Saj ke aaye baalam ban thhan ke aaye baalam
Posted on: June 27, 2023
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 : |
5457 | Post No. : | 17872 |
Today’s song is from a not so well known but deserving film – Saudamini (1950).
In Hindi (and in almost all indian languages) films, well known and popular dramas, Novels, Stories and the famous writers have played a significant role in providing material to make logical and meaningful films with a message to the people or a particular society. I can say that films based infamous and popular writings have been made into more qualitative presentations than films on Folk stories and Historical Myths.
In the early era of films, as far as I know, Marathi and Bangla films were in the lead in making films based on well known Authors’ works, whether it was a popular book or a not so popular one. Even good short stories made it to be an inspiration for filmmaking. Literature and a habit of reading was prominent amongst these two communities. Tamil and Telugu, that were as old as the Hindi/Marathi/Bengali languages in making films also used the popular stories, but since they came into the All India market only after S.S.Vasan’s adventurous foray into it with his BlockBuster “Chandralekha” (1948), their numbers were less in this sphere. I have done some work on Marathi, Hindi, Telugu and Kannada film Histories and published articles on them, I know for sure that Kannada and Malayalam films were latecomers into the All India picture, comparatively. Of course, when they came up strongly, they too were not anyway less into making films on published popular and famous literature.
In the infant stage of every language filmmaking, the stress was on Mythology and Folk stories, but during the ascent to adulthood, they all graduated to make use of local literature, which appealed to the audiences of their languages. Many authors, poets and dramatists actually joined the film industry and contributed their themes, stories, poems etc. Even the giants like Rabindranath Tagore and Kazi Nazrul Islam, could not stay away from the film industry by participating personally !
All this narration is because today’s film Saudamini(1950) was also based on the short story (later a novel, I believe) by the famous Bengali author Sharad Chandra Chatterjee. The film was made by National Screen Service, Bombay. It was directed by Prabhash Chandra Joshi, who has only this film to his credit as a director, as far as I know. He also acted in this film and wrote a few song/s also for this film. Which ones and how many is not mentioned in the HFGK, however, individual Records may have the Lyricists’ names.
The music Director was S.N.Tripathi, who had also acted in this film. He was a multi-faceted artiste. He acted in 83 films for which he gave music, as an MD he had 107 films, he sang 13 songs in 7 films and he even directed 18 films ! What a varied output !! There were 4 Lyricists in this film – P.C.Joshi, Anjum Pilibhiti, Arjun and B.D.Mishra. The cast of the film was Sona Chaterjee, P.C.Joshi, S.N.Tripathi, Bikram kapoor, Leela Chitnis, Rampyari, Shyamsundar, Cuckoo etc.
The story of this film was very powerful, but this film did not become very successful, for whatever reasons. In fact, later on when the ” Offbeat films” (new wave etc.) started, the same story with some changes were made into films which became Hits. Similar story films (some) were Rajanigandha, Swami, Dhadkan, Hum dil de chuke sanam etc. Here is the film story. After reading this story, readers may remember more films,in different languages too, having almost a similar story…..
Sarat Chandra Chattopadhyay’s Bengali novel by the name Swami, is set in the early 20th century. The word “swami” could be translated as ‘lord and master’, not in the sense of a tyrant but as the traditional master of a Hindu household, based on the concept of an ideal husband: gentle and protective, dependable, and considerate, the perfect grihastha or householder .
Saudamini is an educated girl, a rare phenomenon at the turn of the century. Her uncle and guardian, who has imbibed liberal ideas of the time, offers her a measure of freedom that girls of that time were largely denied. Her widowed mother is critical of the girl’s headstrong nature; she considers the uncle’s handling of the girl indulgent and irresponsible, particularly with regard to marriage.
Saudamini is romantically involved with Narendra, the boy-next-door who is pursuing studies in the nearby city of Calcutta. Under repeated prodding from the mother, the uncle sets out to inspect a prospective groom, Ghanshyam. Though a widower, Ghanshyam is a respectable man who is considered eligible in the marriage market, as the eldest son of a well-to-do business family. Unfortunately, the uncle suffers a heart attack while coming back. As he lays dying, he pleads with his niece to accept Ghanshyam who he feels will make an ideal husband for her.Saudamini, who has been given her way thus far, suddenly finds the reins drawn in. In a desperate bid for freedom, she writes a letter to her lover in Calcutta, asking him to come to her rescue. He does not turn up. In her new household, Saudamini finds Ghanshyam’s shrewish stepmother and step-family – a married brother, and an unmarried sister. Forced into an unwanted relationship, she feels alienated, not only from the family but also from her husband. Ghanshyam, sensing her state of mind, does not force his attentions upon her.
Slowly Saudamini observes how Ghanshyam, though he is the actual breadwinner in the family, is treated with neither respect nor care. Even the servants ignore his request for water to wash with or for food, while the stepmother lavishes love and sweetmeats on her own son. Ghanshyam seems to accept this situation with, what may be called, gentle stoicism. Saudamini finds her attitude changing to one of concern for her husband and decides to stand up for his rights. When a prospective bridegroom for Ghanshyam’s step sister ridicules the poor girl, at the same time demanding an exorbitant dowry, Ghanashyam puts his foot down for the first time. She is not a commodity on sale in the market, he says in defiance of his stepmother, who is only too eager to rid herself of her burden.
This is a key incident in Saudamini’s changing attitude towards her husband. Just as prospects seem to be growing pleasant, Narendra enters Saudamini’s life again. Narendra pleads with Saudamini to come away with him, leaving her in a state of conflict. Their tete-a-tete is discovered by the wicked stepmother, who accuses her of infidelity and forces the situation to a point where Saudamini has no choice but to leave. However, there is still one last twist remaining. Waiting for the train at the railway platform, Saudamini recalls the simplicity, gentleness and tolerance of her husband. As she loses herself in memories, her eyes well with tears.
The train arrives. But so does Ghanashyam…She embraces Ghanashyam and he pats her. Streaming tears from her eyes tell him that she is repenting for leaving the home. No words are necessary and both realise their true love. ” A crime is no longer a crime when you ask for forgiveness with a clean heart ! “
After a very long time, the name of actress Rampyari was seen in the cast of this film. Here is some information on her…..
Actress Rampyari’s life story is interesting. Though from a singing family(Tawaif) from Hyderabad, she was quite educated. Fluent in English and Urdu, besides Hindi and mother tongue Telugu, she used to reply in chaste English or Urdu to her fan’s letters. She is also one of the earliest film artistes who did programmes in other countries, in those days.
Rampyari was from Low cast and profession, but was a highly polished and sophisticated actress in those days. Rampyari hailed from a Telugu family of highly skilled professional dancers and singers. She lived in Nagulchinta area of old Hyderabad city.She was born on 27-8-1908 . That year Hyderabad witnessed devastating floods.She was taught Urdu and English. Apart from her mother tongue Telugu she was also proficient in Marathi and Kannada. She was trained in Dancing and singing. In 1918, at the age of 10 years, she was taken to Madras by her aunt, who trained her in Bharatanatyam. After 4 years of rigorous training, she became the best dancer of Madras.
In 1926, a film producer from Kohinoor Film company, Bombay ,visiting Madras, saw her dancing and invited her to Bombay.It was the era of Silent movies. Her first film was Gunsundari, with Miss Gauhar and Raja Sandow. It was directed by Chandulal Shah and was released in 1927. Her supporting role as a dancer in the film was lauded by the audience. Next film Vile woman was also successful. She acted in more than 20 films as a Heroine and dancer and established her name as a seasoned actress of the 30s.
With the advent of Talkies, she easily switched over. She had no difficulty in delivering Urdu dialogues. In 1931, she acted in Paak Daman, Laila Majnu and Ghar ki laxmi, Gunsundari in 1934 and Azad Abla,Meethi Nazar and Hamlet in 1935.
Famous director Debki Bose from New Theatres, Calcutta invited her and signed up for ” Sunehra Sansar”-36 and Vidyapati-37, which was a mega hit. After this, she did few films in Calcutta with other companies. Her film Milap-37 was famous for being the first to show the prototype of a “vamp” in Indian Cinema. Rampyari was shown wearing “an off-shoulder dress” and using a cigarette-holder, with the intent of seducing the hero Prithviraj Kapoor, the scene was later used by Raj Kapoor on Nadira in his film Shree 420 (1955) for the song “Mud Mud Ke Na Dekh”.
She toured the entire south India and gave dance performances in major cities. She became so famous that the Ceylon Labour Union invited her to Ceylon and presented her with Gold Mementos. She also performed in Burma. She was greatly inspired by the acting of Sulochana aka Ruby Meyers and Miss Gauhar of Ranjit, with whom she acted in many films.
She shifted to Bombay permanently in the 30s. Her family also moved out of Hyderabad and came to Bombay. She had a large fan following in Hyderabad. She had a great fan mail too, which she replied in fluent Urdu and English. Later she got married and retired from films.
She acted in 30 films. Her last film was Dak bungla-47. She sang 14 songs in 8 films.
She died on 28-8-1970 at Bombay. There was no news in any paper. (Thanks to P.Kamlakarji’s Blog and his book ” The lost treasure” and my notes ).
Today’s song is the 8th song, out of the total 9 songs from the movie, to feature here. It is sung by Mohantara Talpade and Chorus.
Song-Saj ke aaye baalam ban thhan ke aaye baalam (Saudaamini)(1950) Singer- Mohantara Talapade, Lyricist- Not known, MD- S N Tripathi
chorus
Lyrics
Saj ke aaye baalam
ban thhan ke aaye baalam
goree ko lene aaj
aaj saj ke aaye baalam
ban thhan ke aaye baalam
goree ko lene aaj
jaao re
jaao re
jaao re jaao goree
baalam ke ghar
apne saajan ke ghar
apne preetam ke ghar
aaj saj ke aaye baalam
ban thhan ke aaye baalam
goree ko lene aaj
saj ke aaye baalam
ban thhan ke aaye baalam
goree ko lene aaj
haathh lagee mehandi
aur paaon mein mahaawar
aur paaon mein mahaawar
haathh lagee mehandi
aur paaon mein mahaawar
aur paaon mein mahaawar
bholee bhaalee soorat pe
chaand bhee nichaawar
ho chaand bhee nichaawar
bholee bhaalee soorat pe
chaand bhee nichaawar
ho chaand bhee nichaawar
o o o o
keh de zara goree
o o o o
keh de zara goree
saajan se kaise bole
baalam se kaise bole
saj ke aaye baalam
ban thhan ke aaye baalam
goree ko leke aaj
saj ke aaye baalam
ban thhan ke aaye baalam
goree ko lene aaj
maa kee dulaar
dulaar ki saakee(?)
raanee ban rehnaa tu
apne piyaa kee
apne piyaa kee
soona soona laage ab angna hamaara
soona soona laage ab angna hamaara
hamko rulaaye hansna tumhaara
hansna tumhaara
Saj ke aaye baalam
ban thhan ke aaye baalam
goree ko leke aaj
saj ke aaye baalam
ban thhan ke aaye baalam
goree ko leke aaj
laaj bhare nainan mein
pyaar bharee ghaaten
hai pyaar bharee ghaaten
laaj bhare nainan mein
pyaar bharee ghaaten
hai pyaar bharee ghaaten
laal laal honthon pe
pyaar bharee baaten
hai pyaar bharee baaten
laal laal honthon pe
pyaar bharee baaten
hai pyaar bharee baaten
soch rahee man mein ab
kaise kate raaten
goree kaise kate raaten
soch rahee man mein ab
kaise kate raaten
goree kaise kate raaten
o o o
dulhan albelee
o o o
dulhan albelee
ho zara nakhre sambhaal goree
nakhre sambhaal
bhed tere dil ka
ab hamne liyaa jaan
goree hamne liyaa jaan
bhed tere dil ka
ab hamne liyaa jaan
goree hamne liyaa jaan
saj ke aaye baalam
ban thhan ke aaye baalam
goree ko leke aaj
saj ke aaye baalam
ban thhan ke aaye baalam
goree ko lene aaj
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
June 27, 2023 at 7:29 am
Arun Ji,
Thanks for the post. The story narrated has semblance to that of ‘Hum dil de chuke sanam’.
I was not aware of versatility of S N Tripathi, until I read it here. I get to read such details of personalities from your posts. If you have mentioned about SNT in previous posts, I did not register. 🙂
LikeLike
June 27, 2023 at 10:22 am
Satish ji,
Thanks.
Hum dil de chuke sanam is already mentioned in the post. Please let me know if you remember some other films with similar story.
Thanks for your appreciation.
-AD
LikeLike
June 27, 2023 at 1:38 pm
Arun Ji,
I picked up ‘Hum dil de chuke..’ from your post only amongst other titles mentioned there in .
LikeLike
June 27, 2023 at 8:24 pm
Shabana Azmi Girish Karnad starter “Swami” also same story, no?
LikeLike
June 27, 2023 at 8:38 pm
Swami is also mentioned by me.
-AD
LikeLike