Archive for August 2022
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 : |
5157 | Post No. : | 17120 |
“Shyam Tere Kitne Naam”(1977) was produced by Vinod Kumar and directed by Shantilal Soni for HEM Productions, Bombay. The movie had Sachin, Sarika, Devendra, Ashoo, Nana Palshikar, Bharat Bhooshan, Shyama, Manhar Desai, Jalal Agha, Meena T., Mahipal Bhandary, Sundar etc in it.
The movie had six songs in it. Three songs have been covered so far.
Here is the fourth song from “Shyam Tere Kitne Naam”(1977) to appear in the blog. This song is sung by Jaspal Singh. Anjaan is the lyricist. Music is composed by Ravindra Jain.
The song is picturised on Sachin and Sarika.
Lyrics of the song were sent to me by Prakashchandra.
audio link:
video link:
Song-Saathi re saathi re kabhi apna saath na chhootey (Shyam Tere Kitne Naam)(1977) singer-Jaspal Singh, Lyrics-Anjaan, MD-Ravindra Jain
Lyrics(Provided by Prakashchandra)
saathi rey ae aey ae
saathi rey aey ae ae
saathi rey ae aey ae
saathi rey aey ae
kabhi apnaa aa saath na chhootey aey ae ae
kabhi apnaa saath na chhootey ae
duniyaa aa roothey qismat roothey ae
duniyaa aa roothey qismat roothey
par mann kaa meet na roothey ae
par mann kaa aa meet na roothey ae
saathi rey ae aey ae
saathi rey aey ae aey ae
saathi rey ae aey ae
saathi rey aey ae aey ae ae
tod ke jag kee saari rasmein aen
pyaar ki qasam nibhaa aa aa
pyaar mein tere ae is duniyaa ko o
maine diyaa aa hai bhulaa aa aa
mann se mann kaa aa aa bandhan sachchaa
mann se mann kaa bandhan sachchaa
baaqi bandhan jhoothey
kabhi apnaa saath na chhootey aey ae
kabhi apnaa saath na chhootey ae
saathi rey ae aey ae
saathi rey aey ae ae
saathi rey ae aey ae aey
saathi rey aey ae ae aey ae
Shyaam pukaarey ae
aaye na Raadhaa aa
ye to kabhi na huaa aa
deepak se lau
phool se khsuhboo oo
bichhdegi kaisey bhalaa aaa aa
sooraj din se aey ae ae
raat se chandaa aa aa
sooraj din se raat se chandaa
kaun luteraa lootey
kabhi apnaa aa saath na chhootey ae
kabhi apnaa aa saath na chhootey ae
duniyaa aa roothey
qismat roothey
duniyaa aa roothey
qismat roothey
par mann kaa meet na roothhey aey ae
par mann kaa aa meet na roothhey ae
saathi rey ae aey ae
saathi rey aey ae ae
saathi rey ae aey ae
saathi rey aey ae
saathi rey ae aey ae
saathi rey aey ae
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 : |
5155 | Post No. : | 17118 |
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Blog 10-Year Challenge (2012-2022) – Song No. 86
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This date ten years ago (viz 29 August 2012) saw seven songs from seven different movies getting covered in the blog.
Here are the details:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 6536 | Basant ritu aayi aali | Chandidas(1934) | Movie YIPPEED by now |
| 6537 | Mile nain gaya chain piya aan milo re | Private Secretary(1962) | 5 songs covered out of 7 so far |
| 6538 | Mere pyaase man ki bahaar | Honeymoon (1973) | Movie YIPPEED by now |
| 6539 | Gori milna ho milna re nadiya ke paar | Susheela (1966) | Movie YIPPEED by now |
| 6540 | Mere watan mein maine sunee hai | Khuda Gawaah (1993) | One song covered out of 8 so far |
| 6541 | Fazaa bhi hai jawaan jawaan | Nikaah (1982) | Movie YIPPEED by now |
| 6542 | Teri nazron ka ishaara mil gaya | Zindagi Aur Maut (1965) | Movie YIPPEED by now |
It can be seen that five movies (out of 7) whose songs were covered in the blog on this date ten years ago have since been YIPPEED in the blog. That leaves us with two movies that are eligible to Blog Ten Year Challenge today (29 August 2012).
“Private Secretary”(1962) is one of the two eligible movies.
“Private Secretary”(1962) was produced and directed by Chander for Radiant Movies Bombay. The movie had Ashok Kumar, Jayashree Gadkar, N.A.Ansari, Umakant Desai, Poornima, Ravi Khanna, T.N.Sinha, Manohar Gir, Rajkumar, Kashi, C.N.Kapoor, Athavi, E.Manju Sharma, Neelam (introducing), Jerry, Raja Gosavi, Mohan Choti etc in it.
The movie had 7 songs in it. Five songs have been covered so far.
Here is the sixth song from “Private Secretary”(1962) to appear in the blog. The song is sung by Lata Mangeshkar and chorus. Prem Dhawan is the lyricist. Music is composed by Dilip Dholakiya.
The song is picturised on Jayshree Gadkar and others. N A Ansari is also visible in the picturisation.
Lyrics of the song were sent to me by Prakashchandra.
This appears to be the last song of the movie available online. seventh song from the movie viz. “aankhon ka salaam leke aayaa hoon” dors not seem to be available as of now. I request our knowledgeable readers to indfor us if they are able to locae this elusive song.
Audio link:
Video link:
Song-Tujhko diya hai dil tu hi na jaaney (Private Secretary)(1962) Singer-Lata, Lyrics-Prem Dhawan, MD-Dilip Dholakiya
Female chorus
Lyrics(Provided by Prakashchandra)
tujhko diyaa hai dil
tu hee na jaaney
jaaney saaraa zamaanaa
tujhko diyaa hai dil
tu hee na jaaney
jaaney saaraa zamaanaa
tujh pe deewaaney hain
tere parwaaney hain
tujh pe deewaaney hain
tere parwaaney hain
tooney na pehchaanaa
haayye rey haayye
tujhko diyaa hai dil
tu hee na jaaney
jaaney saaraa zamaanaa
tujhko diyaa hai dil
tu hee na jaaney
jaaney saaraa zamaanaa
aankh churaa lee ee tooney dil tadpaake ae
pher liyaa munh thodaa sa tarsaake
aankh churaa lee ee tooney dil tadpaake ae
pher liyaa munh thodaa saa tarsaake
kyaa bigdaa
ajee teraa
hamko hi padaa pachchtaanaa
haayye rey haayye
tujhko diyaa hai dil tu hee na jaaney
jaaney saaraa zamaanaa
tujhko diyaa hai dil tu hee na jaaney
jaaney saaraa zamaanaa
aaa haaa aaaa aa aaa aaaaa
aaa aa aaa aaa aaaaa aaaa
aaa aaa aaa haaa aaaa aa aaa aaaaa
aaaa aa aaa aaa aaaa
hosh kahaan hai ae hamko pyaar mein tere
yaad hai teree dil mein shaam saverey
seekhaa hai
kahaan zaalim
tooney dil ko tadpaanaa
haayye rey haayye
tujhko diyaa hai dil tu hee na jaaney
jaaney saaraa zamaanaa
tujhko diyaa hai dil tu hee na jaaney
jaaney saaraa zamaanaa
aaa aaa aaa haaa aaaa aa aaa aaaaa
aaa aaa aaa aa a aaaa aaaa
haaa haaa aaaa aa aaa aaaaa
aaaa aa aaa aaa aaaa
aaa aaaa
naaina na milthey ae to na aahein bartey
chaain se jeethey ae jo na tumpe martey
hamne to samjhaayaa
samjhaa na ye dil deewaanaa
haayye rey haayye
tujhko diyaa hai dil tu hee na jaaney
jaaney saaraa zamaanaa
tujhko diyaa hai dil tu hee na jaaney
jaaney saaraa zamaanaa
tujh pe deewaaney hain
tere parwaaney hain
tujh pe deewaaney hain
tere parwaaney hain
tooney na pehchaanaa
haayye rey haayye
tujhko diyaa hai dil tu hee na jaaney
jaaney saaraa zamaanaa
tujhko diyaa hai dil tu hee na jaaney
jaaney saaraa zamaanaa
Maina o maina kuchh to kehna
Posted on: August 28, 2022
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 : |
5154 | Post No. : | 17117 |
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Blog 10-Year Challenge (2012-2022) – Song No. 85
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This date ten years ago (viz 28 August 2012) saw four songs from four different movies getting covered in the blog.
Here are the details:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 6532 | Raat aayi hai naya rang jamaane ke liye | Amrit Manthan(1934) | 4 songs covered out of 13 by now |
| 6533 | Main kaa karoon raam mujhe buddha mil gaya | Sangam(1964) | Movie YIPPEED by now |
| 6534 | Tere hamsafar geet hain tere | Dharam Karam(1975) | 3 songs covered out of 8 by now |
| 6535 | Baar baar mera pyaar tujhe poochh rahaa hai | Albeli (1974) | One song covered out of 4 by now. |
It can be observed that one movie (out of four) whose songs were covered in the blog on this Date ten years ago has since been YIPPEED. That leaves us with three movies that are eligible for Blog Ten Year Challenge today (28 August 2022).
“Albeli”(1974)is one eligible movie.
The movie was produced by Vijay Bali and directed by Karunesh Thakur for Kusum Pictures, Bombay. The movie had Rehana Sultan, Vinod Mehra, Naazima, Sujit Kumar, Mahmood, Uttara(new find), Nana Palsikar, Sanjana, Maruti, V.Gopal, Husn Bano, S.N.Bannerjee, Dhanraj, Qamar Sarhadi, Billo, Kailash Kumari, Bimla Sharma, Darashan Rajendra, Ramlal, Niaz Haider, Kajal, Bhushan Tiwari etc in it.
The movie had four songs in it. The movie made its debut in the blog ten years ago. That song remains the only song from “Albeli”(1974) to be represented in the blog so far.
Here is the second song from “Albeli”(1974) to appear in the blog. This song is sung by Lata Mangeshkar. Maya Govind is the lyricist. Music is composed by Kalyanji Anandji.
The song is picturised on Rehana Sultan.
Lyrics of the song were sent to me by Prakashchandra.
audio link:
video link:(bit video version)
Song-Maina o maina kuchh to kehna (Albeli)(1974) Singer-Lata, Lyrics-Maya Govind, MD-Kalyanji Anandji
Lyrics (Provided by Prakashchandra)
mainaa
o mainaa
kuchch to kehna
hmmmm…hmmm…mmm
arrey kuchch bol naa
bol bol bol
o mainaa..aaa..aa
bol bol bol o mainaa..aa
aree bol bol bol o maainaa
dekho saari saari raainaa
kaahey jaagey morey nainaa
kaun leke gayaa hai mora chainaa
arree bol bol bol o mainaa…aaa ..aaa
mori mainaa
dekhoon darpan mein
chori chori mukhdaa..aa…aaa..aaa
khadi khadi sharmaaoon oon oon oon main aen
khadi khadi sharmaaoon
doley kaanon mein
hauley hauley jhumkaa aaa aaa aa
ghadi ghadi muskaaoon oon oon oon main aen
ghadi ghadi muskaaoon
jaaney kisey dhoondhey morey kajraarey nainaa
tu jaaney yaa raat jaaney
jaanoon bas main naa
bol bol
arree bol bol bol o mainaa
dekho saari saari rainaa
kaahey jaagey morey nainaa
kaun leke gayaa hai mora chainaa
arree bol bol bol o mainaa aa aa aan
mori mainaa
udey gagnaa pe gorey gorey badraa ..aa..aaa..aaa
laagey udan khatoley ae ae mohey
laagey udan khatoley
khankey haathon mein
dheeray dheeray kangnaa..aa..aa aa
jaaney kyaa mosey boley ae ae ae ae
jaaney kyaa mosey boley
tu hai mere sang ye tasalli to hai naa
kaahey mosey roothi mainaa
tu kuchch to kehnaa
bol bol
arree bol bol bol o mainaa
dekho saari saari rainaa
kaahey jaagey morey nainaa
kaun leke gayaa hai mora chainaa
arree bol bol bol o mainaa..aaa
mori mainaa
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 : |
5153 | Post No. : | 17116 |
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Blog 10-Year Challenge (2012-2022) – Song No. 84
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This date ten years ago (viz 27 August 2012) saw a whopping ten songs from ten different movies getting covered in the blog.
Here are the details:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 6522 | Jeevan sapna toot gayaa | Anokha Pyaar(1948) | Movie YIPPEED by now |
| 6523 | Mohabbat bhi jhoothhi zamaana bhi jhoothha | Hamaari Beti(1950) | 6 songs covered out of 10 by now |
| 6524 | Mast bahaaron ka main aashiq | Farz(1967) | Movie YIPPEED by now |
| 6525 | Ham to jaate apne gaaon apni raam raam raam | Deewaana(1967) | Movie YIPPEED by now |
| 6526 | Ae sakhi raadhike baawri ho gayee | Jurmaana (1979) | Movie YIPPEED by now |
| 6527 | Balma mere balma | Shyaamla (1979) | Movie YIPPEED by now |
| 6528 | Kabhi kabhi mere dil mein khayaal aata hai | Kabhi Kabhi(1976) | Movie YIPPEED by now |
| 6529 | Ho ooperwaale tera jawaab nahin | Avtaar (1983) | 3 songs covered out of 5 so far |
| 6530 | Tan pe lagti kaanch ki boonden | Aastha (1997) | One song covered out of 5 so far |
| 6530 | Mastaana albela sirf ek tu hai laakhon mein akela | Sharaarat(2002) | One song covered out of 7 so far |
It can be observed that six movies (out of ten) whose songs were covered in the blog on this Date ten years ago have since been YIPPEED. That leaves us with four movies that are eligible for Blog Ten Year Challenge today (27 August 2022).
“Hamaari Beti”(1950) is one of the eligible movies.
“Hamaari Beti”(1950) was produced and directed by Shobhana Samarth for Shobhana Samarth Pictures Bombay. This movie was produced to launch the career of Shobhana Samarth’s eldest daughter Nutan.
The movie had Nutan, Shekhar,Baby Tanuja, Motilal, Shobhana Samarth, Veera, David, K.N.Singh, Randhir, Agha, Pramila, Cuckkoo, Amir bai, Nandani, Master Ratan etc in it.
The movie had ten songs in it. As many as six songs have been covered so far.
Here is the seventh song from “Hamaari Beti”(1950) to appear in the blog. The song is sung by Lata Mangeshkar. Lyricist is not mentioned in HFGK. Snehal Bhatkar is the music director.
Only the audio of the song is available. It is easy to guess that the song, given the nature of its lyrics (expression of love) was picturised on Nutan. However, I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of the song were sent to me by Prakashchandra.
Song-Pehli mulaakaat mein haath leke haath mein (Hamaari Beti)(1950) Singer-Lata, MD-Snehal Bhatkar
Lyrics(Provided by Prakashchandra)
pehli mulaakaat mein
haath leke haath mein
haa aaa aa haaa aaa
le gaye haayye sajan dil hamaaraa aaa aaaa aaa
pehli mulaakaat mein
pehli mulaakaat mein
haath leke haath mein
haa aaa aa haaa aaa aaaaa
le gaye haayye sajan dil hamaaraa aaa aaaa
pehli mulaakaat mein
naach uthhaa naach uthhaa naach uthhaa ang ang
main jo chali sajan sang
main jo chali sajan sang
jhoom uthhi mann mein umang
chaandni..ee raat mein aen aen aen
pehli mulaakaat mein
pehli mulaakaat mein ae
haath leke haath mein ae
haa aaa aa haaa aaa aaaaa haa
le gaye haayye sajan dil hamaaraa aaa aaaa aa
pehli mulaakaat mein
pyaar bharey pyaar bharey pyaar bharey unke geet
sunn ke jaagi mann mein preet
sunn ke jaagi mann mein preet
haar huyi meri jeet
pee ki baat baat mein aen aen aen
pehli mulaakaat mein
pehli mulaakaat mein ae
haath leke haath mein
haa aaa aa haaa aaa aaaaa
le gaye haayye sajan dil hamaaraa aaa aaaa
pehli mulaakaat mein
chhup chhupke chhupp chhuppke chhup chhupke dil mein aaye
chhup chhupke chhupp chhuppke chhup chhupke dil mein aaye
dil se nikli meri haayye
unn bin mann birhaa gaaye
rimjhim barsaat mein aen aen
pehli mulaakaat mein
pehli mulaakaat mein ae
haath leke haath mein ae
haa aaa aa haaa aaa aaaaa
le gaye haayye sajan dil hamaaraa aaa aaaa aaa
pehli mulaakaat mein
pehli mulaakaat mein ae
haath leke haath mein ae
haa aaa aa haaa aaa aaaaa
le gaye haayye sajan dil hamaaraa aaa aaaa
pehli mulaakaat mein
Saara din chhat peeti
Posted on: August 26, 2022
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.
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Blog Day : |
5152 | Post No. : | 17115 |
Today’s song is from the film ‘Charanghee’ (1942). It is a very special film in the Indian Film Industry because this was the only film in which the National Poet of Bangladesh – Kazi Najrul Islam wrote some songs and also gave music.
This is a special flm also because it was a debut film not only for Kazi Najrul Islam but also for music director Pt. Hanuman Prasad and for the director of the film – Sibtain Fazli (of the Fazli Bros.- pioneers of Muslim social films in India).
It was also a special film because it had the poetic works (gazhals) of 3 great and prominent shayars namely, Kazi Nazrul Islam, Ghalib and Jigar Moradabadi, along with the 2 comparatively lesser poets – Arzoo Lucknowi and Partav Lucknowi.
The word ‘Chauranghee’ evokes a lot of loving memories of Calcutta for me. During my professional marketing career of over 40 years, I visited Bengal and Calcutta in particular more than 100 odd times. The hotel I stayed at was next to the AC market, adjacent to the Chauranghee Road.
Many times in the evenings, I used to take a walk on Chauranghee and enjoy the crowd of the elites. Whenever I had to stay in Calcutta on Sundays, I always took a stroll on the Chauranghee Road from the Grand Hotel to beyond Park Hotel and the famous petrol pump of Park Road. On every Sunday, the footpaths of Chauranghee were full of second hand books arrayed on the footpaths on both sides and in the nearby lanes. Bengali people are mad about reading books and on Sundays, one must see their crowds on the roadside book shops. Bengali people are so fond of reading books that many roads in Calcutta are named after famous Indian authors including a road called ‘Shakespeare Road’. I have seen most of the world. I consider Bengali people next only to the British in their love of reading books. One must visit the ‘BOOK FAIR’ held annually on ‘The Maidan‘- a part of the Chauranghee area to understand the Bengali people’s love for reading and buying books. Hats off to Bengal for this !
Chauranghee, today a Hi-Fi business area, was once known for kothas, tawaifs and singing families. Actually, it seems, in ancient times a society of any state was divided in 4 classes. 1) The King and the Royalty 2) The Knights, Ministers, Generals etc. 3) The common people including ‘Bhadra Lok‘ and 4) The entertainers (read the class of people whose job was to please the customers). The last one was the ‘Chaturang’ or the Fourth Estate or the Chauranghee !
Film ‘Chauranghee’ was a Muslim social, which depicted the storm that hit a tawaif family on Chauranghee and its aftermaths on that family. The film was made by Fazli Brothers, who were the first to make a series of Muslim social films in the 1940’s decade. The first such film was ‘Qaidi’ (1940), then came ‘Masoom’ (1941), ‘Chauranghee’ (1942), ‘Fashion’ (1943), ‘Ismat’ (1944) and ‘Mehndi’ (1947). The Fazli brothers were two. The senior one was Hasnain Fazli and the younger one was Sibtain Fazli. After partition they migrated to Pakistan. Sibtain remained in Pakistan. He directed and produced 4 films, including the most popular film of Madame Noorjahan in Pakistan, namely film ‘Dupatta’ (1952). Hasnain returned to India, directed two more films and went back to Pakistan.
The star attraction of this film was Kazi Nazrul’s poems and his music. Kazi Nazrul Islam is to Bangladesh, what Rabindranath Tagore is to West Bengal. While, to my knowledge, Tagore never wrote any Naat or a Muslim religious verse, Kazi wrote hundreds of Bhajans and Geets on Lord Rama and Krishna. Though many films – Bangla and Hindi – are based on the stories or novels of Tagore, Kazi has not contributed anything directly to any Hindi film (I do not know about Bangla films). On the other hand he has written the story of film ‘Sapera’ (1939) and provided lyrics and music to film ‘Chauranghee’ directly. Like Tagore’s Rabindra Sangeet, it was Nazrul Geeti in Bengal. I am not comparing them. Both were great souls.
The life story of Kazi is full of ups and downs. His last few years were spent in glory but in very bad health. There were several deaths in his family. His wife became paralytic and he spent time in a Mental Hospital in Ranchi. After the formation of Bangladesh in 1971, the new country invited him, bestowed honors on him, declaring him ‘The National Poet’. The Bangladesh government also took good care of him in his last 4 years, but he was medically unfit to enjoy his glory.
Kazi Nazrul Islam (24 May 1899 – 29 August 1976) composer and songwriter was born in Burdwan District, Bengal. With Tagore he was the major influence on popular Bengali music in the 20th century. Known as the Bidrohi Kavi or the ‘Rebel Poet’ and directly associated with radical nationalist movements (e.g. through the journal Dhoomketu which he edited in 1922, leading to his imprisonment on a charge of sedition), his poetry constitutes the first radical intervention into Hindu and Muslim devotional music, e.g. his famous addresses to the goddess Kali, his ghazal compilations (Chokher Chatak, 1929) and Islamic devotional ssongs (Zulfikar, 1932). Much of his music, continued by the IPTA’s Bengali song repertoire, was polemically seen as a radical-romantic use of the ‘tradition’ (e.g. Salil Choudhury, 1955). One of the first composer-writers to sign contracts with major record companies in Bengal (for Megaphone and Senola and later HMV) and with the Indian Broadcasting Corp., opening up new employment opportunities to a generation of younger composers such as Anil Biswas, SD Burman, Kamal Dasgupta and even Kishore Kumar (whose song “Ai Ek Dui Tran Char Gili Gili, Bam Chick Boob Chick Badhke Bol” in ‘Kehte Hain Mujhko Raja’ (1975), adapts Islam’s famous “Cham Chiki Ude Gelo”). Created an urban variation of tribal jhumur music for Sailajananda Mukherjee’s ‘Pataal Puri’ and wrote the songs for ‘Nandini’ (1941) and ‘Dikshul’ (1943). Some sources credit him as director for ‘Dhruva’, in which he played the Hindu sage ‘Narada’. Started Bengal Tiger Pics with Abbasuddin Ahmed. Their film of Islam’s novel ‘Madina’ remained unfinished.
A significant impact of Nazrul’s work in Bengal was that it made Bengali Muslims more comfortable with the Bengali arts, which used to be dominated by Bengali Hindus. His Islamic songs are popular during Ramadan in Bangladesh. He also wrote devotional songs on the Hindu Goddess Kali. Nazrul also composed a number of notable Shyama Sangeet, Bhajan and Kirtan, combining Hindu devotional music.
Bengali polymath, poet, writer, musician, revolutionary and philosopher. Popularly known as Nazrul, his poetry and music espoused Indo-Islamic renaissance and intense spiritual rebellion against fascism and oppression. Nazrul’s impassioned activism for political and social justice earned him the title Bidrohi Kobi (The Rebel Poet). His musical compositions form the avant-garde genre of Nazrul geeti (music of Nazrul). Accomplishing a large body of acclaimed works through his life, Nazrul is officially recognized as the National Poet of Bangladesh and highly commemorated in India and the Muslim world.
Born into a Bengali Muslim Quazi (Kazi) family, Nazrul received religious education and worked as a muezzin at a local mosque. He learned of poetry, drama, and literature while working with theatrical groups. After serving in the British Indian Army, Nazrul established himself as a journalist in Calcutta. He assailed the British Raj in India and preached revolution through his poetic works, such as Bidrohi (The Rebel) and Bhangar Gaan (The Song of Destruction), as well as his publication Dhumketu (The Comet). His nationalist activism in the Indian independence movement often led to his imprisonment by British authorities. While in prison, Nazrul wrote the Rajbandir Jabanbandi (‘Deposition of a Political Prisoner’). Exploring the life and conditions of the downtrodden masses of the Indian subcontinent, Nazrul worked for their emancipation. His poetry and music fiercely inspired Bengalis during the Bangladesh Liberation War.
During his visit to Comilla in 1921, Nazrul met a young Bengali Hindu woman, Pramila Devi, with whom he fell in love, and they married on 25 April 1924. Brahmo Samaj criticised Pramila, a member of the Brahmo Samaj, for marrying a Muslim. Muslim religious leaders criticized Nazrul for his marriage to a Hindu woman.
Nazrul’s writings explore themes such as love, freedom, and revolution; he opposed all bigotry, including religion and gender. Throughout his career, Nazrul wrote short stories, novels, and essays but is best known for his poems, in which he pioneered new forms such as Bengali ghazals. Nazrul wrote and composed music for his nearly 4,000 songs (including gramophone records), collectively known as Nazrul geeti (Songs of Nazrul), which are widely popular even today. In 1942 at the age of 43 Nazrul himself fell ill and gradually began losing his power of speech. His behavior became erratic, he started spending recklessly and fell into financial difficulties. In spite of her own illness, his wife constantly cared for her husband. However, Nazrul’s health had seriously deteriorated and he grew increasingly depressed. He underwent medical treatment under homeopathy as well as ayurveda, but little progress was achieved before mental dysfunction intensified and he was admitted to a mental asylum in 1942.
Spending four months there without making progress, Nazrul and his family began living a quiet life in India. In 1952, he was transferred to a psychiatric hospital in Ranchi. Through the efforts of a large group of admirers who called themselves the “Nazrul Treatment Society”, Nazrul and Promila were sent to London, then to Vienna for treatment. The examining doctors said he had received poor care, and Dr. Hans Hoff, a leading neurosurgeon in Vienna, diagnosed that Nazrul was suffering from Pick’s disease. It was rumoured that this was because of slow poisoning by the British Government. His condition was judged to be incurable, Nazrul returned to Calcutta on 15 December 1953. On 30 June 1962 his wife Pramila died, and Nazrul remained in intensive medical care. He stopped working due to his deteriorating health.
On 24 May 1972, the newly independent nation of Bangladesh brought Nazrul to live in Dhaka with the consent of the Government of India. In January 1976, he was accorded the citizenship of Bangladesh. Despite receiving treatment and attention, Nazrul’s physical and mental health did not improve. In 1974 his youngest son, Kazi Aniruddha, a guitarist, died, and Nazrul soon succumbed to his long-standing ailments on 29 August 1976.
His Filmography – ‘Bidyapati’ (1937) (writer), ‘Gora’ (1938), ‘Sapurey’ (1939) (writer), ‘Sapurey’/’Sapera’ (writer), ‘Chauranghee’, ‘Chauranghee’ (1942), ‘Chattagram Astragar Lunthan’ (1949), 1972: ‘Padi Pishir Barmi Baksha’ (1972) (Lyricist).
[Information adapted from Encyclopedia of Indian Cinema, en.banglapedia.org and my notes].
Today’s song is sung by Miss Anis Khatun and chorus. Some readers might remember her role and song from Shantaram’s famous film ‘Padosi’ (1941). Actually there were two actresses/singers named Khatun, operating at almost the same time. One was Anis Khatun – who acted in 9 films, from ‘Prithvi Putra’ (1938) to ‘Dil’ (1946) and sang 14 songs in 5 films. The other one was Zarina Khatun who worked in 59 films, from ‘Abul Hasan’ (1931) to ‘Ibrat’ (1954) and sang 25 songs in 12 films from ‘Premi Pagal’ (1933) to ‘Chingari’ (1940). To further complicate matters and torture the film historians, there were other small time actresses like Ameena Khatoon, Zohra Khatun, Khatun Bai etc. It is a difficult task to separate the various same-name artistes and credit them with their genuine films.
I thank Abhay Jain ji from the US for giving me this song and our own Sadanand Kamath ji for uploading it for me.
Song- Saara din chhat peeti (Chauranghee)(1942) Singers- Anis Khatun, Lyricist- Kazi Nazrul Islam, MD- Kazi Nazrul Islam
Chorus
Unknown female voice
Lyrics
saara din chhat peeti
haath hoon dukhaai re
saara din chhat peeti
haath hoon dukhaai re
tabhoon to pet bhar ke
khaaye khaana paai re
tabhoon to pet bhar ke
khaaye khaana paai re
saara din chhat peeti
haath hoon dukhaai re
saara din chhatpeeti
bol bahin aaj gharhe
kya kya pakaai hai
bol bahin aaj gharhe
kya kya pakaai hai
chulho tak baaro nahin
bachcha bhukhaaye hai
chulho tak baaro nahin
bachcha bhukhaaye hai
ham hon kuchh khaao nahin
bhaato banaao nahin
ham hon kuchh khaao nahin
bhaato banaao nahin
saas meri julmi badi
bahut oo sataaye hai
saas meri julmi badi
bahut oo sataaye hai
bairan nanad mori bahute harjaai re
bairan nanad mori bahute harjaai re
saara din chhat peeti
haath hoon dukhaai re
saara din sar peeti
haath hoon dukhaai re
tabhoon to pet bhar ke
khaaye khaana paai re
tabhoon to pet bhar ke
khaaye khaana paai re
saara din chhat peeti
haath hoon dukhaai re
saara din chhar peeti
inki mehraaroo dekho
jaise sookhi paati
inki mehraaroo dekho
jaise sookhi paati
(??) lakwa hai do man ka
?? jaise haathi
(??) lakwa hai do man ka
?? jaise haathi
kohu paawe na dhoop
kohu dekhe na chaand
kohu paawe na dhoop
kohu dekhe na chaand
gharka bheetar band rahe
gharka bheetar band rahe
kaahe na murjhaai re
saara din chhat peeti
haath hoon dukhaai re
saara din chhat peeti
haath hoon dukhaai re
tabhoon to pet bhar ke
khaaye khaana paai re
tabhoon to pet bhar ke
khaaye khaana paai re
saara din chhat peeti
haath hoon dukhaai re
saara din chhat peeti
haath hoon dukhaai re
Nainon mein kajra lagaai ke
Posted on: August 25, 2022
- In: "Aankh" song | Blog Ten Year Challenge (2012-2022) | expression of love | Feelings of heart | Lata solo | Lata song | Lyrics by Prakashchandra | Lyrics contributed by readers | Song from Unreleased Films of 1950s | Songs of 1950s (1951 to 1960) | Songs of 1960 | Yearwise breakup of songs
- 1 Comment
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5151 | Post No. : | 17114 |
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Blog 10-Year Challenge (2012-2022) – Song No. 83
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This date ten years ago (viz 25 August 2012) saw six songs from six different movies getting covered in the blog.
Here are the details:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 6509 | Badi mushqil hai tumhe bhool jaana | Ham Hain Raahi Pyaar Ke(UR)(1960) | 4 songs covered out of 7 songs |
| 6510 | Main pankhh lagaa ke udd jaaun | Armaan (1953) | Movie YIPPEED by now |
| 6511 | Dost dost na raha pyaar pyaar na raha | Sangam(1964) | Movie YIPPEED by now |
| 6512 | Main to ek khwaab hoon | Himalay Ki God Mein(1964) | Movie YIPPEED by now |
| 6513 | Jeene de ye duniya | Lava(1985) | One song covered out of 7 |
| 6514 | Phir chhidi raat baat phoolon ki | Baazaar (1982) | Movie YIPPEED by now |
It can be observed from the above that four movies, whose songs were covered on this date ten years ago have since been YIPPEED in the blog. That leaves us with two movies that are not yet YIPPEED so they are eligible for Blog Ten YEar Challenge today on 25 August 2022.
“Ham Hain Raahi Pyaar Ke” (1960) was an unreleased movie. This movie was an Ismail Films Production. It had Feroz Khan, Balraj Sahni, Nishi etc in it.
HFGK mentions seven songs in it. Four songs have been covered. Two more songs seem to be available.
Here is the fifth song from “Ham Hain Raahi Pyaar Ke” (1960)(UR) to appear in the blog. The song is sung by Lata Mangeshkar. Tanveer Naqvi is the lyricist. Music is composed by Khayyam.
Lyrics of the song were sent to me by Prakashchandra.
Song-Nainon mein kajra lagaai ke (Ham Hain Raahi Pyaar Ke) (1960)(UR) Singer-Lata, Lyrics-Tanveer Naqvi, MD-Khayyam
Lyrics(Provided by Prakashchandra)
milan ko main chalee
sudh budh sab bisraaye ae ae
jaisey nadiyaa baawree
saagar milan ko jaaye ae
nainon mein kajraa lagaayike
main to chali saj bann`ke
jhaanjhan mori chhankey
chali saj bann`ke
nainon mein kajraa lagaayike
main to chali saj bann`ke
jhaanjhan mori chhankey
chali saj bann`ke
lahar binaa lehraati jaaoon…oon..oon
mann hee mann muskaati jaaoon…oon..oon
yaad padey jab piyaa ki batiyaan
apney se ae sharmaaoon
mann ki umangein chhupaayike
main to chali saj bann`ke
jhaanjhan mori chhankey
chali saj bann` ke
nainon mein kajraa lagaayike
dhadhkan gaaye geet milan ke aey ae aey
joodaa mehkey choodaa khann`key aey ae ae aey ae
simtee jaaoon jis dum guzrey
jhonkhey mast pawan ke
halki chunariyaa udaayike
main to chali saj bann`ke
jhaanjhan mori chhankey
chali saj bann` ke
nainon mein kajraa lagaayike
jaaoon balam tak
bhaagey bhaagey aey ae
jaaoon balam tak
bhaagey bhaagey
kaayaa ?? pag
sadak hai aagey
phir bhi naaheen
kattey dagariyaa…aaa
phir bhi naaheen
katey dagariyaa
mann meraa dhadkann laagey
milan ki aas lagaayike
main to chali saj bann`ke
jhaanjhan mori chhankey
chali saj bann` ke ae
nainon mein kajraa lagaayike
- In: Amir Mohammed Khan Ather NFS | Amir Mohammed Khan Ather Solo Songs | Amir Mohammed Khan Ather Songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | MD-Singer Song | Radio Song | Song of Memories | Songs of 1990s (1991 to 2000) | Songs of 1994 | TV Serial Song | Yearwise breakup of songs
- 5 Comments
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 : |
5149 | Post No. : | 17112 | Movie Count : |
4618 |
The years 1980s and 90s were the golden period of TV serials which used to be telecast on National Doordarshan Channel. The TV Serials of these period might have been lacking in technical specs as compared with that of the current TV serials. But what made these Doordarshan serials very popular was that they were mostly based on down to earth story lines, the good directions, the good performances of the lead and supporting actors and above all the absence of the present TRP dominated TV industry. These factors have made the TV serials of yore unforgettable for most of the the viewers including me. And the proof is that most of these serials had repeat telecasts on a number of times keeping in view the response from the viewers.
Apart from ‘Ramayan’ and ‘Mahabharat’ TV serials which I had watched in my middle-aged years, I had, more or less, regularly watched TV serials like ‘Hum Log’ (1984), ‘Ye Jo Hai Zindagi’ (1984), ‘Karamchand’ (1985), ‘Buniyaad’ (1986), ‘Nukkad’ (1986), ‘Wagle Ki Duniya’ (1988), ‘Gul Gulshan Gulfaam’ (1991), ‘Dekh Bhai Dekh’ (1993), ‘Byomkesh Bakshi’ (1993), ‘Farmaan’ (1994) and ‘Shriman Shrimati’ (1994) etc. For me, watching these serials now on the video sharing platforms, is like reliving my old memories. Those were the days when almost entire family members would sit together in a single room to watch their favorite TV Serials.
‘Farmaan’ (1994) was one of the TV serials of the golden period which I had watched on the TV without missing any of the 14 episodes. The story of the serial was based on the Urdu novel ‘Alampanah’ written by the well-known Urdu writer-poet, Rafia Manzoorul Amin (1930-2008) on the Nawabi culture of Hyderabad which has changed after 1947 and the financial challenges they faced. The serial was produced by Gul Anand for Doordarshan who, apart from producing mainstream Bollywood films, had also produced some off-beat Hindi films such as ‘Khatta-Meetha’ (1978), ‘Chasm-e-Buddoor’ (1981) and ‘Chatran’ (1988). Lekh Tandon who had directed box office successful films like ‘Professor’ (1962), ‘Amrapali’ (1966), ‘Jhuk Gaya Aasmaan’ (1968), ‘Prince’ (1969), ‘Dulhan Wahi Jo Piya Man Bhaaye’ (1977), ‘Agar Tum Na Hote’ (1983) among others, directed this TV serial. This was Lekh Tandon’s 4th TV Serials for Doordarshan, the first being ‘Dil Dariya’ (1988) in which he gave Shahrukh Khan his first break as an actor.
Recently, I watched 11 of the 14 episodes of ‘Farmaan’ on a video sharing platform which were uploaded by Prasaar Bharati after re-mastering the VHS tapes of the serial. I watched the remaining 3 episodes in an old video format with less than average audio and video quality. The main cast of ‘Farmaan’ includes Kanwaljit Singh, Deepika Deshpande, Vineeta Malik, Raja Bundela, Navin Nischol, Kalpana Iyer, Neha Sharad, Savita Bajaj etc. In addition, there were about a dozen actors from Hyderabad who played the subsidiary roles in the serial.
The story starts with 23-year old Aiman Shahab (Deepika Deshpande) getting down from the train at Begumpet railway station and proceeding to a Nawabi Palace in a cycle-rickshaw for an interview with Badi Sarkar (Vineeta Malik), a widow and the matriarch of the royal family who is looking for an English knowing Assistant to help her in day-to-day work. She is selected and provided accommodation in the Palace. Azar Nawab (Kanwaljit Singh), the only son of Badi Sarkar looks after the business interest of the family. Other occupants of the Palace Estate are – Tasneem Pasha (Kalpana Iyer), the step sister of Badi Sarkar and a widow; Shahana (Neha Sharad), daughter of Tanseem Pasha; and Basharat Nawab (Raja Bundela). They are financially dependent on Badi Sarkar and mostly while away their time in a care-free manner. Both Tasneem Pasha and her daughter, Shahana have a close friend, Mukhtar Nawab who is disliked by Badi Sarkar because he was the person who induced her husband, Bade Nawab to gambling and lost a lot of money. Waqar Chand (Navin Nischol), the younger brother of Bade Nawab stays in a separate cottage within the Palace Estate. Waqar had been ordered by Bade Nawab not to visit the Palace because he had chosen the profession as an artist. But the actual reason is quite different – he was in love with Badi Sarkar before she got married to Bade Nawab. Waqar Chand also does not want any one to visit his cottage and stays as a recluse bachelor doing painting as his hobby, away from the family of Badi Sarkar.
Over a period of time, Aiman Shahab who was looking timid and unsure of her self confidence in an alien atmosphere, develops friendship with the care-free Basharat Nawab who become her informal guide for the city tour. Everyone in the Palace and in the office like her. Aiman has become indispensable for Badi Sarkar. However, she has problems with Azar Nawab. Her very first encounter with him in a wedding function where he behaves as a predator by forcefully embracing her, develops hatred for him. Her second encounter with him is also not good when he objects and pushes her out for using his estate for her hobby of doing some paintings which she was encouraged to pursue by none other than Waqar Chand. This trend continues for most of the part of the serial whenever they meet each other – professionally or personally. In fact, the aim of Azar Nawab in finding faults with Aiman and passing sarcastic comments seems to reminds her that after all she is sub-servient to Badi Sarkar and to him. But Aiman also gives back her responses to Azar in the same tone to keep him in check.
But behind the façade of the egoism, ruthlessness and sarcasm, Azar Nawab has developed a soft corner for Aiman without she being aware of it. Over a period of time, she also gets impression that inwardly, he is a good human being based on a couple of incidents. For instance, Azar takes out his jeep to follow Aiman to pick her up when he comes to know that she has gone for a walk to the forest area which is infested with wild animals. The second time, when she gets a surprise gift from Azar in which she finds a photo frame of her childhood picture with her deceased parents when he comes to know that Aiman had lost her mother when she was a child and her father when she was in college. Azar had made an all out efforts to get that picture for her from Bengaluru where she was staying with her aunt before taking the present assignment in Hyderabad. Their confrontational attitudes develop into a subtle romance.
After the death of Waqar Chand, Aiman visits Azar Nawab’s office and hands over her resignation from the employment as she did not wish to work in the palace which is embroiled with some unpleasant happenings in the past. As usual, Azar Nawab gets rude with her but later cools down when he comes to know that she has no man in her life including Basharat Nawab. He embraces her not as a predator but as a genuine lover. He asks her whether she loves him too for which she nods in agreement. And the serial ends with this scene.
In line with the story and the time period (post-independence period), director Lekh Tandon chose Hyderabad for major shootings and selected the actual royal palace and the cottage without much of grandeur to lend the reality of the situation for royal families in the post-1947 scenario. Some shooting was also done at Dandeli in Karnataka to cover Azar Nawab’s business interest in timber. The costumes for the main actors were designed by Rafia Manzoorul Amin, the author of the novel, ‘Alampanah’ who kept them very simple. All the main actors had only the light make-up. This simplicity lent credence to the characters in the serial. All the main actors gave fine performances. The sleek direction which avoided overdoing romance and melodrama and the tight editing gave the serial the repeat value for viewers.
‘Farmaan’ (1994) has 6 songs including the title song, details of which are as under:
- Har dil ko sunaate hain farmaan muhabbat kaa – Bhupendar Singh, L: K Razdan, MD: Kishore Desai
- Piya baaz pyaala piya jaaye na – Khan Ather, L: Quli Qutab Shah, MD: Khan Ather
- Rehte rehte chup jhagadna haay re – Khan Ather, L: Unknown, MD: Khan Ather
- Yaad bole to takiye mein gajre ki baas – Khan Ather, L: Sulaiman Khateeb, MD: Khan Ather
- Bujh gaya dil mera – Khan Ather, L: Unknown. MD: Khan Ather
- Iss bazm ki thhodi si mehak – Warsi Brothers, L: Unknown, MD: Khan Ather
I liked all the songs of ‘Farmaan’ which fit very well in the story situations. Since I have to choose only one song for the presentation, I have selected the song, “Yaad Bole ToTakiye Mein Gajre Ki Baas”. It is written by a well-known Dakkhini shayar, Sulaiman Khateeb (1942-1978) who has used some beautiful metaphors for ‘yaad’ (memory) in simple words.
The song is rendered by Amir Mohammed Khan Ather (1953 -13/12/2020), popularly known as Khan Ather) who had also composed music for the song. He was a well-known Hyderabad-based ghazal singer and a die-hard fan of Mohammed Rafi. Since Rafi’s death on July 31, 1980, Khan Ather would pay tributes to the him every year on July 31st by organizing ‘Yaad-E-Rafi’ concerts in which he would sing songs rendered by Rafi Sahab.
Song – Yaad Bole To Takiye Mein Gajre Ki Baas (Farmaan)(TV) (1994) Singer – Amir Mohammed Khan Ather, Lyrics – Sulaiman Khateeb, MD – Amir Mohammed Khan Ather
Lyrics
yaad bole to
yaad bole to
yaad bole to takiye mein gajre ki baas
yaad bole to
yaad bole to
yaad bole to takiye mein gajre ki baas
yaad bole to
yaad bole to
jaise kewade ka kaanta kaleje ke paas
yaad bole to
yaad bole to
yaad bole to bachpan mein chhode so gaaon
jaise panghat ke paani mein Radha ki chhaaon
yaad bole to khaali diwaane ka khwaab
ek bachche kaa jaise adhoora jawaab
yaad bole to palkaan po aansoo ki loat
kaale baadal po chaandi ki chamkili goat
yaad rote so aankhiaan mein gori ka roop
jaise padte so paani mein halki si dhoop
yaad bole to aansoo ki tooti ladi
ghup andhaare mein chhooti huyi phooljhadi
yaad bole to juhi ki khilti kali
sote baalak ke honthon po jaise hansi
yaad bole to akhiyaan jhukaane ka naam
ek naqsha bana ko mitaane kaa naam
yaad bole to dil mein chhupaane ki baat
chup zara soch ko muskuraane ki baat
chup zara soch ko muskuraane ki baat
yaad bole to
yaad bole to
yaad bole to
yaad bole to
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
याद बोले तो
याद बोले तो
याद बोले तो तकिये में गजरे की बास
याद बोले तो
याद बोले तो
याद बोले तो तकिये में गजरे की बास
याद बोले तो
याद बोले तो
जैसे केवड़े का काँटा कलेजे के पास
याद बोले तो
याद बोले तो
याद बोले तो बचपन में छोड़े सो गौं
जैसे पनघट के पानी में राधा की छौं
याद बोले तो खाली दीवाने का ख़्वाब
एक बच्चे का जैसे अधूरा जवाब
याद बोले तो पलकां पो आँसू की लोट
काले बादल पो चांदी की चमकीली गोट
याद रोते सो आँखों में गोरी का रूप
जैसे पड़ते सो पानी में हल्की सी धूप
याद बोले तो आँसू की टूटी लड़ी
घुप अंधारे में छूटी हुई फुलझड़ी
याद बोले तो जुही की खिलती काली
सोते बालक के होंठों पे जैसे हंसी
याद बोले तो अखियाँ झुकाने का नाम
एक नक़्शा बना को मिटाने का नाम
याद बोले तो दिल में छुपाने की बात
चुप ज़रा सोच को मुस्कुराने की बात
चुप ज़रा सोच को मुस्कुराने की बात
याद बोले तो
याद बोले तो
याद बोले तो
याद बोले तो
Translation of some Dakkhini words used in the song
baas – बास : Fragrance
khaali – खाली : Only
loat – लोट : Stream
goat – गोट : Embroidery
padte so paani – पड़ते सो पानी : Falling water (Rain)
ghup – घुप : dark
- In: Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Geeta Dutt songs | Guest posts | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Rare song | SN Tripathi Song (as a Singer) | Songs of 1940s (1941 to 1950) | Songs of 1945 | Yearwise breakup of songs
- 4 Comments
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.
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Blog Day : |
5149 | Post No. : | 17111 |
Today’s song is from the film ‘Aadhaar’ (1945).
This film was made by Geeta Pictures, Bombay. It was directed by Ramanlal Desai and this social film had music by SN Tripathi. The lyricist was MA Razi and the film cast was Umakant, Kokila, Yaqub, Shehzadi, Firoza, Ramesh, Usha , Ahmed and many others.
When film making started in India with silent films in the first decade of the last century, the filmmakers faced an unexpected difficulty. The difficulty was in getting actresses for films. No women were ready to act in the films, as it was considered a very low level profession. Dadasaheb Phalke wrote in his reminiscences how he tried to invite even prostitutes to work in the films and how even they refused saying it was a lower job than even being a prostitute !
Sensing an opportunity in this field, many European, Anglo-Indian and Jew girls joined films as actresses. Since the films were silent, their zero knowledge of Hindi or any regional language was not an obstacle. The dialogues were shown as strips of typed sentences on the screen. The girls also had no objection to giving romantic scenes or even kissing on the screen. Some actresses in those days were Ruby Meyers (Sulochana), Marcia Solomon (Vimla), Rachel Sofaer (Aarti Devi), Miss Rose, Iris Gasper (Sabita Devi), Susan Solomon (Firoza), Effie Hippolet (Indira Devi), Bonnie Bird (Lalita Devi), Esther Abraham (Pramila), Renee Smith (Seeta), Beryl Classen (Madhuri), Winnie Stewart (Manorama), Florence Ezekiel (Nadira), Muriel Alexander (Meera) and many others.
In the second part of the second decade i.e. from 1915 onward, some Indian girls from tawaif families also joined and as a result the count of ‘white skin’ girls started diminishing. After the advent of talkie films, speaking Hindi and singing – if needed, became a requirement for the actresses and automatically the Jew, Anglo-Indian and the European girls disappeared from films. Only a few, who learnt Hindi and singing, survived for a few more years, like Sabita Devi, Meera, Pramila, Sulochana, Madhuri and Firoza etc. Those who left early had no problem, but those who continued had to face the competition with the newer and younger local artistes and one by one they too ended their careers. However, not all ended happily. There was one Jew actress whose life in the last part of her career ended pathetically, in penury and she died unsung. We all know of such ends of many actors like Master Shiraz, Master Nissar, Bhudo Advani etc., but the sad story of the once famous actress is not known much. She acted in this film and her name was FIROZA.
Firoza (real name Susan Solomon) was born in a village in Konkan, Maharashtra on 30-7-1905, into a Bene Isareli Jew community. By the time she finished her education, she was proficient in Hebrew, Marathi, Hindi and English. In spite of opposition from family, she started working in silent films and soon became popular. Some of her films also became famous and hits. She continued working in silent films till 1934, when silent films stopped being made. Due to the family’s opposition, she had to leave her house. She stayed in Bombay.
With the advent of talkie films, she naturally entered talkie films, with ‘Noor E Yaman’ (1935), in a small role. She acted in films like ‘Bhikaran’ (1935), ‘Aansuon Ki Duniya’ (1936), ‘Bharat Ke Laal’ (1936), ‘Jeevan Jyoti’ (1937), ‘Dukhiyari’ (1937), ‘Veerbala’ (1938) etc. Due to her success in films, she fell a prey to false promises and dreamt of working in Hollywood films. She wasted 3 years in this and dejected, started working in films again here with ‘Ek Raat’ (1942), ‘Circus Girl’ (1943), ‘Duniya Diwaani’ (1943), ‘Bhagta Bhoot’ (1943), ‘Andhi Duniya’ (1943), ‘Din Raat’ (1945), ‘Aadhaar’ (1945), ‘Lal Batti’ (1947), ‘Daulat Ke Liye’ (1947), ‘Haatimtai’ (1947), ‘Dilwaale’ (1948) etc.
She became an alcoholic and a chain smoker. She made the mistake of refusing offers from Bombay Talkies and other big banners. Meanwhile she fell in love with actor Chandra Mohan and wished to marry him, but he became a drunkard and died in 1949. Her financial condition became worse. She did small roles in Marathi and Hindi films. ‘Yasmeen’ (1954) was her last film.
She lost her parents and lived alone in a single room, where she died unnoticed one day in early 70s. She was one of the top 5 Jew actresses, included in the Documentary ‘Shalom Bollywood’ made by Danny Ben-Moshe in 2003. Thus ended a talented artiste !.
[Note – There was another Firoza Begum, wife of music director Kamal Dasgupta. She is different. She was a Bangladeshi singer.]
[Ack: Information culled from ‘Beete Kal Ke Sitare’ by S Tamrakar, ‘The Untold Story of Jews in Indian Cinema’ in Sunday Guardian, ‘Women in Hindi Cinema’ by Bhavna, Jigna and Supriya, theoneminute.com and my notes.]
The lead pair of the film ‘Aadhaar’ was Umakant (Desai) and Kokila. Despite my efforts I could not get any information on this actress. First I thought that she is Nirupa Roy, because the real name of Nirupa Roy was Kokila. But this Kokila has been in films since 1937 when Nirupa Roy was only a 6 year old girl. First film of this Kokila was ‘Meri Bhool’ (1937). She also acted in films like ‘Gentleman Daku’ (1937), ‘Dukhiyari’ (1937) in which she sang 1 song also, ‘Prem Sagar’ (1939), ‘Gareeb Ka Laal’ (1939), ‘Wayda’ (1940), ‘Jagat Mohini’ (1940), ‘Meri Khwahish’ (1941). ‘Aadhaar’ seems to be her last film. She appeared like a flash and disappeared like a comet !
Let us know something about the director Ramanlal Desai. There were 2 directors in the film industry- Ramanlal (Lalbhai) Desai and Ramanlal (Bhimbhai) Desai. Both operated in almost the same period. Luckily Ramanlal Bhimbhai Desai was known as ‘The King of Mythologicals’ and the other Desai directed all types of films. Ramanlal Lalbhai Desai was born on 6-9-1915 at Ahmedabad (some sources indicate different year and place). His father was a station master in the BBCI Railway (Bombay-Baroda and Central India Railway). He was educated in Bombay and he studied up to Inter-Arts. He soon left his studies to work as an assistant cameraman and assistant director for ‘Thief of Baghdad’ (1934). In 1935 he shifted to Ganesh Movietone but then came back to Paramount. He was assistant director in ‘Fairy of the Flute’, ‘Guru Ghantal’, ‘Black Ghost’, ‘Burqawali’, ‘Aladdin’, ‘Vagabond Lover’, ‘Madhur Bansari’ etc. He co-directed films like ‘Patriot’, ‘Darpan’ and ‘Mere Saajan’, in Rex Pictures. He was a good editor and a musician.
He became a full fledged director with ‘Daughter of the Jungle’ (1942), ‘Muhabbat Ki Jeet’ (1943), ‘Circus Girl’ (1943), ‘Bhagta Bhoot’ (1943), ‘Rangeela Dost’ (1944), ‘Aadhar’ (1945), ‘Kismat Ka Dhani’ (1946), ‘Jadui Putli’ (1946), ‘Tiger Man’ (1947), ‘Naqali Heera’ (1948), ‘Dhanwale’ (1948), ‘Dilwale’ (1948), ‘Roshni’ (1949), ‘Sangeeta’ (1950), ‘Aab e Hayaat’ (1955), ‘Hum Bhi Kuchh Kam Nahin’ (1958), ‘Minister’ (1959) and ‘Zalim Tera Jawab Nahin’ (1960). He turned to Gujarati films and directed ‘Sole Saaj Singar’ (1977) and ‘Kul Deepak’ (1978). He was working as a Production Supervisor for the film ‘Nastik’ (1954) (credited).
[Thanks to Shri Harish Raghuwanshi ji for allowing me to use some info used here].
Film ‘Aadhar’ was unique, because it featured 4 artistes falling in the category of ‘same name confusion’ – namely, Ramanlal Desai, Shehzadi, Firoza and Kokila. Today’s song is a duet sung by Geeta Dutt and SN Tripathi – the MD himself.
Song- O mere man ke meet aa gaayen suhaane geet (Aadhaar)(1945) Singers- Geeta Roy, SN Tripathi, Lyricist-M A Razi, MD-SN Tripathi
Geeta Roy + SN Tripathi
Lyrics
o mere mann ke meet
aa gaayen suhaane geet
aa gaayen suhaane geet
aa gaayen suhaane geet
o mere mann ke meet
aa gaayen suhaane geet
aa gaayen suhaane geet
aa gaayen suhaane geet
ye mann karta hai gaa re
ye mann karta hai gaa re
cham cham ye chamakte taare
cham cham ye chamakte taare
chanda bhi kare ishaare
chanda bhi kare ishaare
aapas mein kitni preet
aapas mein kitni preet
saawan mein kitni preet
o mere mann ke meet
aa gaayen suhaane geet
aa gaayen suhaane geet
aa gaayen suhaane geet
ye nadi taraane gaaye
ye nadi ee ee
ye nadi taraane gaaye
ulfat ke saaz bajaaye
ulfat ke saaz bajaaye
kyun mann mein aag lagaaye
kyun mann mein aag lagaaye
ye lehron ka sangeet
ye lehron ka sangeet
ye lehron ka sangeet
o mere mann ke meet
aa gaayen suhaane geet
aa gaayen suhaane geet
aa gaayen suhaane geet
o mere mann ke meet
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
ओ मेरे मन के मीत
आ गायें सुहाने गीत
आ गायें सुहाने गीत
आ गायें सुहाने गीत
ओ मेरे मन के मीत
आ गायें सुहाने गीत
आ गायें सुहाने गीत
आ गायें सुहाने गीत
ये मन करता है गा रे
ये मन करता है गा रे
चम चम ये चमकते तारे
चम चम ये चमकते तारे
चंदा भी करे इशारे
चंदा भी करे इशारे
आपस में कितनी प्रीत
आपस में कितनी प्रीत
सावन में कितनी प्रीत
ओ मेरे मन के मीत
आ गायें सुहाने गीत
आ गायें सुहाने गीत
आ गायें सुहाने गीत
ये नदी तराने गाये
ये नदी ई ई
ये नदी तराने गाये
उल्फ़त के साज़ बजाए
उल्फ़त के साज़ बजाए
क्यों मन में आग लगाए
क्यों मन में आग लगाए
ये लहरों का संगीत
ये लहरों का संगीत
ये लहरों का संगीत
ओ मेरे मन के मीत
आ गायें सुहाने गीत
आ गायें सुहाने गीत
आ गायें सुहाने गीत
ओ मेरे मन के मीत
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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