai gurudeva, yug yug yug… S.D. Batish, Others
02 Hari om tatsat, hari om tatsat…(part-1) Geeta Dutt
03 Jaat paat aur oonch neech ko…(part-a) S.D. Batish, Asha Bhonsle
04 Thaare gail chaloon re saanwariya Asha Bhonsle 21.04.2017
05 Prabhu mori pariksha naahi karo S.D. Batish
06 Morey ghar shyam ghataa nahin barsi Geeta Dutt
07 Bhool gaya … panchhi bhool gaya path S.D. Batish 26.08.2017
08 Main to hoon bhagton ka das S.D. Batish
09 Hari om tatsat, hari om tatsat (part-2) S.D. Batish, Asha Bhonsle
10 Jin dhyayo shyam, tin paayo shyam (part-b) Asha Bhonsle
11 Nirdhan ki dasha S.D. Batish

From the above table we can see that, so far, only two songs from this movie ‘Amar Kirtan-1954’ have been posted earlier in ‘2017’ on the blog.

Today’s song is a ‘two-part’ song as mentioned above.

I would request knowledgeable readers to throw more light on this movie and its songs. I would also request readers to provide link of this song in the voice of S.D. Batish if they came across it or are already aware of it.

Let us listen to the today’s song now…

Geeta Dutt version

S D Batish version


Song-Hari Om Tatsat (Amar Keertan)(1954) Singer-Geeta Dutt/ S D Batish, Lyrics-Wali Sahab, MD-S D Batish

Lyrics

————————-
Geeta Dutt version
————————

Hmm mm mm hmm hmm
Hmm hmm hmm
mm mm hmm hmm
hmm mm hmm hmm

Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Mahaa mantra hai ye
Tu isko japaa kar
Maha mantra hai ye
Tu isko japaa kar
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om

Mahaa neech ban kar
Mahaakal ban kar
Diye dukh jo Raavan ne
Chandaal ban kar
Diye dukh jo Raavan ne chandaal bankar
To ye mantra kaam aa gaya dhaal bankar
To ye mantra kaam aa gaya dhaal bankar
Hari Om tatsat
Hari Om tatsat
Mahaa mantra hai ye
Mahaa mantra hai ye
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om

Dushaasan ne jab haath saari pe daala
Dropadi ke pat ko sabhaa me uchhaala
Dropadi ke pat ko sabhaa me uchhaala
To is mantra ne uske sankat ko taala
To is mantra ne uske sankat ko taala
Hari Om tatsat
Hari Om tatsat
Mahaa mantra hai ye
Mahaa mantra hai ye
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om

—————————-
S.D. Batish version
—————————-
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Mahaa mantra hai ye
Tu isko japaa kar
Maha mantra hai ye
Tu isko japaa kar
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om

Koi kasht sansaar mein tujhko ghere
Nazar aayen chaaron taraf hi andhere
Nazar aayen chaaron taraf hi andhere
Nazar aayen chaaron taraf hi andhere
To uthhkar Japaa kar
Savere savere
To uthhkar Japaa kar
Savere savere
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat

Mahaa mantra hai ye
Mahaa mantra hai ye


Hari Om tatsat
Hari Om tatsat

Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om tatsat
Hari Om

Ubalte huye tel mein
Jabke phenka
To nirdosh prahlad kaise bachaa thha
To nirdosh prahlad kaise bachaa thha
Yahi shabd thhe us ghadi Uske munh par
Yahi shabd thhe us ghadi uske munh par


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5051 Post No. : 16964

A singing Hero is not a novelty for those who are old film lovers, because in the initial era of Talkie films, most actors sang their own songs in the films. Though the Playback singing was introduced in 1935 in Calcutta and in 1937 in Bombay, it took a few more years to become fully prevalent in all films.

When the Talkie films started in 1931, one of the conditions for the newcomers to join as an actor/actress for lead roles, was that he/she should be able to sing properly. Since most actresses came from singing families (read Tawaifs), just a reasonably good face and a figure was good enough as they knew how to sing. But not all males knew how to sing. So, almost all heroes sang their own songs and so you will find songs by actors like W.M.khan, Kashinath,Khaleel,Master Mohammad, Master Nissar, master Shiraz, Ashraf Khan, Govindrao Tembe, Saigal, panchotiya, Shahu Modak, Marutirao pehelwan etc etc in the films from 1931 to 1937. Many times if the Hero is not able to sing, roles for the Music directors were created and he would act and sing songs in the films for his roles. After this, genuine singers like Surendra, Motilal, Ashok kumar started acting and singing and by the end of the 30’s decade playback was firmly established in all films.

However few popular heroes never sang any songs-like Master Vithal, Jairaj, Prithviraj kapoor etc. Amongst these Non-Singer Heroes of the early era, the story of Jairaj is very interesting. Paidi Jairaj or P. Jairaj ( 28-9-1909 to 11-8-2000 ) was a very handsome and well built young man,when he joined films. After doing 11 silent films,he made his first Talkie,’ Shikari” in 1932. It was produced by a Hyderabad company-Eastern Films.He acted in 170 films and had received the Phalke award and Padma Bhushan in 1980.

In the early phase of Talkie films,there used to be,on average 15 to 20 songs in every film. It was compulsory for every Hero and Heroine to sing their own songs live( playback came in 1935 and became common in 38-39 only). To help the non-singer actors,studios used to keep trained classical experts. Otherwise also most MDs in those days were classical singers themselves.

Thus,Jairaj too was expected to sing songs. He did not like singing,because he was horrible at singing. The MD of film Patit pawan-33 was Prof.B.R.Deodhar,who was a classical singer himself.(Later on he settled with running a musical school). he was determined to make Jairaj sing a song. Finally a song was recorded and filmed-“prem magan sakhi”. Jairaj had sung it so bad,that the song was removed from the film from the second show itself. Jairaj is a Hero of those days who never sang in films. Even after playback was used regularly,in his 170 films,Jairaj has sung less than 20 songs on screen !

This was the case of all Genre of films except Stunt films For stunt films, heroes were required to have a Muscular body, ride Horses, fight criminals, Jump from heights, drive Car / Motorcycles, do fencing etc. C. Ramchandra, the famous Music Director , started his film career as an actor and in his first film itself he became the hero of film Naganand-1935. The film was a great flop in its First day First Show itself where only 6 people came to see the film ! He lost the job and started visiting studios to get a job. One day, he was called by JBH Wadia for an interview. CR was very lean. Though good looking, he did noit have good clothes, so he appeared for an interview in Shirt and Pyjama only.

Wadia saw him and asked,” Any experience ?”
CR gave him the Naganand film booklet and said proudly,” I have worked as a Hero”.
Wadia did not even touch the booklet and asked,” Can you ride a Horse ?’
” No”
” Can you fight with 10 goons ?”
” No”
” Can you jump from 20 feet ?”
” No”
” Then what sort of a Hero you were. Get out .” The interview ended. Wadia was famous for making Stunt films. Same CR became a popular composer and a successful singer later on !

I am telling all this to emphasize that actor-singers were first a necessity and later an utility, till playback took over. Today’s song is a song sung by Raj kapoor (14.12.1924 to 2.6.1988), when he was just 21 year old budding actor in his father’s Drama Company.

Prithvi Theatre was founded in 1942, by Prithviraj Kapoor, as a travelling troupe with 150 members, which staged productions across India. Its maiden performance was Kalidasa’s classic “Shakuntala”. In subsequent years the theatre staged more than 2,600 plays such as “Deewar” (Wall), “Pathan” (a community comprising Hindus and Muslims of North India), “Ghaddar” (Traitor), “Aahuthi” (Offering), “Kalaakar” (Artist), “Paisa” (Money) and “Kisaan” (Farmer). Prithviraj starred as the lead actor in every show. His work in the Indian film industry funded the activities of the company .

Prithviraj Kapoor’s dream was to have a permanent place for his theatre company. In 1962 he managed to lease a plot of land in Juhu on which to create a theatre space. Unfortunately his ill-health and subsequent death in 1972 delayed his dream turning into reality. The year he died the lease on the land expired and was offered on sale to his family. Shashi Kapoor and his wife Jennifer decided to make Prithviraj’s dream a reality by buying the land, and setting up the ‘Shri Prithviraj Kapoor Memorial Trust & Research Foundation’ in his memory with the intention of building a space to promote Hindi theatre and the performing arts.

Prithvi Theatre was inaugurated on 5 November 1978 in Mumbai. “Udhwastha Dharmashala”, written by G P Deshpande, staged by Naseeruddin Shah, Om Puri and Benjamin Gilani was Prithvi’s first play. This was followed by a play by the Indian People’s Theatre Association (IPTA), a political satire, “Bakri”, directed by actor-director M. S. Sathyu.

Music had a dominating influence on Raj Kapoor. As Prithviraj’ s son, he had an opportunity to come close to K L Saigal and the master composer Rai Chand Boral, when Prithviraj worked in New Theatres.. Even while in Bombay, Saigal was his neighbour at College Street in Matunga.

His ambition to be a filmmaker did not allow Raj Kapoor to pursue his passion for music, though he did learn its rudiments from Pt Jagannath Prasad who was closely associated with Khemchand Prakash and K L Saigal and also taught music to Premnath, Mukesh and the members of the Kapoor clan.While visualising a song situation Raj Kapoor showed remarkable judgement in selecting the right tunes. He never hesitated to adapt tunes (such as ‘Is libe dis, I love you’ and ‘Dost dost na raha’, both in ‘Sangam’) which had appealed to him, without worrying about the sources from where they came.

If Raj Kapoor had not been a filmmaker he would have been an excellent composer and a good singer as well. He proved his ability as a singer early in his career, when he sang ‘Hum babu naye nirale hain'(Music: Ram Ganguli/N 2666 1) in Prithvi Theaters’ stage-play ‘ ‘Deevar ‘. He displayed an admirable sense of rhythm and melody in the song. With a little more effort he could have been a successful singer.
He also sang in ‘Chitod Vijay’ (1947/S D Burman)’Jail Yatra’ (1947, Ninu Majumdar),’Dil Ki Rani'(1947/S D Burman),Neel Kamal'(1947/B Vasudeo) and ‘Gopinath'(1 948/Ninu Maiumdar/record not released).Eventually Raj preferred the sonorous voice of Mukesh from ‘Aag'(‘Zinda hoon is tarah ki ghame’/ 1948) to ‘ Mera Naam Joker’ (‘Jane kahan gaye woh din’/1970).

Raj Kapoor used to do all sorts of work in Prithvi Theatres. He acted in few dramas and even sang a song in the drama Deewar in 1945. The song became very popular and HMV took out a Gramophone record of the song. The song was written by Saraswati Kumar Deepak, who generally wrote all dialogues and songs of Prithvi dramas. For a long time this record was not available on YouTube. Last week, a kind soul, a generous Record Collector Syed Zafar Shah posted this song on RMIM and YT. When I complained to him that the song had too much disturbance, he very kindly sent me a cleaned and improved song on my personal Whatsapp account. He also uploaded it on YT. I sincerely thank Zafar Bhai for his generous posting of this and many other rare songs on YT for the music lovers. May God bless him. May his tribe increase !

Raj Kapoor understood music and was deeply involved in his film’s music. After Shankar-Jaikishan , Laxmikant Pyarelal pair came to him, but his interference was not acceptable to them and so they too parted. Raj Kapoor wanted not only a good composer but one who will listen to him and tolerate his interference in the music selection. With Ravindra Jain, it was accomplished. Anyway that is besides the point.

The song is very good and firmly establishes Raj Kapoor as one who understood music and as a good singer !
(I have used some information from Nalin Shah’s article on Raj Kapoor’s Music, in July 1988 issue of ” Playback and Fast Forward” issue, wiki, C Ramchandra’s Marathi autobiography and my notes)


Song- Hum baabu naye niraale hain (Raj Kapoor NFS)(1945) Singer- Raj Kapoor, Lyricist- Saraswati Kumar Deepak, MD- Ram Ganguly

Lyrics

hahahaahha
hahahahaa
wawawa
wawawa
wawawa

sun re
ae ae ae ae ae ae
hum baabu naye niraale hain
baabu naye niraale
hum baabu naye niraale hain
baabu naye niraale
ab rang naye
ab dhang naye
ab ye sansaar naya apna
aa aa aa
baabu naye niraale
hum baabu naye niraale hain
baabu naye niraale
sun re ae
ae ae ae ae ae ae
hum baabu naye niraale hain
baabu naye niraale

ghar ke saare rang jo badle
ghar ke saare rang jo badle
apne bheetar dhang jo badle
hey ae
ab mahal naya ab gali nayi
ab badal gayi poshaak(?) dekh lo
badal gayi poshaak
?? ke jagah ab pyaale hain
hum gitpit bolne waale hain
Darling
How sweet
hum gitpit bolne waale hain
hum gitpit bolne waale hain
hum baabu naye niraale hain
baabu naye niraale
hum baabu naye niraale hain
baabu naye niraale
sun re ae
ae ae ae ae ae ae ae ae
hum baabu naye niraale hain
baabu naye niraale
hum baabu naye niraale hain
baabu naye niraale

maalik badlaa aa aa aa
maalik badlaa
naukar badlaa
badal gaya gharbaar
maalik badlaa
nakar badlaa
badal gaya gharbaar
jo meri wo Lakshmi badle
to jaanoon sarkaar
ke ham bhi kismat waale hain
hey jo meri wo jorua badle
to jaanoon sarkaar
ke ham bhi kismat waale hain
hum baabu naye niraale hain
baabu naye niraale
hum baabu naye niraale hain
baabu naye niraale
sun re ae ae


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5050 Post No. : 16963

Today’s song is from the movie ‘Bholaa Shanker-1951’.

This movie was directed by Vishram Bedekar for ‘Famous Pictures, Bombay’.

‘Bholaa Shanker-1951’ was a mythological movie. It had Prem Adeeb, Vijaylakshami, Mahipal, Sheela Naik, Prakash Gupta, Sadhna Bose, Bhagwan, Kamal, Balaram, Ram Avtar, Jyoti, Samant, Raj Kishore, Radheyshyam and others.

This movie was passed by Censor Board on 24.01.1951.

This movie had eight songs that were written by Bharat Vyas and composed to music by Snehal Bhatkar.

Following is the list of songs in this :-

SNo Song Title Singer/s Posted On
01 Dim dim dim dim dimak dimak… Chandra bhalnath bhole bhasm ang re Snehal Bhatkar, Rajkumari, chorus
02 Main hirni si ban ban phiroon mera hirna kho gaya re Rajkumari 11.12.2013
03 Jai jai maata parvati… laaj tumhaare haath maat mere pranpati ko amar karo re Snehal Bhatkar, Rajkumari, Sadashiv Gurjar
04 Shankar kaanta lagey na kankar… hare hare rang mein sil batte ke sang mein Snehal Bhatkar, Sadashiv Gurjar, chorus
05 Chanda tujhko laaj na aaye, mere chhod piya ka saath akela Lata Mangeshkar 26.10.2020
06 Main albeli naar, saj solah singaar aayi hoon… jogi bol re zaraa Lata Mangeshkar Being discussed today
07 Chham chhamaa chham chham, naacho gaao re, prem bhara mod bhara mangal Various artists
08 Ritu basant ki madbhari… chaloge kya sang mere, thhirak rahe ang mere Rajkumari 16.12.2013

As mentioned above three songs from this movie have been posted on the blog.

Today’s song sung by Lata Mangeshkar is the fourth song from this movie to be presented on the blog. I had come across this song long back, however this song has managed to stay undiscussed so far.

Let us listen to this song. Only audio of this songs is available

Bharat Vyas is the lyricist for this song and music is composed by Snehal Bhatkar.


Song-Main albeli naar saj solah singaar (Bhola Shankar)(1951) Singer-Lata, Lyrics-Bharat Vyas, MD-Snehal Bhatkar

Lyrics

Jogi ee ee
Jogi ee
Bol re ae ae
Bol re ae

Main albeli naar
Saj solah singaar
Aayi hoon tere dwaar
Jogi bol re ae
Jogi bol re
Jogi bol re ae
Jogi bol re
Zaraa ras ke bhare naina khol re
Ae
Zaraa ras ke bhare naina khol re
Jogi bol re
Main albeli naar
Aa aa aa aa
Main albeli naar

Chandaa ki sheetal hoon
Main chaandni
Chandaa ki sheetal hoon
Main chaandni
Veena ki hoon main madhur raagini
Main madhur raagini
Mere nainon mein geet
Mere praanon mein preet
Mere man mein sangeet ras ghol re ae
Jogi bol re
Mere man mein sangeet ras ghol re ae
Jogi bol re
Zaraa ras ke bhare naina khol re
Ae
Zaraa ras ke bhare naina khol re
Jogi bol re
Main albeli naar

Bijli ki saanche mein hoon main dhali
Baadal ke godi mein hoon main pali
Mera naache hai ang
Jaise jal ki tarang
Jaise hirni kare hai kilol re ae
Jogi bol re
Jaise hirni kare hai kilol re
Jogi bol re
Zaraa ras ke bhare naina khol re
Ae
Zaraa ras ke bhare naina khol re
Jogi bol re
Main albeli naar

h
Jogi ye jhoothi teri saadhna
Aao karen prem aaraadhanaa
Prem aaraadhanaa
Mere man ke o meet
Kar le humse tu preet
Ghadi jaaye naa beet anmol re
Jogi bol re
Ghadi jaaye naa beet anmol re
Jogi bol re
Zaraa ras ke bhare naina khol re
Ae
Zaraa ras ke bhare naina khol re
Jogi bol re
Main albeli naar
Aa aa aa aa
Main albeli naar
Main albeli naar
Main albeli naar


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5049 Post No. : 16962

Today’s song is from an obscure film called Aisa Kyun-1947.

The film was made by Shri Raj Pictures, Calcutta. It was directed by A K Chatterjee and the music was by Anupam Ghatak. The cast of the film was Iftikhar, Radharani, Urmila, Pinky, Faiz, Tandon etc. Most people are not aware of the fact that besides New Theatres studio in Calcutta, there were many other film making studios in Calcutta. Hindi films were also made in Burma at that time by the indo-Burma productions.

Some of the studios based in Calcutta were East india film co., Madon Theatres, Aurora film corporation, Shree Bharat films, Laxmi pictures, Chitramandir, RBS Productions, Dev Datta films, Indra movietone, Kali films, Kamla Movietone, Moti mahal Theatres, Murli Pictures, New Popular Pictures, Quality Pictures, Radha film co., Sonoray Pictures, Star film co., Sunrise film co.and Tollywood studios. (source-Indian Cinematographers’ yearbook-1938) This is an old list of when many Hindi films were made in Calcutta. Of late, there must be a lot of changes now.

In olden days, there were 3 major film centres-Bombvay, Lahore and Calcutta. After 1947, all the Hindi film activity at Lahore shifted to Bombay. By mid 50’s even Calcutta almost stopped making Hindi films. Many Hindi speaking artistes in various disciplines of film making shifted to Bombay and finally Bombay became the only and the main Hindi film making Centre.

The year 1947 is a reminder not only for the Independence of India, but also for the upheaval that took place in the film industry that time. More than in any other industry in India, Muslims were plentiful, working in different sections and departments of the Hindi film industry. majority of them migrated to the newly formed Muslim Nation of Pakistan. This did create a lot of disturbance in the film industry. Right from the beginning of 1947, there were signs that soon the British would leave India – after dividing it into two Nations, India and Pakistan. When the month and date became known for the Partition, there was a great hurry among the filmmakers to complete their projects on hand and in process, compromising many factors like quality of the film, number of songs and such other things.

This resulted in the record number of films made in 1947 alone – 181 Hindi films and about 100 films in other languages in India. This was a record which remained unbroken till 1985, when 187 Hindi films were made. Thus from 1931 to 1985, this record remained unbroken for more than 50 years ! Obviously, this resulted in a big compromise on quality to achieve quantity with many films produced half heartedly. Most or rather many films made in 1947 remained obscure, unheard of and many flopped due to poor quality. Actually only few films were released in 1947, because many films were released in 1948 and 1949, with some films being released in Pakistan too.

Did you ever hear about films Amar Asha, Angoorbala, Attention, Barrister, But Tarash, Chalte Chalte, Chandrahas, Dagabaz Dost, Dehati,Ek kadam,Gaurav,Giribala, Heera, Intezar ke baad, Jhalak,Jurmana, Khaufnak aankhen, Lalaat, Mangalsutra, Moti, Sewa gram, Stage girl, Tohfa or Utho jago ? Of course not all films were below standards. Some of the landmark films were also made in 1947, like Shehnai, Mirza Sahiban, Jugnu, saajan, Naatak, Meera, Elan,Aap ki sewa mein, Dard, Do Bhai, Neel Kamal or Parwana etc. However by and large the picture was like this only.

I have not seen this film, so I have no idea about its story etc. For the film’s Heroine-RadhaRani Calcuttewali, this was her last Hindi film that she acted or sang in. She continued her work in Bangla films, I suppose. This Radha Rani was one of the “Same Name Confusion ” pair, as there was another Radha Rani-Bombaywali. The music director Anupam Ghatak also died in 1947 only.

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, composing 153 songs.These included Ladies Only,Service Ltd.,Sadhana,Uski tamanna (all 1939), Civil marriage (1940), Sri Ramanuj-43 etc. In Lahore he did Champa -45,Badnami-46 and Shalimar -46 before Partition. His other films as MD were, Khush Naseeb-46, Aai bahar-46, faisla-47, Aisa Kyun-47 and Banjare-48 and Shamsheer-1953. He had also sung 4 songs in his first film Tarzan ki beti-1938. His last Hindi film was Shamsheer-53, which was released only in 1953,after he died on 5-2-1947 itself.

Today’s song is sung by Jaganmoy Mitra aka Jagmohan Sursagar. So much is already written about him on our Blog by me and others, therefore I will not repeat his Bio-data. However I reproduce here an article published in Bangla Paper ” Anandabazar Patrika,Calcutta ” after his death.
Jaganmoy Mitra passes away

(Translated from Anadabazar Patrika, September 5, 2003)

Jaganmoy Mitra, the legendary singer of “chithi” is very far from us now. (PDG: The opening lines of the song “chithi”(1952), MD: Sailesh Dattagupta, are “tumi aaj koto doore” which means “you are so far today”). He expired yesterday night after suffering a cardiac arrest in his house at Juhu, Mumbai. He was 85. He is survived by three sons and two daughters. Although he stayed away from Bengal for the greater part of his life, he admired Bengali music and culture till his last day.

“aami duranto baishaakhi jhad” (PDG: which means ‘I am a restless summer tempest, you are a fiery flame’, MD: Kamal Dasgupta, 1947) and “shaaon raate yadi” – romantic numbers like these have entertained numerous music lovers over more than five decades.

Besides Bengali, his popularity in Hindi music was also unsurpassable at one time. He was known to the rest of India as ‘Jagmohan’. Gandhiji was an admirer of his music. He has recorded over 400 songs in a career spanning over five decades. Besides Bengali romantic numbers he has also sung Rabindrasangeet,
Nazrulgeeti, and simultaneously in Hindi, Gujrati and Marathi.

His first record for HMV was the Nazrulgeeti “shaaon raate yadi” in 1938. This song propelled him to immediate popularity. He has recorded 100 plus Hindi songs. He scored music for the Hindi film “Sarhad”. (PDG: That should be Sardar(1955)).

He has received numerous awards and felicitations including Padmashri and Sursagar. But he always valued the admiration of his listeners above any awards. His music had taken him to the United States, Great Britain and East Africa. His autobiography is titled “shaaon raate yadi smarane aase more” ( which means ‘If you remember me on a rainy night’).

The song,which follows, is sung so beautifully that one is lost with the soft and melodious voice of Jagmohan. This was his speciality and for this style I simply adore him.


Song-Thhukra de jo nazron se (Aisa Kyun)(1947) Singer-Jagmohan Sursagar, Lyrics-Unknown, MD-Anupam Ghatak

Lyrics

Thhukra de jo nazron se
dil ka mere nazraana
apna na samajh usko
begaana hai begaana
Thhukra de jo nazron se

guzri huyi baaton ko o
o o o o o o o
dohraane se
kya aa aa haasil il
guzri huyi baaten to
afsaana hai afsaana
guzri huyi baaten to
afsaana hai afsaana
Thhukra de jo nazron se

main aen ae ae
thhak gaya samjha kar
apne dil e naadaan ko o o
deewaane ko kya kahiye
deewaana hai deewaana
deewaane ko kya kahiye
deewaana hai deewaana
Thhukra de jo nazron se


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5048 Post No. : 16961

Today’s song is from the ‘1952’ movie ‘Insaan’.

“Insaan-1952” was directed by Jagdish Sethi for ‘New Social Theatre Limited, Bombay’. It was produced by J.G. Mohla. This movie had Prithviraj Kapoor, Ragini, Kamal Kapoor, K.N. Singh, Kukku, Kanhaiyalal, Rajkumar, Ramesh Thakar, Chamanpuri, Baby Nazar, Roopmala, Urvashi, Naaz and others.

This movie was passed by Censor Board on 07.03.1952.

‘Insaan-1952’ had nine songs written by five lyricists as per details given below;

S. No. Song Title Lyricist Posted on
01 O dilwaalo kar lo pyaar, do nainaa chaar Sahrai
02 Sambhal sambhal kar chalna pagle Sajan Bihari 14.12.2020
03 Mere sajan saanwre huye nain baawre Balwant Kapoor 23.11.2020
04 So ja re dukhiyaari maa kea ankh ke taare Sajan Bihari
05 Meri choodi ka rang aasmaani Sajan Bihari
06 Mast jawaani haaye Balwant Kapoor 18.02.2017
07 Do dil hote saajnaa to badaa mazaa thaa D.N. Madhok
08 Apni qismat ki shikaayat ya tera shikwaa karein Saba Afghaani
09 Neer bhare kyun nainon mein gori Sahrai

Music for all the songs was composed by B.N. Bali.

From the above table we can see that, so far, three songs from this movie have been posted on the blog.

Today’s song is the fourth song from this movie to be presented on the blog.

Today’s song is ‘lullaby’ sung by Geeta Dutt. Lyrics are by Sajan Bihari and music is composed by B.N. Bali.

We are all aware of the famous lullaby ‘nanhi kali sone chali’ sung by Geeta Dutt from the movie ‘Sujata-1959’. However, today’s ‘lullaby’ , unlike the ‘Sujaata”(1959) lullaby is a sad lullaby.

I don’t know how many of us take a look on the ‘Top Posts’ section on the blog. This song from the movie ‘Sujata’ maintained the ‘top slot’ in the ‘top posts’ for many years on the blog.

I remember when I was a newcomer on the blog I used to view this section and even now I used to view it regularly. I am sure ‘Nanhi kali sone chali’ must be the most viewed post on the blog so far.

Coming back to today’s song , Let us listen to and enjoy this less known lullaby sung by Geeta Dutt.

Only the audio of this song is available as of now.

Audio

Song-So jaa re dukhiyaari maa ki aankh ke taare (Insaan)(1952) Singer-Geeta Dutt, Lyrics-Sajan Bihari, MD-B N Bali

Lyrics

So ja re ae
So ja re ae
So ja re
dukhiyaari Maa ki aankh ke taare
So ja
Haaye so ja
So ja re ae
So ja re
So ja re
dukhiyaari
Maa ki aankh ke taare
So ja
Haaye so ja
So ja re ae
So ja re ae

Duniya meethhi neend mein soyee
Duniya meethhi neend mein soyee
Soye bhaag hamaare
Pi ki yaad dilaane waale
Pi ki yaad dilaane waale
Dil ke sahaare so ja
Haaye so ja
So ja re ae
So ja re
So ja re
dukhiyaari Maa ki aankh ke taare
So ja
Haaye so ja
So ja re ae
So ja re ae

Aaja o pardesi aaja
Aaja o pardesi aaja
Ro ro manwaa pukaare
Koi nahin iss dard ka saathi
Koi nahin iss dard ka saathi
O besahaare so ja
haaye so ja
So ja re ae
so ja re ae
So ja re
dukhiyaari Maa ki aankh ke taare
So ja
Haaye so ja
So ja re ae
So ja re ae
So ja re ae


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5047 Post No. : 16960

Today 13th May’2022 is the seventy-sixth birthday of Shri Bishwanath Chatterjee compiler of Hindi Film Geet Kosh Vol-V (1971-1980). Those who have the copy of this Geet Kosh would have read about his brief introduction on the cover page no.2 of this Geet Kosh.
He has also been a co-compiler with Shri Hamraz ji for HGK Vol-I to Vol-IV etc. and a co-compiler with Shri Hamraz ji for the ‘List of Hindi Films (Talkie) – 1931-1987.

He has also been a co-author/co-editor with Vishwas Nerurkar for the books on Khayyam Saab, Kishore Kumar, Vasant Desai and Sudhir Phadke.

Here is a brief about him as mentioned in HFGK Vol-V (1971-1980) by Devi Shankar Kanojiya and other details which Shri Chatterjee shared with me. (Devi Shankar Kanojiya a family friend is younger to Bishwanath ji by five years and settled at Kanpur now. He was earlier working in Telecom department of Government of India.).

Bishwanath Chatterjee was born on 13th May’1946 at Nagpur. He is born and brought up at Nagpur only. After his studies he joined the Department of Audit & Accounts (Postal). (This department was later bifurcated in two i.e., Accounts and Audit being separate departments.)
His first posting was at Jaipur (for Jaipur circle) where he stayed for one year i.e. 1970-1971. His next posting was at Bhopal where he stayed till 14.05.1980 and was transferred to Nagpur w.e.f.15.05.1980.
He retired in May’2006 as Director of Accounts (Postal) and now settled in Nagpur. He has a daughter who is happily married and stays abroad with her family. She has a son.

It so happened that around 1966 Bishwanath ji got interested in Hindi Film Music, or rather the HFM attracted him so much that after two years i.e., around 1968 a thought to compile the details of all songs till date, then stems in his mind.
However, in absence of sufficient and required resources he had to suppress the idea temporarily but a strong urge to have such a compilation has already taken deep roots in his mind.
In ‘1975’ he got to know about Harmandir Singh Hamraaz ji through the weekly ‘Screen’ and came into contact with him. He came to know that Hamraz ji was also working on a similar project and in fact almost 50% work of compiling such information has been completed by Hamraz ji till then. So he decided to support full heartedly to Hamraaz ji. And he has been instrumental in preparing the ‘manuscript’ for the first four volumes of ‘Geet Kosh’ and after that he independently compiled the ‘Geet Kosh – Vol-V’.

He also accompanied Shri Hamraaz ji in extensive travels to places like Bombay, Poona, Indore, Baroda, Ahmedabad, Rajkot, and Calcutta, for gathering information and meeting various film personalities and film connoisseurs to get accurate information as possible.

In between, in the year of 1975 he founded ‘Saurabh Radio Shrota Sangh’ at Nagpur and also published ‘Saurabh-1977’ (as a co-editor). But due to economic constraints he had to discontinue this publication.

Shri Chatterjee has been a ‘passionate’ student of Hindi Film Music and has keen interests in Hindustani Classical Music. He has his own library consisting of lot of books about films and Geet & Ghazals.

I got a chance to meet him once during my stay at Nagpur in 2015-2017, where our regular reader Shri Avinash Shravane was also with us. It was a ‘film screening’ program by ‘Cine Montage, Nagpur’.
I left Nagpur on 09.03.2017 and since then I am in touch with him on phone-calls. As very rightly mentioned by Shri Kanojiya ji, Bishwanath ji is very humble, generous, enthusiastic and extremely sensible person.

Yesterday evening when I called him he was very happy and enthusiastic as ever. We discussed many topics and shared our thoughts too.

Once again I wish him a very happy birthday today, and a healthy and peaceful, yet’ full of music’al life ahead.

When I think about him I find the today’s song perfectly fit for this occasion as the ‘fragrance of his works and words – in the form of ‘Geet Kosh’ will be there forever –spreading the ‘spring’ of ‘nostalgia and memories’ for generations together.

‘Zindagi phoolon ki nahin
Phoolon ki tarah aa aa mehki rahe ae …’

Today’s song is from the ‘1979’ movie ‘Griha Pravesh’.

‘Griha Pravesh’ was directed by Basu Bhattacharya.

Basu Bhattacharya was also the writer and producer of this movie.

It had Sanjeev Kumar, Shamila Tagore, Sarika, Master Bittoo, Sudha Chopra, Manik Dutt, Vimal Joshi, Raj Verma, Nandlal Sharma, R.S. Chopra, Satay Bannerjee, Shashi Jain, Tarun Mujherjee, Nilesh, Khoka Mukherjee, Danny, Master Bharat, and Nitin Sethi.
Dinesh Thakur, Priya Darshini, Ranjan, Devendra and Gulzar made a friendly appearance in this movie.

Script of this movie was written by Gulzar and Basu Bhattacharya.
Editing of this movie was done by Om Prakash Makkar.
Dialogues of this movie were written by Gulzar, and he also wrote the lyrics for the songs in this movie.

Yesudas, Sulakshana Pandit, Chandrani Mukherjee, Pankaj Mitra, and Bhupendra had given their voices to the songs in this movie.

Music for this movie was composed by Kanu Roy.

Today’s song is sung by Bhupendra Singh and is a background song in the movie. It happens when the titles of this movie are rolling down.

Lyrics are by Gulzar and music is composed by Kanu Roy.

(I had noted this song more than five years back during my stay in Kenya and had earlier saved it for a special post.
Later on our dear Prakash ji had also sent the lyrics for this song with other remaining songs of this movie.).

Video


Song-Zindagi phoolon ki nahin (Grih Pravesh)(1979) Singer-Bhupinder Singh, Lyrics-Gulzar, MD-Kanu Roy

Lyrics(Provided by Prakashchandra)

Zindagi ee
phoolon ki nahin
Phoolon ki tarah aa aa
mehki rahe ae

Zindagi
phoolon ki nahin
Phoolon ki tarah aa aa mehki rahe ae
Zindagi ee
phoolon ki nahin
Phoolon ki tarah aa mehki rahe ae ae
Zindagi ee

Jab koi kahin gul khiltaa hai
Aawaaz nahin aati lekin
Jab koi kahin gul khiltaa hai
Aawaaz nahin aati lekin
Khushboo ki khabar aa jaati hai
Khushboo oo oo mehki rahe ae
Zindagi
phoolon ki nahin
Phoolon ki tarah aa aa
mehki rahe ae ae
Zindagi ee

Jab raah kahin koi mudti hai
Manzil ka pataa to hota nahin
Jab raah kahin koi mudti hai
Manzil ka pataa to hota nahin
Ik raah pe raah mil jaati hai
Raahen mudti rahen
Zindagi ee
phoolon ki nahin
Phoolon ki tarah aa mehki rahe ae ae
Zindagi
phoolon ki nahin
Phoolon ki tarah aa aa mehki rahe ae
Zindagi ee
Hmm hmm hmm hmm hmm
Hmm hmm hmm hmm
Laa la laa
Laa la la la laa
Ho ho ho ho o o o
O ho ho o o o

———————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————
ज़िन्दगी फूलों की नहीं
फूलों की तरह आ आ महकी रहे ए
ज़िन्दगी फूलों की नहीं
फूलों की तरह आ आ महकी रहे ए
ज़िन्दगी ई फूलों की नहीं
फूलों की तरह आ महकी रहे ए ए
ज़िन्दगी ई

जब कोई कहीं गुल खिलता है
आवाज़ नहीं आती लेकिन
जब कोई कहीं गुल खिलता है
आवाज़ नहीं आती लेकिन
खुशबू की खबर आ जाती है
खुशबू ऊ ऊ महकी रहे ए
ज़िन्दगी फूलों की नहीं
फूलों की तरह आ आ महकी रहे ए ए
ज़िन्दगी ई

जब राह कहीं कोई मुडती है
मंजिल का पता तो होता नहीं
जब राह कहीं कोई मुडती है
मंजिल का पता तो होता नहीं
इक राह पे राह मिल जाती है
राहें मुडती रहें
ज़िन्दगी ई फूलों की नहीं
फूलों की तरह आ आ महकी रहे ए ए
ज़िन्दगी फूलों की नहीं
फूलों की तरह आ आ महकी रहे ए
ज़िन्दगी ई
हं हं हं हं हं
हं हं हं हं
ला ल ला
ला ल ल ला
हो हो हो हो ओ ओ ओ
ओ हो हो ओ ओ ओ


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5047 Post No. : 16959

Today’s song is from the film Door Chalen-1946.

Since the time Talkie films arrived in India in the form of Aalam Ara-1931, the enthusiastic film industry, with a pushover from the silent era to the Talkie era, was busy in discovering itself. It was improving in every field as the years passed by. In the first 5-6 years the industry was desperately trying to be free from the clutches of stage music, drama style acting and contents of the films made.

By 1937-38 all these 3 ghosts from the past had been thrown off. Music directors like Anil Biswas, R.C.Boral, Saraswati Devi, Shankar rao Vyas, K C Dey, Pankaj Mullick etc successfully brought a turnaround change in film music from stage -type boring singing to folk tunes and independent experiments with instruments, tuning and the singers. With actors like Motilal, Ashok kumar, Shahu Modak, Kumar etc. the acting became natural and free from drama-type overacting. New directors like Shantaram,Debki Bose, Mehboob etc. tried new themes in films. Prabhat and New Theatres made films on actual events or famous novels and dramas, thus making films vibrant and interesting.

By 1942 or so, many enterprising filmmakers and directors,hitherto tied up with the existing studios, broke free to start their own studios and film production companies. Shantaram, Mehboob,S. Mukherjee, Kardar, Homi Wadia and few more dynamic film makers began a new chapter in the film industry. With talented filmmakers, competing with each other to make better films, they were improving the quality of films in terms of content, music and the presentation substantially.

By 1946 to 1950 old towers shook hard to crumble. The studio system almost disappeared. Film industry could now boast of people highly educated, talented and hard working. Even artistes with International experience and success like Dewan Sharar, Shakuntala Paranjpye, actor Ranjan, Balraj Sahni etc contributed to Indian films. The old horse of Calcutta-New Theatres broke down and actors, directors and Music specialists from Bengal made a Bee-Line to Bombay, thus making it the strongest ever film centre.

1946 was also an year of consolidation, in a sense that due to the iminent Partition of India on the basis of Religion, agreed upon by Gandhi-Nehru combine, made Muslim artistes and film makers plan to pack their bage and move over to the new Utopia across the border. Their vacancies were to be filled up by the waiting second line of actors,directors and MDs. The3 film industry was to have a complete new look within 1-2 years and the beginning was from 1946. Thus the year was very important.

The year 1946 was an year which saw many changes in the film industry. The II world war had just ended. Rationing and control on many items had created Black marketing. This made many people Millionaires. The extra income started getting invested in Film making. The increased cost of Raw Films made filmmaking 7 to 8 times costlier. A film which was made in about 1 Lakh rupees in 1940, needed 8 Lakhs now. Studio system was waning and artiste rates increased in Lakhs instead of thousands.

In 1945, only74 films were made. This number increased to 153 films in 1946. Further, in 1947, the film industry produced a record number of films – 181, but of course that was due to Partition. The quality of films was sacrificed at the cost of the quantity of films made in 1946. However, some quality films were made in 1946, indicating the changing face of filmmaking.

Film Dharati ke Lal-46 was made by IPTA people and it became the first film to be exhibited in Russia. Neecha Nagar-46 won the Grand Prix award in French Film Festival. Film Dr. Kotnis ki amar kahani-46 was dubbed in English as ‘ The journey of Dr. Kotnis’. It was shown in the USA and then in Venice Film Festival. Two musical films- Anmol Ghadi and Shahjahan were made in 1946.

Year 1946 also saw the Debut of several stars and artistes. In fact one can call 1946 as the ” Debut year” of Hindi film industry. See this….

Nirupa Roy debuted in film Amar Raaj-46

Geeta Bali debuted with a dance in film Badnaami-46

Geeta Roy sang her first film song in film Bhakta Prahlad-46

Balraj Sahni debuted in film Insaaf-46. It was a small role,though.

K A Abbas-Director, Pt.Ravi Shankar-MD, Balraj Sahni as Hero and Damayanti Sahni as Heroine made their Debut in film Dharati Ke Lal-46

Meena kapoor sang her first Hindi film song in film Eight Days-46

Sudhir Phadke debuted as MD in film Gokul-46

P L Santoshi as Director, Dev Anand, Rehman, Rehana and Kamla Kotnis debuted as actors in film Hum Ek Hai-46

Chitragupta did his first film as MD in Lady Robin Hood-46

Ram Ganguly became MD with film Maharana Pratap-46

Abhi Bhattacharya debuted in Hindi film Milan-46

Chetan Anand as Director, Uma Anand and Kamini kaushal as actresses debuted in film Neecha Nagar-46

Hansraj Behl debuted as MD with film Pujari-46

Madhubala(as Baby Mumtaz) sang her first song in film Pujari-46

Majrooh Sultanpuri wrote his first Hindi film song in film Shahjahan-46

S D Burman as MD and Kishore Kumar as an actor debuted with film Shikari-46

So, you will find the year 1946 was truly an year of change. The winds of Partition were already blowing and the second line of supplementary artistes was ready to replace the Migrators, after the Partition.

Film Door Chalen-46 was made by Durga Pictures. Director was Phani Mujumdar, MD was K C Dey and all songs were written by Sajjan Purohit(the actor Sajjan). The cast was Naseem Jr., Kamal Kapoor, Balraj Sahni, Damayanti Sahni, Agha, David, K C Dey etc.HFGK sometimes blindly gave the data. The lead actress is written as just Naseem. Since in those days Naseem Bano (mother of Saira Bano) was famous, everybody thought that she was the heroine of this film. Her Filmography includes Door Chalen-46 and Jeewan Swapna-46. The reality is, there was another actress Naseem junior and she had acted in these films.

Naseem Jr. or Miss Naseem Jr. or Naseem Lodhi was the younger sister of actress Shameem. She was born in Lahore on 8-2-1930. Her father had a shop and he was a General merchant. She was educated in Islamia Girls school, Bombay where she was staying with her actress sister Shameem. After Matriculation, she too wanted to become an actress. While in school she did many dramas. At the age of 13, she did an uncredited small role in the film Salma-43.

Her first major film was Jwar Bhata-44- also the first film of Dilip kumar and Mrudula. Her second film was Manorama-44. She acted in few more films Sanyasi-45, Zeenat-45, Door Chalen-46, Amar Raj-46, Jeewan Sapna-46 and Mera Geet-46.

She had a hot temperament and could not get along with co-stars and the Directors. Soon the offers diminished. Not having any income, she stayed with her sister Shamim. However, she fell ill and soon died on 17-11-1946.

She did only a few films, but it was enough to cause confusion. Her films Jeewan Swapna-46 and Door chalen-46 are generally credited to Naseem Sr.’s filmography.

Similarly, only Kamal is written in the Cast in HFGK. One can not make out if this Kamal is a male or female. In reality he was Kamal Kapoor, making his Debut in the film line as a hero. His snake-like eyes and fair skin made him look more like a KGB or Nazi baddie. Prithviraj Kapoor’s cousin, Kamal Kapoor, acted in over 600 films, spanning across three languages. He started off as a hero but with little success. From the Sixties onwards, Kapoor switched to playing a minor villain. His notable work includes Don, Gora aur Kaala, and, of course, Mard, where he played the evil General Dyer.
Born on 22th February 1920 in Lahore, Kamal Kapoor completed his education in Lahore. He started his career in 1944, with Prithvi Raj Kapoor, working in his theatre. Kamal Kapoor’s debut film was the 1946 release, ‘Door Chalein’. This movie, produced under the banner of Durga Pictures was directed by Phani Majumdar and the music composer was K.C.Dey while Kamal Kapoor and Naseem were the leading pair. Kamal Kapoor played Raj Kapoor’s father in ‘Aag’ (1948) which was also Raj Kapoor’s debut film as producer-director. Later he got numerous offers to play similar roles which he flatly refused to do.

Kamal Kapoor’s career as a villain started with the film “Johar Mehmood In Goa” which was released in 1965. This movie proved to be a big hit thus putting an end to the bad times for Kamal Kapoor. Soon he was flooded with work and was offered to play different characters in films like “Johar In Bombay”, “Johar Mehmood In Hongkong”, “Jab Jab Phool Khile”, “Raja Aur Rank”, “Dastak”, “Pakeezah”, “Paapi”, “Chor Machaye Shor”, “Five Rifles”, “Do Jasoos”, “Deewar”, “Khel Khel Me”, “Mard” and “Toofan”.

He once again got a chance to play Raj Kapoor’s father in the 1967 release “Diwana”. In his career spanned over five decades he acted in over 200 films in Hindi, Punjabi and Gujarati languages. He played different kinds of roles from a gangster to the police officer. He played the role of Don’s right-hand man Narang in Don (1978). This blue-eyed actor always had a powerful presence on screen. He worked in 152 films – from Door Chalen-46 to Aakhri Sanghursh-97( last film).

Kamal Kapoor died on 2nd August, 2010.

Today’s song is a duet of Meena Kapoor and K C Dey. It is the 3rd song from this film on this Blog.


Song- Na rona na rona (Door Chalein)(1946) Singers-K C Dey, Meena Kapoor, Lyrics-Sajjan, MD-K C Dey

Lyrics

No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona

hai ek aankh phir kya kahiye
hai ek paaon phir kya kahiye
hai ek aankh phir kya kahiye
hai ek paaon phir kya kahiye
gar padha nahin to sonaa hai
pagli phir kaisa rona hai
gar padha nahin to sonaa hai
pagli phir kaisa rona hai
dulha mila salona
dulha mila salona
No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona

hamne dhoondha
hamne dhoondha le chiraag
ye laakhon mein hai laal
puny kiye thhe kisi janam mein
ho gayi aaj nihaal
phir kaisa rona-dhona
phir kaisa rona-dhona
No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona
na rona

gar kaala hai darr jaaungi
gar bahra hai mar jaaungi
gar kaala hai darr jaaungi
gar bahra hai mar jaaungi
gar padha nahin main doob gayi
gar padha nahin main doob gayi
gar baazi se main oob gayi
bas nahin chaahiye ??
bas nahin chaahiye ??
samjhona
samjhona
samjho na mujhe khilauna

No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona
na rona


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5046 Post No. : 16958

Today’s song is from the ‘1952’ movie ‘Saloni’.

If you are a music lover and have been collecting cassettes earlier, you will remember that when HMV brought out the compilations of songs ‘decade wise’ it mentioned this decade of 1956-1966 as the ‘Melodious Years’ of Hindi Cinema. (If I remember correctly, the earlier decades were titled as ‘The Sentimental Era (1936-1946?)” and ‘The Fabulous Years (1946-1956)”.

‘Saloni”(1952) had eight songs. Seven of them were composed by Basant Prakash and one by Vinod.

I do not remember to have listened to the songs of this movie earlier. However, I went through this movie’s details, and its songs because of our regular reader Shri Deepak Patwardhan ji, who sent me ‘farmaaish’ of the song under discussion.

‘Saloni-1952’ was directed by J.P. Advani for ‘Goodluck Pictures, Bombay’. It was produced by Ram H. Khilnani.

This movie had Ashok Kumar, Nalini Jaywant, Poornima, Gulab, Mohna, Shakeela, Rajani, Heera Sawant, Mona, Bela, Achala Sachdev, Shivraj, Radhakishan, Randhir and others.

This movie was passed by Censor Board on 14.04.1952.

(The addenda in HFGK Vol-III (1951-1960) mentions that this movie was earlier titled as ‘Chanchal’).

As mentioned above this movie had eights songs composed by two music directors. Four lyricists penned the lyrics of the songs. The breakup of their workload is given below

Raja Mehndi Ali Khan three songs
Arjun Dev Ashq three songs
Aziz Kashmiri one song
Hasrat Jaipuri one song

Here are the details of the songs of this movie :-

SNo Song Title Lyricist Singer Posted On
01 Ek dil sharmaata hai, ek dil ghabraata hai Raja Mehndi Ali Khan Kishore Kumar, Rajkumari _
02 Meri veena ke sur saat Arjun Dev ‘Ashq’ Lata Mangeshkar 13.01.2018
03 Mere dil pe guzarti hai jo tum bin… zindagaani ke sahaare laut aa Raja Mehndi Ali Khan Lata Mangeshkar Being presented today
04 Mujhe dard toone ye kya diya Arjun Dev ‘Ashq’ Lata Mangeshkar 17.01.2016
05 Muhabbat ne badal di haalatein kuchh is tarah dil ki Arjun Dev ‘Ashq’ Rajkumari 21.05.2017
06 Dil de diya hai seene se nikaal ke ise rakhnaa zaraa Aziz Kashmiri Shamshad Begum, Trilok Kapoor 11.02.2014
07 Roti huyi aankhon mein hain tasveer kisi ki Raja Mehndi Ali Khan Asha Bhonsle _
08 Ye aayi sadaa dil tadap kar jab tootaa Hasrat Jaipuri Lata Mangeshkar _

We can see that four songs from this movie have been posted on the blog.

Today’s song is a melancholic song sung by Lata Mangeshkar. Lyrics are by Raja Mehndi Ali Khan and music is composed by Basant Prakash.

Let us listen to the song now …


Song- Zindagaani ke sahaare laut aa (Saloni)(1952) Singer-Lata Mangeshkar, Lyrics – Raja Mehndi Ali Khan, Music – Basant Prakash

Lyrics

o o o o
o o o o
o o o o
zindagaani ke sahaare laut aa aa
zindagaani ke sahaare laut aa
mera har aansoo pukaare
laut aa
laut aa
zindagaani ke sahaare laut aa aa
zindagaani ke sahaare laut aa

dhoondhti hai mujhko o
baaghon mein
bahaar aayi huyi ee
mere dil pe tere ae ae
gham ki hai ghataa
chhaayi ee huyi ee ee ee ee ee
dekh phoolon ke nazaare laut aa aa
dekh phoolon ke nazaare laut aa
mera har aansoo pukaare
laut aa
laut aa
zindagaani ke sahaare laut aa aa
zindagaani ke sahaare laut aa

kya khabar thhi ee ee ee ee ee
tere bin
ik pal naa kal paayenge ham .an .an .an
tum agar waapas na aaye
haaye ae
mar jaayenge ham
meri qismat ke sitaare laut aa aa
meri qismat ke sitaare laut aa
mera har aansoo pukaare
laut aa
laut aa
zindagaani ke sahaare laut aa
zindagaani ke sahaare laut aa


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 :

5045 Post No. : 16957

Today (11 may 2022) is a very important day in Indian history. To my mind, 11 may 1998,( that was 24 years ago) was as important an event in modern Indian history as 15 August 1947 and 26 January 1950. If we got political freedom on 15 august 1947 and democratic republic on 26 january 1950, then 11 may 1998 was the day when India proclaimed independence from the bullying of foreign powers. It was on this day that India announced itself as a self respecting country that would no longer allow itself to be browbeaten by others.

It was on this date 24 years ago that India detonated three thermonuclear devices (Shakti I, Shakti II, Shakti III) at 3:45 PM from three different shafts in Pokharan. This test was conducted clandestinely evading the prying eyes of foreign spy agencies and their spy satellites. India had tried conducting these tests a few years ago, but USA had come to know about that through their spy satellite and USA had pressurised the then government to halt this test.

Atal Bihari Vajpayee, the BJP PM candidate and a self respecting nationalist leader was firm that India needed to have nuclear capability, in view of the kind of neighbourhood we were located in. When he became PM for the first time in 1996, his tenure lasted for just one week, and there was not much he could do in that tenure. The next time he was sworn in as a PM was in 1998. This tenure would last 13 months. But this time was enough for him to fulfil his promise of seeing India as a nuclear armed country.

His second tenure began on 19 march 1998. The process of nuclear tests were set on motion on top priority. Learning from the previous mistake, this time the whole exercise was conducted in such secrecy that USA, for all its high tech resources failed to get a wind of Indian nuclear tests. In a matter of less than two months, India carried out its nuclear tests on 11 may 1998. Subsequently three more tests were carried out two days later on 13 may 1998.

Soon after the tests, PM Atal Bihari Vajpayee came on national TV and made this announcement:-

Today, at 15:45 hours, India conducted three underground nuclear tests in the Pokhran range. The tests conducted today were with a fission device, a low yield device and a thermonuclear device. The measured yields are in line with expected values. Measurements have also confirmed that there was no release of radioactivity into the atmosphere. These were contained explosions like the experiment conducted in May 1974. I warmly congratulate the scientists and engineers who have carried out these successful tests.

This explosion was condemned worldwide. The nuclear have nots condemning it can be understood, but nuclear armed countries that had themselves carried out hundreds of tests themselves condemning this test was hypocrisy at its worst. These nuclear haves considered themselves above law as far as nuclear proliferation was concerned. They had forced most nations of the world into signing the highly discriminatory NPT (Nuclear non proliferation treaty) and CTBT (Comprehensive test ban treaty), after ensuring that they themselves had violated the provisions of these treaties in the past.

India refused to bow down to all that pressure and did not sign these treaties. Pakistan, ever eager to compare itself with India, did the same.

Pakistan, that was justifiably the most vociferous in condemning Indian nuclear tests, was under intense domestic pressure from the egotist and chauvinistic domestic population to match India and carry out nuclear tests. Pakistan was warned not to do that, but not matching India on this count was something Pakistan could not afford, so they too duly carried out their tests on 30 and 31 may 1998.

This test too drew worldwide condemnation from the entire world. Though Pakistan had condemned Indian nuclear tests, India did not condemn Pakistani tests, rather, Indian PM (Vajpayee) and Home Minister (Advani) secretly gave each other high fives. They were egging on Pakistan all these days -“come on, mard ke bachche ho to test karke dikhaao“. Pakistan could not restrain itself and finally succumbed to pressure. Pakistani tests that were carried out within two weeks of Indian test proved the Indian allegation that Pakistan had already acquired nuclear capability. Indian tests forced Pakistan hand and Pakistan too had to admit that they also had nuclear capability and that they were lying about it all these years.

Indian tests led to sanctions from USA and other countries. Pakistani tests led to they getting sanctioned as well. The way India responded to sanctions and the way Pakistan responded were poles apart and it was quite amusing to watch.

America had a policy called Glen Amendment that prescribed the process of sanctioning the errant nations.

The Glenn Amendment to the Arms Export Control Act of 1994 requires the president to
impose these seven sanctions:
• Suspend foreign aid (except for humanitarian assistance or food and other agricultural commodities);
• Terminate sales of any military items;
• Terminate other military assistance;
• Stop credits or guarantees to the country by US government agencies;
• Vote against credits or assistance by international financial institutions;
• Prohibit US banks from making loans to the foreign government concerned; and
• Prohibit exports of specific goods and technology [as specified in the Export Administration Act of 1979] with civilian and military nuclear applications.

As far as India was concerned, India was getting bullied and ill treated by USA for the last two decades. In effect, India was already under USA sanctions for the last many years. For instance, USA gave India a meagre $ 10 millions as aid in 1984. The figure for Pakistan was a mammoth $ 4.02 billions. Secondly, India did not buy any military equipment from USA. India did not seek any military assistance from USA. India was not looking for any loans from IMF etc that were controlled by USA. In the past India had sought Super computer for weather forecast which was denied by USA on the pretext that this supercomputer could be used for nuclear tests. India manufactured its own super computer and actually used that supercomputer for nuclear tests. India sought cryogenic engines for its space programme. Not from USA but from Russia. But USA arm twisted Russia and prevented them from giving India this technology. So India developed its own cryogenic technology and began to use that in her space programme. After that experience, India had stopped seeking any technologies from USA. In other words, USA sanctions against India was like an empty shell whose charge was already expended many years ago. India cared too hoots about USA sanctions.

It was an entirely different story with Pakistan. Pakistani public were jubilant and they took to street to celebrate their nuclear tests on 30 may 1998. After the USA sanction, Pakistan economy collapsed. The same Pakistani public took to streets once again, not in jubilation tis time, but to protest against the very same government that they were hailing a few weeks ago.

UN passed a resolution on 6 june 1998, condemning nuclear tests by India and Pakistan. This resolution number 1172 read :-

Mindful of its primary responsibility under the Charter of the United Nations for the maintenance of international peace and security,

1. Condemns the nuclear tests conducted by India on 11 and 13 May 1998 and by Pakistan on 28 and 30 May 1998

2. Endorses the Joint Communique issued by the Foreign Ministers of China, France, the Russian Federation, the United Kingdom of Great Britain and Northern Ireland and the United States of America at their meeting in Geneva on 4 June 1998 (S/1998/473);

3. Demands that India and Pakistan refrain from further nuclear tests and in this context calls upon all States not to carry out any nuclear weapon test explosion or any other nuclear explosion in accordance with the provisions of the Comprehensive Nuclear Test Ban Treaty;

4. Urges India and Pakistan to exercise maximum restraint and to avoid threatening military movements, cross-border violations, or other provocations in order to prevent an aggravation of the situation;

5. Urges India and Pakistan to resume the dialogue between them on all outstanding issues, particularly on all matters pertaining to peace and security, in order to remove the tensions between them, and encourages them to find mutually acceptable solutions that address the root causes of those tensions, including Kashmir;

6. Welcomes the efforts of the Secretary-General to encourage India and Pakistan to enter into dialogue;

7. Calls upon India and Pakistan immediately to stop their nuclear weapon development programmes, to refrain from weaponization or from the deployment of nuclear weapons, to cease development of ballistic missiles capable of delivering nuclear weapons and any further production of fissile material for nuclear weapons, to confirm their policies not to export equipment, materials or technology that could contribute to weapons of mass destruction or missiles capable of delivering them and to undertake appropriate commitments in that regard;

8. Encourages all States to prevent the export of equipment, materials or technology that could in any way assist programmes in India or Pakistan for nuclear weapons or for ballistic missiles capable of delivering such weapons, and welcomes national policies adopted and declared in this respect;

9. Expresses its grave concern at the negative effect of the nuclear tests conducted by India and Pakistan on peace and stability in South Asia and beyond;

10. Reaffirms its full commitment to and the crucial importance of the Treaty on the Non-Proliferation of Nuclear Weapons and the Comprehensive Nuclear Test Ban Treaty as the cornerstones of the international regime on the non-proliferation of nuclear weapons and as essential foundations for the pursuit of nuclear disarmament;

11. Expresses its firm conviction that the international regime on the non-proliferation of nuclear weapons should be maintained and consolidated and recalls that in accordance with the Treaty on the Non-Proliferation of Nuclear Weapons India or Pakistan cannot have the status of a nuclear-weapon State;

12. Recognizes that the tests conducted by India and Pakistan constitute a serious threat to global efforts towards nuclear non-proliferation and disarmament;

13. Urges India and Pakistan, and all other States that have not yet done so, to become Parties to the Treaty on the Non-Proliferation of Nuclear Weapons and to the Comprehensive Nuclear Test Ban Treaty without delay and without conditions;

14. Urges India and Pakistan to participate, in a positive spirit and on the basis of the agreed mandate, in negotiations at the Conference on Disarmament in Geneva on a treaty banning the production of fissile material for nuclear weapons or other nuclear explosive devices, with a view to reaching early agreement;

15. Requests the Secretary-General to report urgently to the Council on the steps taken by India and Pakistan to implement the present resolution;

16. Expresses its readiness to consider further how best to ensure the implementation of the present resolution;

17. Decides to remain actively seized of the matter.

As one can see from the above, the UN resolution uses very patronising and condescending language. In a very humiliating tone, the resolution states that Five permanent members are above all the rules and regulations of nuclear tests and proliferations but other countries must strictly follow the dictats of the five permanent members and should remain at the mercy of the nuclear haves.

Those were the days when India was in no position to protest against such language, but today , more than two decades later, India is in a strong position to take exceptions. Ironically, Pakistan has ended up being in a more vulnerable position today than what it was in 1998.

India was yet to discard the inferiority complex and its subservient ways in dealing with the West. India did protest, but their protest to my mind sounded feeble and ineffective. Not that it matters. India were protesting the discriminatory nature of NPT , CTBT etc that the nuclear haves were forcing nuclear have nots to sign. These treaties gave nuclear haves to keep their nuclear bombs and nuclear programs going, while the other countries were strictly prohibited from doing so.

UN Expressed grave concern about the peace and stabilty in South Asia and beyond. The fact that peace and stability in South Asia and beyond was because of terror outfits being trained by Pakistan (with active support of USA) was a non issue as far as UN security council was concerned. Pakistan was pursuing nuclear programme and was indulging in black marketing of nuclear technology to countries like North Korea, Syria, Iraq etc. These facts came to public notice but neither UN nor USA acted to restrain Pakistan. Pakistan nuclear scientist A Q Khan had admitted in an interview in february 1987 that Pakistan was already a nuclear capable country. USA rules prevented USA government from giving aid to such countries. But USA very blatantly ignored this clear evidence and the USA president kept certifying that Pakistan did not have a nuclear programme and so they should be given USA aid of 4.02 billions. USA president kept giving this certificate of nuclear non proliferation to Pakistan year after year till 1998 when Pakistan made a mockery of this presidential certificate.

When USA realised that its sanctions were hurting its ally Pakistan, USA forgot all about its “concerns” about nuclear proliferations etc and they hastily removed sanctions on the two countries. The sole aim was to try and revive Pakistani economy that was in ICU.

Just six months after the sanctions were announced, however, the United States had lifted virtually all of them. The process of weakening the sanctions in place against India and Pakistan had actually begun in July 1998, when the Senate voted to exempt food exports from sanctions. On October 21, 1998, Congress passed the Brownback Amendment, which gave President Clinton the authority to waive certain economic sanctions in place against India and Pakistan and to
resume trade financing and other assistance programs for up to 12 months.

President Clinton wasted little time in using this waiver authority. On November 6, 1998, the president’s declaration, officially titled the “India-Pakistan Relief Act,” waived the prohibitions in place against the activities of the United States Export-Import Bank, the Overseas Private Investment Corporation, and the Trade Development Agency in both India and Pakistan. Perhaps most importantly, the presidential waiver also authorized US officials to support loans
to Pakistan from the International Monetary Fund (IMF) and the World Bank.

Every sentence above mentions India and Pakistan both. But all this subterfuge is basically to cover up for one sentence, namely “… the presidential waiver also authorized US officials to support loans to Pakistan from the International Monetary Fund (IMF) and the World Bank.

Pakistan’s economy had crumbled and so USA forgot all its sanctimonious preaching on NPT and CTBT. All the resolutions and condemnations were hastily thrown into the dustbin and all sanctions were hastily removed so that Pakistan economy could be saved by urgently bailing it out by yet another IMF and world bank bailout package, among other measures.

While USA government rushed in to save Pakistan economy, USA businesses rushed in to pour money into Indian economy, trying to take advantage of the Indian market that was showing big promise and that promise actually turned into a remarkable success story, with India, then a $400 billion economy, becoming $3000 billions economy in two decades !

One year later, When Atal Bihari Vajpayee was trying to mend ways with Pakistan by going there on Bus and holding dialogues with Pakistan PM, Pakistan’s actual rulers the army, did not like this and they clandestinely acted to scuttle all this goodwill gesture undertaken by the two PMs. We know this Pakistani Army misadventure as Kargil War. When Pakistani army realised that they were losing badly, they tried to save face and tried to use their nuclear arms. Bill Clinton, who by now was realising that his country was backing a rouge state against a democratic and responsible state, got angry at Pakistan PM Nawaz Shareef and declared that Pakistan must stop its aggression and withdraw to LOC, and that USA will not ask India to give Pakistan any face saving opportunity. In any case USA did not have any leverage left with India and Clinton realised that it was time USA built bridges with India that they themselves had destroyed.

After Kargil war, Pakistan army duly usurped power and General Musharraf, who had scuttled the attempt of the two Prime Ministers to sue for peace, appointed himself President of Pakistan. This made USA government disillusioned with Pakistan. Bill Clinton then tried to build bridges with India during the remaining three years of his tenure.

Atal Bihari Vajpayee, realising that Pakistan army is the real ruler in Pakistan, tried to sue for peace yet again with General Musharraf. General Musharraf responded, but it turned out that Pakistan army did not want peace with India, even if General Musharraf, head of Pakistani army wanted it. So one could see that it is Pakistan army as a whole, and not Pakistani army chief that calls the shots in Pakistan. and this Pakistan army does not want good relations with India, because they feel that good relations with India will threaten the importance and existence of Pakistan army as rulers of Army.

This, plus the 9/11 attack on USA by Al Qaida terrorists that were trained by Pakistan and later harboured by Pakistan, meant that USA gradually began to distance itself from Pakistan and began to grudgingly accept India as a nuclear power.

To cut a long story short, India, after its nuclear tests gradually found acceptance and grudging respect among other nations, with USA beginning to look at India with respect. USA helped India gets waivers despite being a non signatory to NPT, CTBT, etc. Pakistan too demanded the same treatment as India but they failed to get the same acceptability as India.

Moreover, India, after its assured and credible deterrence, began to concentrate on developing its economy. From a tiny $ 400 billions economy in 1998, today India is the fifth largest economy in the world. On PPP terms, India is already the third largest economy in the world. Indian exports in the year 2021-22 were $ 670 billions which is more than the combined GDP of its south Asian neighbours. Incidentally, four South Asian neighbours of India, including Pakistan are financially crumbling at the moment whereas Indian economy is in a strong position despite global supply chain and energy crisis.

Today India is in a position to tell other countries off when they try to preach us. We saw how our foreign affairs minister told off USA when they tried to preach us on our purchase of Russian Oil and our Human rights issue. “We purchase less Oil in a month compared to what Europe purchases in an afternoon”- Indian Foreign minister told USA. “If USA is taking note of our Human rights matters then we too are watching the human rights matters in USA”- Indian foreign minister stated. Such assertiveness on the part of Indians was unheard of and unimaginable in the past.

The seeds of this assertiveness and self respect were sown on 11 may 1998, at 15:45. Today that seed had become a giant tree.

India celebrated this day as National Technology day. I personally consider it as National Self Respect day.

“Parmanu”(2018) was a fictionalised account of the events that led to Indian nuclear tests in may 1998. I have been discussing songs from this movie on this day for the last three years. I have so far covered three songs from the movie.

Here is the fourth song from “Parmanu”(2018). Unlike the three songs already covered, that fitted the theme, this song does not fit the theme of the movie. This song is better heard than seen, and better heard as a standalone song having no relation to the story of the movie.

This song is sung by Yaser Desai. Kumar Vishwas is the lyricist. Music is composed by Sachin Jigar.

As a stand alone song, this sounds like a superb song.

The singer and lyricist make their debuts in the blog with this song.

I take this opportunity to wish all Indians a happy self respect day as I see this day. Officially it is National Technology day. So happy national Technology day as well.


Song-Ki ab meri saans saans tere paas hai (Parmanu)(1998) Singer-Yaser Desai, Lyrics-Kumar Vishwas, MD-Sachin Jigar

Lyrics

hmm hmm hmm hmm hmm
hmm hmm hm hmm hmm
hmm hmm hm hmm hmm
hmm hmm hm hmm hmm
hmm hmm hm hmm hmm
hmm hmm hm hmm hmm

tu hai subah tu shaam hai
jeene ka tu hi hai nazariya haan
teri lehar aathon pahar
main boond tu hi mera dariya
duniya se juda kar de
zarre ko khuda kar de
oh tere ishq se mujhko
na karna kabhi tu juda

ki ab meri saans saans tere paas hai
aur tere aas paas pehchaan hai ab meri
dil mein apne dil bhar kar de de jagah
de de jagah
meri saans saans tere paas hai
aur tere aas paas pehchaan hai ab meri
itni si mere rab tujhse hai dua

hmm hmm hmm hmm hmm
hmm hmm hm hmm hmm
hmm hmm hm hmm hmm
hmm hmm hm hmm hmm
hmm hmm hm hmm hmm
hmm hmm hm hmm hmm

jeeta raha khwaabon mein main
khud se hi par door thha
thhoda sa tu majboor thha
thhoda main majboor thha
khwaabon ko zubaan kar de
nazron se bayaan kar de
tere ishq se mujhko na karna kabhi tu juda
ki ab meri saans saans tere paas hai
aur tere aas paas pehchaan hai ab meri
dil mein apne dil bhar kar de de jagah
de de jagah
meri saans saans tere paas hai
aur tere aas paas pehchaan hai ab meri
itni si mere rab tujhse hai dua


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5045 Post No. : 16956

Today’s song is from the film Bandish-1955.

What is the meaning of the word Bandish ? It is very funny that we use many Urdu words without understanding their real exact meanings. We have some vague idea about its meaning and we sincerely use it with that intended meaning. I have come across people frequently using wrong words, causing humour or pity. From the childhood, I always remembered what our English teacher had told us. He had said that when in doubt, immediately refer to the dictionary and get the right meaning. A habit from that time helped me always and I became careful in using the correct words. This helped me in my education as well as career. Same case is with pronunciation of certain words. English or Urdu is not our mother tongue, and hence the right pronunciation of words is as important as using the right words.

Again, how many of us know the real, exact meaning of the word Bandish ? Those of us who are Music oriented, we know that ‘ Bandish ‘ is a fixed, melodic composition in Vocal or Instrumental music. However, Bandish has some other usages or meanings like ‘ Binding Together ‘ or even ‘Restriction’. Dictionary gives these words, बंधन , रुकावट , शब्द योजना, रचना etc. Looking at the story of this film Bandish-55, the most appropriate meaning would be ‘Binding Together’.

This film was having a FIRST and a LAST about it. This film was the FIRST or the Debut film of the child artiste Daisy Irani. In this first film, she enacted a Boy’s role ! Daisy Irani was the sister of Menaka and Honey Irani and her brothers were Sarosh and Bunny. Her parents were Perin and Noshir Irani. Their grandfather ran an Irani restaurant ‘ B.Merwan’. Her father was looking after the cafe and their greedy mother Perin irani employed all 5 children to work as child artistes in Hindi and other language films. Thus their childhood was an abnormal one. Out of 5 children, Bunny acted in only 2 films,Sarosh in 5 films, Menaka even did few films as Heroine, but Daisy with 69 films and Honey with 22 films acted as child actors till they grew enough till not to look like children anymore. All got married and settled. Menaka married actor director Kamran (father of Farah Khan- Choreographer), Daisy married K.K.Shukla-a writer and Honey married Jawed Akhtar-writer, ex MP and a pseudo secularist.

This film was the LAST film as an assistant music Director for Ravi (who had been working as an assistant to Hemant Kumar). After this film, he debuted in film Vachan as an independent Music director He, however, continued relations with Hemant Kumar by offering him songs to sing in his films, for a long time.

Film Bandish-55 was made by Basu Chitra Mandir. It was directed by Satyen Bose and Music was by Hemant Kumar (assistant-Ravi Shankar Sharma). The cast of the film was Ashok Kumar, Meena Kumari, Daisy Irani-credited as Roop Kumar, Bipin Gupta, Sajjan, Nazir Hussain and many many more. Master Bhagwan was a Guest Artiste and sang a song ” Le lo Gubbare” in this film.

Director Satyen Bose was my favourite director. I had first heard the name Satyen Bose when I saw the film Jagriti for the first time in 1954. That time I realised that this director is too good to miss anytime. His successive films confirmed my opinion about him and I made it a point to see all his films, as far as possible.

SATYEN BOSE was born on 22-1-1916 at Goya Bazaar, Calcutta. (some sources claim that he was born in Purnia, Bihar). He graduated in commerce from Vidyasagar college,Calcutta in 1941.He did jobs in Railways and Bank. He set up National progressive Pictures and made 3 films in Bangla. His Film PORIBORTAN-1949 was a grand success. He also acted as Principal Shishir babu in it. He then shifted to Bombay. He first made Parichay and then made Jagriti-54,a remake of his own PORIBORTON-49. Abhi Bhattacharya played the role of the new Superintendent Shekhar Babu in this film. Film Jagriti became a landmark movie in Hindi and won many awards including Filmfare and a national award. He directed 34 films till Woh din aayega-86.

He also did a Malyali film, Jeevita Samaram-71. His film Dosti gave name and fame to the L-P duo. Rakhi Gulzar debuted in his Jeevan Mrityu and Nargis got her National Award for his Raat aur Din-68. He did many films for Rajashree Productions and had good relations with Tarachand Barjatya. He was very friendly with Mukesh Sharma, Director of Bombay Doordarshan, in those days.

Satyen Bose died on 9th June 1993 at Bombay. His last rites were done by Mukesh Sharma, as per the wishes of Satyen Bose. Only 2 people from the Film Industry-Tarachand Barjatya and Anup Kumar attended his funeral. A great film director who gave hits like Jagriti, Raat aur Din, Girl Friend, Jeevan mrityu, Chalti ka naam gaadi etc,died Unsung and Unwept by the same industry !

Here is the filmography of Satyen Bose- FILMOGRAPHY (* also act): 1949: Paribartan*; 1951: Barjatri*; 1953: Bhor Hoye Elo; 1954: Jagriti; Parichay; 1955: Rickshawala; Bandish; 1957: Bandi; 1958: Chalti Ka Naam Gaadi; Savera; Sitaron Se Aage; 1960: Masoom; Girl Friend; 1964: Daal Mein Kala; Dosti; 1966: Aasra; Mere Lal; 1967: Bhagya; Raat Aur Din; 1968: Jyot Jale; 1969: Wapas; Aansoo Ban Gaye Phool; 1970: Jeevan Mrityu; 1972: Sa Re Ga Ma Pa; Anokhi Pehchan; Mere Bhaiya; 1977: Mastan Dada; 1978: Anmol Tasveer; 1979: Saanch Ko Aanch Nahin; Bin Maa Ke Bachche; 1980: Payal Ki Jhankaar; 1982: Tumhare Bina; 1983: Kaya Palat; 1986: Woh Din Aayega.

In Hindi cinema 2 actresses were famous as ” Eternal Weepers”. In almost every film these actresses wept at least 10 times ! Seeing them smiling or laughing used to be a matter of challenge and the cine-goers used to bet on these moments in their films ! They were NIMMI AND MEENA KUMARI-who was called The Tragedy Queen. Do you know even among the male actors, there was one such actor who wept in the majority of his films ? He also had 3 pet dialogues to be used in all his films. It was jokingly said in the industry that he would not sign a film till he was assured of at least one weeping scene in the film. His name was NAZIR HUSSAIN.

Nazir Hussain, an educated, multifaceted character actor, producer, director, writer and a social worker. Nazir Hussain was born on 15-5-1922 at village Usia Dildarnagar, Kamsaar, dist. Ghazipur-U.P. His father Shahabzad was a Guard in Railways. Being a tall and healthy person, Nazir joined the British Army for some time, but soon he left and joined the Indian National Army of Netaji Subhash Chandra Bose. In 1950,Bimal Roy was planning his film on Netaji,”Pehla Aadmi”. He needed a person who could act and have the knowledge of Netaji’s army details. He approached Nazir Hussain and after some pressure, he conceded and acted in the film. (HFGK however does not show his name in the cast, maybe the list is incomplete or he must have been in the film credit list).

Thus started a career spanning a period of more than 3 decades. He was one actor who started with doing character roles and continued throughout his career. He worked in over 200 films. He was a permanent fixture in Bimal Roy films, next he worked in almost all films of Dev Anand and Dharmendra also. His typical style of acting and delivery of dialogues got him weeping roles mostly. It is generally believed that Nazir did only weepy roles of helpless, poor farmers, poor girl’s father, worker of low level, coolie etc etc, but it is not true. He is probably one of those actors who excelled in doing a variety of roles like Murderer(Baazi),Professor(Tapasya),Doctor(Khamoshi/Abhinetri), Police Commissioner( Jewel Thief), Advocate( Mohabbat zindagi hai),Police Inspector( Kala Pani), doting/smiling father (Sharmilee), Riksha Puller ( Do bigha zamin), Seth ji( Naya Daur) etc etc. However, because of his weepy roles in hit films, he was nicknamed “Aansuon ka canister” in the film industry. The equation was, “Nazir does not accept a role unless he is allowed to weep on screen”.

Besides being a major character actor, the service he has rendered to the Bhojpuri Film industry can not be forgotten. In one of the Film Award functions, Nazir was introduced to President Rajendra Prasad. On learning that Nazir came from Gazipur, the President asked him why he should not produce Bhojpuri films. Taking inspiration from this, Nazir wrote, produced and directed the first Bhojpuri film “Gnaga maiya tori piyari chadhai bo”-1962. Later he kept on making several hit Bhojpuri films.

He was often a subject of ridicule for his weepy roles. His favourite dialogue was,”Beti / Beta, aaj agar tumhari Maa zinda hoti toh….”. Yet another was,”Ab main duniya ko kya munh dikhaun “? One more was, ”Tumne mere saare armaan choor choor kar diye”. Nazir Hussain was an actor,producer,director and also a writer. He used to write and direct all his Bhojpuri films. He shot many of his Bhojpuri films in and around his village and helped develop that area for employment.

His last film as an actor was Vali E Azam-1987. He died on 25-1- 2014 at the age of 92 years, in Malad, Mumbai. ( Thanks to Mr. M N Sardana ji and wiki ji).

The story, dialogues and screenplay of the film Bandish was by Jyotirmoy Roy. BANDISH was a remake of a successful Bengali film Chhale Kaar-1954.

In the film, story happens with all the cast bearing Bengali names. Nasir Hussain is Mahender Babu who is bringing up an orphan ‘Tomato’ (Daisy Irani),since he was a small baby. Now that he is unable to rear him any further due to bad health, he leaves Tomato in a park, where Kamal Roy(Ashok Kumar) is sitting alone on a bench and he tells Tomato to call him his father hereafter. Kamal Roy brings Tomato home and keeps him as his son. Kamal Roy’s marriage is fixed with Usha Sen(Meena kumari). The entry of Tomato is resented by Kamal’s Mother(Protima Devi) and father(Bhanu Bannerjee) who advise him to get married immediately, as the neighbours and other people in their social circle are whispering about Tomato’s parentage-accusing silently Kamal himself. In this situation Usha supports Kamal fully.

The story further details how Tomato brings cheers and sorrow in their lives with the end being very happy.

Here is the 4th song from this film, sung by Asha Bhosle.


Song-Mohe apna bana lo saajan (Bandish)(1955) Singer- Asha Bhonsle, Lyricist- Prem Dhawan, MD- Hemant Kumar (asstt. Ravi)

Lyrics

mohe apna bana lo saajan
mohe apna bana lo
mohe apna bana lo saajan
mohe apna bana lo
mere nanhe se naazuk man ki dekho batiyaan na taalo
ho o o
mohe apna bana lo saajan
mohe apna bana lo

sambhle na aaj piya
jaane kyun mera jiya
ghir ghir main jaaun haaye
tumne kya jaadu kiya
sambhle na aaj piya
jaane kyun mera jiya
ghir ghir main jaaun haaye
tumne kya jaadu kiya ho o
zara aa ke sambhaalo saajan
zara aa ke sambhaalo
mohe apna bana lo saajan
mohe apna bana lo

baahon mein teri piya jhoola main jhooloon
tu mujhko bhoole na main tujhko bhooloon
baahon mein teri piya jhoola main jhooloon
tu mujhko bhoole na main tujhko bhooloon oon oon
ye kasam aaj kha lo sajan
ye kasam aaj kha lo
mohe apna bana lo saajan
mohe apna bana lo
mere nanhe se naazuk man ki dekho batiyaan na taalo
ho o o
mohe apna bana lo saajan
mohe apna bana lo
mohe apna bana lo saajan
mohe apna bana lo


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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.

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16900 song posts by now.

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