Tailap ki nagri mein gaanaa nahin hai
Posted on: October 6, 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.
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Today’s song is from the historic film Prithvi Vallabh-1943.
This is a real Historic story on which there was also a Silent movie “Prithvi Vallabh aka The Lord of Love and Power”, made by Ashoka Pictures, Baroda (Gujarat) in 1925. Its story was the same as today’s film. The film was important because India’s first woman Director and Producer Fatima Begum had acted in it, along with 2 of her 3 daughters-Zubeida and Sultana. Zubeida went on to become the Heroine of India’s first Talkie film Aalam Ara-1931. After 18 years of the silent movie, Sohrab Modi’s Minerva Movietone made this film again in 1943.
When Silent films started in India, the only requirement to enter the films was good looks and readiness to give bold scenes. Due to this, many Anglo Indian and European girls joined Indian films as actresses, taking an Indian name. Some of them were Sabita devi (Iris gasper), Feroza (Susan Soloman), Indira Devi (Effi Hippolet), Meera (Muriel Alexander), Lalita Devi (Bonnie Bird), Pramila (Esther Abrahim), Seeta Devi (Renee Smith), Madhuri (Beryl Classen), Manorama (Winnie Stewart) etc.etc.
When talkie films started, the entry condition was, reasonably good looking and an ability to sing. With this, a great lot of Tawaif girls joined the films. Also actors from Drama companies joined the films, like Fida Hussain, Zebunnisa, Firoz Dastoor, Govindrao Tembe, Master Vasant, Leela Chitnis etc.
When Playback system was well set, there was a demand for handsome, chic faced beautiful actors or youngsters with good height and strong physique. There was less importance of acting skill. In this period actors like Ranjan, Karan Dewan, Pradeep Kumar, Bharat Bhushan, Dev Anand, Sheikh Mukhtar, Sohrab Modi etc. came into limelight. Singing ability was not required.
Finally, when film stories became dominant, even good faces did not matter. Importance was given to dialogue delivery, voice modulation and suitability to the film story. In this period, actors like Raaj Kumar, Shatrughna Sinha, Om Puri, Amitabh Bachhan, Amol Palekar etc. came in limelight.
Sohrab Modi filled into 2 categories. Being a Parsee, he was fair, tall and well built and he had the skill of delivering long dialogues effectively with proper voice modulation. His life story is very interesting.
Sohrab Merwanji Modi was born in a Parsi family on 2nd November, 1897. His parents were Parsi civil Servants. For a few years he stayed in the Parsi community in Bombay. Sohrab Modi’s childhood was spent with a lot of activities. As he grew up, his more interest was in exercise and sports. Though in childhood many times he was severely sick and a few times he was also hospitalized. Due to which he looked tall but he was thin. But later he was very active. In school he was an average student, he never got hooked on History. Many times a teacher complained to his parents for his lagging behind in history subjects. His parents turned all the stones to make him study but it all went in waste. But Sohrab was good at sports and from childhood he was interested in exercise which helped him to develop his personality in stage acting. Later he shifted with his family to Rampur in Uttar Pradesh. At the age of 14 -15 his mind absorbed many interesting things in acting as he watched silent movies. Soon his mind got diverted toward stage acting.
At the age of 17 years, he worked as a travelling exhibitor in Gwalior. Elder brother Rustom Modi, along with his close friend Ittefaq, set up Arya Subodh Natak Mandali theatre group in 1923.
In the beginning, Sohrab Modi only acted as an extra or side role which was not that important. But Sohrab was looking for the opportunity where he could act as a leading actor. Very soon he got an opportunity and he broke the ice. Soon He earned the reputation as a Shakespearean actor. Sohrab Modi’s elder brother Rustom helped him in stage acting and people really appreciated the Sohrab acting. Sohrab played Jehangir (Hamlet) opposite Naseem Bano (Ophelia) in Khoon ka Khoon, one of the biggest Urdu stage Hits of the 20s. As Sohrab was growing up, his personality kept developing. His personality suited the role of a king. His two plays ‘Khoon Ka Khoon’ and ‘Saed-E-havas’ added flying colors to his acting.
In 1931 Hindi movie ‘Alam Ara’ was released with sound. On one hand, ‘Alam Ara’ was a big leap for Bollywood. But on the other hand, the introduction of sound in movies created a very big crack in the theatre business. People started getting interested in watching movies rather than watching theatre plays. To save theatre art, the Modi brothers set up the Stage Film Company in 1935. From this year Sohrab Modi never looked back in acting career.
Sohrab Modi talents soon reached the ears of ‘Dadasaheb Phalke’. Though Sohrab Modi had worked in a few silent movies before, Dadasaheb Phalke never appreciated Sohrab Modi’s acting. One day Phalke Saab personally went to see Sohrab’s play ‘Alexander the Great’ and he wrote that he was quite impressed with Sohrab Modi’s acting.
Sohrab Modi is remembered fondly by the film buffs for his towering personality, solid voice and his forceful dialogue delivery. Actually, Modi was much more than that. He was the first and the only film maker who took up Historical subjects to make films that left a long lasting impression on the film goers. He loved to do the roles of Historical persons ( actual or mythical) and deliver long dialogues in his resonant voice, clear diction and superb voice modulation.
Sohrab Modi developed these qualities from his stage acting days. In his growing up age at Rampur, he had spent hours in the library of the local Nawab, where his father worked as a Superintendent. This gave him a command on Urdu language. Added to this was his brother Rustom’s drama company ” The Arya Subodh Natak Mandali” in which he acted. In 1935, the brothers set up the ” Stage Films ” to film the two dramas, namely Hamlet aka Khoon ka khoon-35 and Sayeed E Hawas-36, based on Shakespeare’s play King John, as movies. However, these movies did not do too well, as the audience had seen them on stage several times. But this failure didn’t stop Sohrab Modi from acting. Taking a clue from this, Modi decided to start a new company, Minerva Movietone to produce independent films on different stories of merit.
Minerva Movietone was started by Sohrab and brother Rustom Modi in 1936, when they realised that the stage dramas, filmed as Feature films, did not get the public approval. Logo of his banner was the Lion. Does this personally symbolize Sohrab Modi personality? Production from Stage films- their first film production enterprise- was suspended till Minerva became successful. ” Aatma Tarang-37″ was the new company’s first film. C. Ramchandra was the Harmonium accompanist for M.D. Habib Khan and Bundu Khan. He also did a small role in Aatma Tarang and earlier Saeed E Havas-36. Minerva’s first film proved to be a let down.
Sohrab found that there were hardly 20 to 30 persons in the audience on the very First show. The film was based on the power of ‘ Bramhacharya’ (Celibacy). In those days, Sohrab was greatly influenced by the teachings of Ramakrishna Mission. Seeing the poor response, he was upset. Thoughts of quitting the film production line were crowding in his mind. Suddenly, he saw four men coming towards him. They came, confirmed that he was Sohrab Modi and told him that his film was very good. They further advised him to keep making such good films and one day he will be on Top. Later on he learnt that these gentlemen were the Judges of Bombay High Court.
This gave a lot of motivation to Modi. It also boosted his self confidence. As such he was sure of his success in films, but now he knew that he must make films on subjects of interest of the public and not his own philosophy, if he wants to succeed commercially. His second film was Khan Bahadur-37, based on the bravery and generosity of a Muslim king who became famous for his bravery. The English rulers gave him the title of Khan Bahadur. The film did a reasonable business.
This incident infused him with new hopes and enthusiasm. This changed his life. Initially he focused on making films on social evils like Drinking (Meetha Zehar-38), Husband-wife separation ( Divorce-38) and Incest ( Bharosa-40 ). Enthused with this experience, he made successful films and took his company to the Top. Renowned for big budget historical films, Minerva benefited from the Modi family’s distribution interests in Gwalior, expanded by his third brother Keki Modi into western India. At one time he controlled a chain of 27 theatres in 10 cities. In 1952, they established India’s first Technicolour Laboratory.
In 1944, Central Studio signed Mehtab for their film “Parakh”. Sohrab Modi was directing the film. At the time of signing the contract, Mehtab told Modi that she had heard that he only took his own close-ups in his films and ignored the others. He told her that he wasn’t acting in that film. Thereafter, Sohrab Modi again took Mehtab as heroine in his film “Ek Din Ka Sultan” opposite Wasti under his own banner Minerva Movietone. Slowly, Sohrab Modi fell in love with her and proposed to her. Mehtab agreed only on the condition that she would not leave her son Ismail. Sohrab didn’t find any problem in that and they got married on the birthday of Mehtab, 28 April 1946. Sohrab Modi’s family didn’t approve as they were Parsi and Mehtab was Muslim. Sohrab never interfered in Mehtab’s career or religion. Mehtab had a son from Modi named Mehli who was brought up as Parsi. Modi sent both the sons abroad to study.
Mehtab did few films after marriage like “Behram Khan” (1946), “Saathi” (1946), Shama (1946). Her last major film was “Jhansi Ki Rani” (1953). (She did a small role in the film Samay Bada Balwan-69.) Sohrab Modi was the producer, director and the hero of the film. It was Sohrab’s first colour film. She acted in a total of 40 films. Sohrab Modi acted in 32 films. First was Hamlet-35 and the last was Razia Sultan–83.He directed 27 films. First was Hamlet-35 and the last was Meena Kumari ki Amar Kahani-81.
Sohrab Modi died on 28 January 1984 due to cancer of the bone marrow. Mehtab’s both sons were settled abroad, though she spent her life in Cuffe Parade, Mumbai till her death. She died on 8-4-1997. ( I thank Upperstall for some information used herein, book ‘ Hero ‘ Vol 1 by Ashok Raj and my notes.)
Film Prithvi Vallabh-1943 was the third in the Historical film series by Modi. The other films were Pukar-1939 and Sikander-1941. The music Director was Rafiq Ghaznavi and Saraswati devi. After her last film Naya Sansar-1941, Sarswati Devi left Bombay talkies with heavy heart. In 1943 she did 3 films at Minerva namely, Prithvi vallabh, Prarthana and Bhakta Raidas. Then she worked as a freelancer.
The cast of the film was Sohrab Modi, Durga Khote, Kajjan, Meena(shorey), Sadiq Ali, Al Nasir, K.N.Singh and a long list of other actors. The story of the film was…..
This is a story of a true king Munja, called Prithvi Vallabh (Sohrab Modi), king of Avantipur, who always keeps his people happy in his kingdom. After winning a battle with a neighbouring kingdom, the king of that region, king of Tailangan, Sailab Raj (Sankantha Prasad) is captured and brought in front of Prithvi. Sailaab is made to wash Prithvi’s feet with holy water in front of the whole kingdom.
After that, Prithvi makes Sailab his friend and releases him. Sailab goes back to his kingdom but he finds that he is not welcome there since he had lost the battle. He confides in his sister Mrinalvati (Durga Khote) and she tells him that if he wants to make her happy then he must go and capture Prithvi and make him the prisoner.
Sailab goes and gets hold of Prithvi and puts him in prison. Mrinalvati meets Prithvi and they have huge heated arguments, but during the arguments they both fall in love. She comes and meets Prithvi everyday in the prison and they spend a lot of time together. They decide to escape. When Munja has a chance to escape, he holds back so that Mrinalvati would join him.
She however, ditches him, and betrays. When Sailab comes to know about it, he orders that Prithvi be killed on being trampled upon by elephants. In the kingdom people are upset as Prithvi is an honest and courageous leader. The day arrives when Prithvi is to be killed by the elephants. Prithvi informs the entire kingdom that he is ready to die, but Mrinalvati does not want him to get killed. In the end, she also goes with him and both get killed by the elephants.
Today’s song is sung by Rafiq Ghaznavi, Menaka and Chorus. Enjoy the video….
Song-Tailap ki nagari mein gaana nahin hai (Prithvi Vallabh)(1943) Singers- Rafiq Ghaznavi, Menaka, Lyricist- Pt. Sudarshan, MD- Rafiq Ghaznavi
Chorus
Lyrics
Tailap ki nagari mein gaana nahin hai
gaao
tumhen to apne bhagy par khush hona chaahiye
jo tumhen Prithvi Vallabh gaana sikha raha hai
gaao
Tailap ki nagari mein gaana nahin hai
Tailap ki nagari mein gaana nahin hai
shaabaash
shaabaash
gaana nahin hai bajaanaa nahin hai
gaana nahin hai bajaanaa nahin hai
jeewan ki khushiyaan mananaa nahin hai
jeewan ki khushiyaan mananaa nahin hai
kya karta hai
kyon dartaa hai
aa aa aa aa
apni sunaa rang jamaa le
ae ae
ae ae
aa aa aa aa
apna rang jamaa le
ae ae
ae ae
chaand chadhe
kul(??) duniya dekhe
chaand chadhe
kul(??) duniya dekhe
tu bhi chaand chadhaa le
aapne andhere ghar mein
man ki jyot jalaa le ae
ae ae
aapne andhere ghar mein
man ki jyot jalaa le
baat banaa le
ae ae
ae ae
aa aa aa aa
apna rang jamaa le
ae ae
ae ae
aa aa aa aa
apna rang jamaa le
ae ae
ae ae
aa aa aa aa
duniya ke nit loot bahaaren
aa aa aa aa
duniya ke nit loot bahaaren
bhar bhar pee ley pyaaley
ae ae ae
kal kee baat uthhaa rakh kal par
ae ae
ae ae ae
kal kee baat uthhaa rakh kal par
aaj ki khair manaa le
aaj ki khair manaa le
sudh bisraa le
ae ae
ae ae ae
aa aa aa aa
duniya ke nit loot bahaaren
bhar bhar pee ley pyaaley
ae ae
kal kee baat uthhaa rakh kal par
aaj ki khair manaa le
aaj ki khair manaa le
sudh bisraa le
ae ae
ae ae ae
aa aa aa aa
apna rang jamaa le
ae ae
ae ae
aa aa aa aa
apna rang jamaa le
ae ae
ae ae
aankhon se chingaaree le kar
aankhon se chingaaree le kar
man mein aag lagaa le
ae ae ae
man mein aag lagaa le
haathhon se ghar phoonk
tamaashaa duniya ko dikhlaa le
haathhon se ghar phoonk
tamaashaa duniya ko dikhlaa le
o matwaale
ae ae ae ae
aankhon se chingaaree le kar
man mein aag lagaa le
haathhon se ghar phoonk
tamaashaa duniya ko dikhlaa le
o matwaale
ae ae ae
aa aa aa aa
apna rang jamaa le
ae ae ae ae
aa aa aa
apna rang jamaa le
ae ae ae ae
ae ae ae ae
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
October 6, 2023 at 9:49 am
Arun Ji,
Thanks for the post. Nice to read in detail, about life of Sohrab Modi. I was always impressed by his screen personality. Difficult to believe he was frail in childhood.
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October 6, 2023 at 10:40 am
Thanks, Satish ji.
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