Milaa le haathh le ban gayee baat
Posted on: July 27, 2024
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 the last and the final song from the film Chhabili-1960.
Every country has some speciality or a peculiar characteristic, which is unique to itself.
For example, the loyalty of the British Citizen to their King/Queen, the extraordinary National Pride of the Japanese, the pride of every American for their rich country etc. So, what is India’s speciality ?
Our speciality is to bring our progeny to our profession, if we are successful. In other words, Politicians will try to make place in politics for their sons, Industrialists bestow everything to their next generation and an actor tries to make his son/daughter an actor. If the next generation is interested in it and capable enough, the task is easier, but as far as the show business/films are concerned this alone is not enough to get success or to get established. One may have the looks, opportunity, help, even the financial backing, one can not be successful unless Lady Luck is with the aspirant !
In the film line, during the period from the 1940’s to the 1970’s, we have seen many cases where the established and successful actors could not establish their sons/daughters in the filmline because they did not have the Lady Luck factor.
It is said that ‘No trees can grow under a Banyan Tree’. This is absolutely true and applicable in Film industry. Except in cases like the Kapoor family, i.e. Raj, Shammi and Shashi, who made their bright careers despite the shadow of their Father and other Brothers, we find that many of the sons,daughters,brothers or sisters of many popular and famous film stars were failures and never made it big in Hindi cinema.
We know cases like Suneil Anand,Nasir Khan,Tony walker,Naina Sahu,Meera Joglekar,Ajit Chitnis, Rajendranath, Narendranath, Anup kumar, Mallika, Khursheed Jr., Simple Kapadiya, Shivangi Kolhapure, Preeti ganguly, Radhika and many more. In spite of having all the backing of famous family members, these and so many others just did not make it, because Talents are not always hereditary !
They all were given a fair opportunity to display their talent on the screen , but unfortunately despite their honest effort their skill could not come out & the viewers were left unimpressed . They were selected by big banners and well experienced directors were there to guide them. But their talent remained hidden inside them and with their nonexistent artistry they disappointed their mentors. Non-actor Sohan Kapila was in the romantic lead of Filmistan’s Babar ,which was released in 1960. Hemen Gupta , distinguished director ,who earlier had directed Anand Math for Filmistan ,directed the movie and it also had the winning combination of Sahir & Roshan. Dependable character actor Gajanan Jagirdar did the role of great Moghal Emperor Babar . But the movie flopped ,as the new hero failed pathetically to register any emotion on his face. A big jolt for Seth Tola Ram Jalaan ,who was already facing financial problems. Mr. Kapila appeared in 2-3 movies in inconsequential roles and disappeared from the scene forever . His daughter Padmini Kapila also pursued a film career ,but could not achieve much success.
There were many other actors like him ,who got a chance to appear opposite illustrious heroines , unfortunately their effort did not make any impact on the cine loving public. Watching their miserable performance on the screen , no film maker came forward to sign them . Out of sight is out of mind ,it was a matter of time when the public as well as the film industry forgot them.
Malhaar ,as the name suggests, a musical film, produced by great singer Mukesh in 1951 . It had a story by veteran actor S K Prem & its evergreen music was composed by Roshan . The movie had newcomers Arjun & Shammi (Nargis Rabadi ). Arjun did get another chance in Daku Ki Ladki to please the viewers with his emoting before the camera, but could not succeed and it was the end of his career.
Rattan Chopra the lucky boy was selected for films , among hundreds of aspirants . Mohan Kumar had suffered a huge setback when Aman flopped .He took the newcomer for Mom Ki Gudia ,opposite Tanuja, with great hopes. Unfortunately , Mom Ki Gudia failed to dispel the gloom and sank to the rock bottom. Acting was not his cup of tea ,Rattan Chopra understood & wisely opted out of the race of stardom.
K. Amarnath introduced new comer Vijay Kumar in his 1954 offering Alif Laila opposite Nimmi & Asha Mathur . Sohan Kapila and Vijay Kumar had impressive physiques , but had no clue about acting. The movie had lilting music by Shyam Sunder ,which was his last contribution towards the film industry . Helen for the first time got a chance to perform solo in the movie & for many decades she remained on top. But for Vijay Kumar it was his first & last chance.
Another non actor Premendra was introduced by old timer Vijay Bhatt in Holi Aayee Re (1970),which was directed by his younger sibling Harsukh Bhatt. It was pathetic to watch Premendra unsuccessfully trying to showcase his imaginary ability in the field of acting .The movie flopped phenomenally & a huge investment made by Bhatt Brothers went up in a cloud of smoke. Premender with Kumud Chhugani in Holi Aayee Re.
There were some more like Pratibha Sinha, Archan Gupta, Jayant Gupta, Ashok Sharma, Nusrat Kardar, Rajeev kapoor, Manish kumar, Navinchandra, Aroop kumar, Prashant, Shalini, Kaycee Mehra, Vikram, Shekhar Suman, Deepak kumar, Ajay, Som Dutt and many more.
Among them, some film names which I remember off hand are Arjun in Malhar-51, Rattan Chopra in Aman-67,Mom ki Gudia-72, Vijay kumar in Alif laila-54,Premendra in Holi aayee re-70, Deepak kumar in Aabroo-68, Ajay in Wapas-69, Som Dutt in mann ka meet-68, Vikram in Julie-75,Rajeev Kapoor in Ram teri Ganga maili-85, Shekhar Suman in Utsav-84, Kaycee mehra in Chhabilee-60 and mem didi-61, Prashant in Sehra-63, Ashok Sharma in Hamari yaad aayegi-61, Ajit Chitnis in Aaj ki baat-55, Nusrat Kardar in Dard-47, Manish in SaraswatiChandra-68, Rajiv in Nayi umar ki nayi fasal-65, Aroop kumar in Bezubaan-62 etc etc.
However, Shobhana Samarth – a successful actress of the 30’s and the 40’s was one of the few exceptions who introduced, not one but two of her daughters and both were successful. She took personal interest, invested money, produced and directed the films in which they made their Debuts. Obviously, the girls also had Lady Luck on their side !
Her elder daughter Nutan was launched through the film ” Hamari Beti”-1950 and 10 years later her younger daughter Tanuja Debuted in the film ” Chhabili”-1960.
Today’s film Chhabili-1960 was produced and directed by Shobhana Samarth herself , under her own banner ‘Shobhana Pictures’ to launch actress Tanuja. The cast of the film wasTanuja, Nutan, Kaycee Mehra, K.N.Singh, Gulab, Agha, Iftikhar, Helen and others. Another surprise was that all the songs of this film were written by Ratanbai Shilotri, Shobhana’s mother. The HFGK mentions the lyricist’s name as S.Ratan, with a footnote that it was Ratan Sharma, the RMIM group found out many years ago that in one of her interviews, Shobhana herself had revealed this information. Music Director for the film was Snehal Bhatkar, who himself had struggled hard to become moderately successful.
Vasudev G. Bhatkar was born on 17-7-1919. He knew at least 100 bhajans by heart by the time he was in his 10th class. He was invited to sing in Ganesh Melas and other celebrations and soon became a well-known name in the locality. Because of his singing and skills in playing Harmonium and other instruments, he got a job with H.M.V. in Bombay. Here he used to give accompaniment on Harmonium to big classical singers. At the same time, taking cognizance of his singing skills, many Marathi bhav geet and bhajans were recorded by HMV. Some of them are popular in Maharashtra even today.
All this while, Bhatkar was looking for an opportunity to compose in films. Sudhir Phadke who too served in HMV and recorded some songs from 1943 to 1945, joined hands with Bhatkar and made a pair-Vasudev-Sudhir. In 1946, they got a film by Baburao Painter – Rukmini Swayamvar – for music direction. The problem was that due to his service in HMV, he could not openly work outside. Hence he only gave his name as Vasudev. After this film, the pair separated and Phadke went to give music to films like Gokul, Aagey Badho, etc. Due to financial constraints Bhatkar was unable to leave his job with HMV.
In 1941, Bhatkar had come to know Kidar Sharma while recording songs for his film Chitralekha, which he was making for Ranjit Studios. Sharma had just come from Calcutta to establish himself in Bombay. He had a knack of identifying talents. He first gave a chance to Bhatkar to sing some songs with Leela Sawant in his film Kaliyan (1944). After Rukmini Swayamvar, Kidar Sharma gave him his first break as an independent composer in his Neelkamal (1947), where Kidar Sharma launched Raj Kapoor and Madhubala in adult roles as the leading pair. Bhatkar used the name B. Vasudev. In the subsequent years Bhatkar used different names for different films like V. G Bhatkar in Sant Tukaram (1948), Sati Ahalya (1949) and Pagle (1950), and Snehal in Suhaag Raat (1948) and Thes (1949). After doing Thes and Sati Ahalya, Bhatkar resigned from HMV.
Snehal Bhatkar and Kidar Sharma were very good friends. Kidar gave him Neki aur Badi in 1949. Meanwhile, Kidar Sharma met Roshan Lal Nagrath in some musical event. Sharma was terribly impressed with Roshan and wanted to give him a break in his film. At that point of time, Kidar had just started work on ‘Neki aur Badi’. He had a heart to heart talk with Bhatkar and Bhatkar gladly left the film for Roshan. Thus Roshan got his break with Neki aur Badi (1949). Roshan never forgot Bhatkar’s magnanimity in his life and always respected Bhatkar. In return Kidar Sharma gave Hamari Beti (1950) to Bhatkar. As he was a free bird now, Bhatkar started using the name SNEHAL BHATKAR from this film. Snehal was the short form of Snehalata, his daughter.
Snehal Bhatkar did many Marathi films and recorded many bhajans in Marathi, which are ever popular. He did 28 films in Hindi (including one unreleased film in the 50s) and 12 films in Marathi. Out of 27 released Hindi films, 9 were made by Kidar Sharma.
The song which made Mubarak Begum and Bhatkar famous in India was ‘Kabhi Tanhaiyon Mein, Hamari Yaad Aayegi’ from the film Hamari Yaad Aayegi (1961) (This film was originally named Jawan Muhabbat). Actually this song was to be done by Lata Mangeshkar. Lata had already recorded two songs for this film. Due to her extremely busy schedule she was unable to do this song, so she suggested the name of Asha Bhosle, but , already upset over Lata’s refusal, Kidar Sharma opted for Mubarak Begum and the rest, as they say, is History. She imbued a unique character to this song with her special voice.
After 1960, the musical scene in India was undergoing drastic changes and there was no space for composers like Bhatkar, who used a minimum orchestra and dwelt upon melody. His films came in long intervals. Even Kidar Sharma left him after Fariyad (1964) only to return in Pehla Qadam (1981). Finally Bhatkar did his last Hindi film Sahme Hue Sitare (1994),which featured his son Ramesh Bhatkar, who was already a popular hero in Marathi film, stage and TV. This obscure film did nothing good to Bhatkar.
After retirement Bhatkar devoted his time for children’s welfare and his original love-Bhajan Mandali singing.
Snehal or Vasudev Gangaram Bhatkar, together with cousins Devji Bhatkar and Panchambuwa Pandurang Shivalkar, was the founder member of ‘Vishwambhar Prasadik Bhajan Mandal’ in Dadar. It is still in operation after 50 years, with a new set of singers. Bhatkar was very kind hearted. Every year, during Ganapati festival he used to visit his ancestral village ‘Bhate’ in Ratnagiri district and participate in singing bhajans.
Lata, Talat and Mukesh were his favourite singers. Although Talat has not sung many songs for him, his song “Zindagi Kis Mod Pe Laya Hamein” from Diwali Ki Raat (1956) was very popular. When rehearsals for this song were being done, Bhatkar had used only Tabla and Sitar for the practice session. The producer who chanced upon this rehearsal was so impressed with this that he insisted on recording the song only with minimum instruments. So, this song has only Tabla, Sitar and another instrument for accompaniment.
Though there were many melodious songs composed by Bhatkar like, Khusro’s ‘Lakhi Babul More Kaahe Ko Deenha Bides Re’ sung soulfully by Mukesh in Suhaag Raat (1948); ‘Ro-oge Pachhtaoge’ by Mukesh and Rajkumari in Thes (1949); Lata’s ‘Chanda Tumko Laaj Aa Aayee’ from Bhola Shankar (1951); Suman Kalyanpur’s ‘Haal-e-dil Unko Sunana Tha’- Fariyad (19)64, except Kidar Sharma no other big banner producer opted for Snehal Bhatkar. Maybe his compositions were not so simple for a common man to hum or sing, although they were quality songs.
Despite several melodious songs Bhatkar was never counted amongst the first line composers. Kidar Sharma returned to him in 1980, but by that time Snehal Bhatkar was already on a descending track.
SNEHAL BHATKAR, a talented but sadly not much applauded composer, died peacefully on 29-5-2007 at his Dadar home.
Today’s song is sung by Nutan and Sudha Malhotra. Enjoy this 64 year old song….
Song- Mila le haath le ban gayi baat (Chhabeeli)(1960) Singers- Nutan, Sudha Malhotra, Lyricist- S. Ratan (Ratanbai Shilotri), MD- Snehal Bhatkar
Lyrics
mila le haath
le ban gayi baat
ji ab to rasta saaf hai
mila phir haath ye kah de saath
ki ab to sab kuch maaf hai
mila le haath
le ban gayi baat
ji ab to rasta saaf hai
mila phir haath
ye kah de saath
ki ab to sab kuch maaf hai
ho lalalalalalala
lalala
haseenon ko khabar hi nahin
ki un ka chhupna mushqil hai
jo saawan chher chalte rahen
to hum se kisi ka kyun dil hai
yahaan sab chor hai dil ke
ye sab ke sab hi shaamil hain
yahaan sab chor hain dil ke
ye sab ke sab hi shaamil hain
tu chup rahna
na kuchh kahna
to bas phir rasta saaf hai
mila phir haath
ye kah de saath
ki ab to sab kuchh maaf hai
mila le haath
le ban gayi baat
ji ab to rasta saaf hai
mila phir haath
ye kah de saath
ki ab to sab kuchh maaf hai
aa hahahaahaahaahaa
o lalalalalalalalalaa
lalalala
tujhe kya
tujh ko apna dil
kahin na kahin
ganwaana hai
magar ye bhool mat ki
humen bhi apna
dil bahlaana hai
iraada chhodiye ji
aap ka band
aana jaana hai
iraada chhodiye ji
aap ka band
aana jana hai
rahenge chup
na kahenge kuchh
ab kah de sab kuchh maaf hai
mila phir haath
ye kah diya saath
ki ab to sab kuchh maaf hai
mila le haath
le ban gayi baat
ji ab to rasta saaf hai
hmm mm mm hmm
aa hahaha
lalaalalaa
laalaalaa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
July 27, 2024 at 12:41 pm
Arun Ji,
As always, information se bharpoor post.
Rajendranath,( Popat Lal ), with almost 200 movies to his credit ( several of them quite popular ) may not fit in the category of unsuccessful relatives. Narendranath does.
On Sat, 27 Jul, 2024, 5:00 am Atul’s Song A Day- A choice collection of
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July 27, 2024 at 1:27 pm
Please note the last part of the earlier paragraph, which clearly says that “…..never made it big in Hindi cinema.”
Rajendranath was a popular comedian but his roles were very small and negligible, except a few ones. By any standard I can not count him as an actor who made it big in Hindi cinema….as compared to Premnath, who was a Hero, Villain, and a big actor of one time.
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