Jhoolnaa jhoolo more pyaare
Posted on: August 7, 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 from the film Bhakta Dhruv-1947.
This was the first Talkie film on Bhakta Dhruv. The next came in 1957 and the third with the same title was in 1983. In between, another title called Bhakta Dhruv Kumar came in 1964. Going through the Film Title index, one finds that a total of 30 films with titles “Bhakta….” were made from 1934 to 1983. These were mostly different Bhakts like Kabir, Gopal Bhaiyya, Pooran, Soordas, Ramdas etc. Six films were made on Bhakta Prahlad.
Even during the silent era, films on Bhakts were many. Some silent films were on most uncommon names like Laxmidas, Peepaji, Vatsala, Veer, Ramani etc. Maybe these were some specific Bhakts from some regions.
The point to be noted here is, since the days of stage dramas to Talkie films via silent films, there was a demand for such religious and Mythological films. If you see the pattern of films made from 1913 till today, you will find that in the initial years and till 1960, films on Mythological Stories and religious themes were made because there was a demand and acceptance by the audience.
From the 50’s decade Musical films started being made by public demand and this lasted possibly till 1970 end. After that the pattern changed again and the story content became more important. What I see now is that films are having less and less songs and more of a story variety along with personalities and events as the central theme.
The tastes of the Indian audience changed as people who were initially content with their traditions, values and beliefs started getting exposure to the outside world and new goals, styles of living and ideas were getting imbibed. Comfortable living, independent thinking and less of responsibilities due to small families changed the people to being self centred and selfish. Money became the deciding factor in everything and all that mattered was “I” and ” Me”. Older generation is seeing all this but now they have no say in anything in this materialistic living pattern.
The film industry is a mirror of society and accordingly makes its presentations. The mythological and religious stories shifted from cinema halls to the Television in the 80’s and the 90’s, but disappeared from even there nowadays. All that now remains in the books alone.
Film Bhakta Dhruv-1947 was made by Prakash Pictures of the Bhutt family in the days of national turmoil caused by the partition, perhaps to give sentimental support to the believers. It was directed by Shanti Kumar and the music was by an old time expert musician Shankarrao Vyas. There was a time when his music was appreciated but now newer composers were presenting their new style of foot tapping and melodious songs. Vyas and his music could no more cope up with the tastes of the audience. He fell behind and got less and less films. His last film was Ganga maiya-1955.
Prof. Shankarrao Vyas (1898-1956) was born in Kolhapur on 23-1-1898. His father Ganeshpant was a well known Keertankar and Puranik! So, he was brought up in a religious and musical environment. Unfortunately, Ganeshpant died when Shankar was seven years old. His paternal uncle brought him up for a few years. His maternal uncle (Mama) noticed his inclination towards music and enrolled him in the ‘gurukul’ of Maharaj (Pandit) Vishnu Digambar Paluskar.
In those days, students had to sign a bond with the Gandharva Mahavidyalaya. Training period would last 8-10 years and the student would become an all-rounder in every field related to music. Thus, Shankar Rao spent nine years in this gurukul, earned ‘Sangeet Pravin’ degree and gold medal for overall development. With the suggestion of guruji, he worked in Lahore vidyalaya for a few years.
In 1931, he moved to Ahmedabad to establish a branch of Gandharva Mahavidyalaya. He was an expert not only in vocal music, but could play and repair many instruments including sitar, jaltarang and mendolin. He would conduct an orchestra consisting of Indian and western instruments. He was also a very good composer and wrote several bandishes. He was the key person in planning the music section of national (Rashtriya) schools: an idea originated by Gandhiji in Ahmedabad.
In 1935, he left Ahmadabad and settled in Bombay. He founded a school for music education at Dadar, just outside the western railway station. ‘Vyas Sangeet Vidyalaya’. It is still functioning at this place. His brother Narayanrao Vyas and brother-in-law Vasantrao Rajopadhye also joined him in this noble cause. Around 1930/31, HMV Company invited both Vyas brothers for recordings and they cut over 200 songs (100 discs) until about 1938. He also cut a few orchestral records under the ‘Vyas Brothers’ banner playing pure classical ragas. These records were best sellers and the company had printed their photographs on record catalogues.
This period was also the beginning of talkie films. Shankar Rao composed music for Hindi (35), Marathi (5), and Gujrathi (3) films from 1937-1955. His first film as a composer was ‘ His Highness’ -37 and the last was ‘ Baal Ramayan’ -released in 56. He also composed background music for fifteen films. Most of his films were based on religious or mythological themes. He also taught music to non-singing actors such as Sardar Akhtar and Shirin Bano. His most famous musical films were – Narsi Bhagat (1940), Bharat Bhet (1941), Ram Rajya (1943, in Hindi and Marathi). Saraswati Rane sang ‘Beena madhur madhur kachu bol’ in raga Bhimpalasi in Hindi film ‘Ram Rajya’ and this song became popular throughout India. This was the only Hindi film that Gandhiji watched and was very impressed with the music. Songs from Marathi version of ‘Ram Rajya’ viz. ‘Sujanho parisa ramkatha’ and ‘Ladkya raanila lagale dohale’ are shown on TV even today.
After the success of films ‘ Narsi Bhagat-40’ and ‘ Bharata Milap-42’, Vyas rode on the Pinnacle of his career with the popularity of Ramrajya songs. Vyas was a very hard working person. Once while recording songs of the film ‘ Vikramaditya’-45, he needed the Echo effect in the song ‘ Om Jai Jai Shankar’. In those days, the recording studios were not equipped with such facilities. Vyas searched and found out a Temple having a big Dome in the obscure suburb Jogeshwari in Bombay and recorded this song in that Temple at 2 am in the midnight when it was very quiet !
Ramrajya-43 was the most successful musical film of that era. When Prakash Pictures planned to produce Ramrajya again in 1967, the MD was Vasant Desai. Before recording the film’s first song Desai garlanded the photo of Shankar Rao Vyas and then only started the work, seeking his Blessings. Ramrajya also had the distinction of being the only Hindi film in the world which Mahatma Gandhi saw in his life. It is said that he was pleased with its songs very much.
He was very busy in many fields as a composer, Principal of his music school, author of articles and bandishes, President of Gandharva Mahavidyalaya and founder editor of ‘Sangeet Kala Vihar’ magazine (founded in 1947) of Vidyalaya that is published even today. He passed away at Ahmedabad on 17-12- 1956. He has sung a couple of abhangs of Saint Tukaram. These are available on HMV records. Record P 13454 published in 1931 has a sweet abhang – ‘Roopi guntale lochan, charani sthiravale mana’.
The cast of the film Bhakta Dhruv-1947 was Shashi kapoor(sr.), Mrudula, Jeevan, ramesh Sinha,Leela Mishra and many others. Mrudula was a victim of bad luck and wrong contract. She had a 5 year contract with Bombay Talkies. She was the First heroine of Dilip Kumar in the film ” Jwar Bhata”-1944. After the death of Himanshu rai, Bombay talkies was in turmoil with confrontation between Devika Rani and the rebel group led by S. Mukherjee. In this melee, Mrudula was the loser as she had no work and could not work elsewhere due to her contract.Vijay Bhatt of Prakash pictures pleaded for her and Devika Rani allowed her to work in Bhakta Dhruv, as the mother of Balak Dhruv. At the age of just 23 years, she played a mother to 17 year old Shashi kapoor !. Due to this, she lost all chances of becoming a Heroine ever again.
The story of the film was…..
King Uttanpada (Ramesh Sinha) left his first wife Suniti ( Mridula ), because she had not given him a son. He married the beautiful Suruchi (Shanta Rin). By coincidence both queens delivered boys at a time. Suniti’s boy was named Dhruv (Shashi kapoor,Sr.) and Suruchi’s son was called Uttam (Master Laxman). Due to the machinations of Suruchi and her evil Dassi Kumati (Leela Mishra), the king drives Suniti and Dhruv from the palace. When Dhruv becomes 8 year old, he comes to know that the king is his father. He goes to the king and introduces himself. The king is happy and makes him sit on his lap. Suruchi sees this. Angrily she removes Dhruv from the lap and throws him out. Humiliated, he returns to his mother and asks who is bigger than the King ? She replies Narayan is bigger than the king. That night, Dhruv goes to the Jungle and starts his Tapasya. Narad muni meets him and guides him. Few years pass and Lord Vishnu appears before Dhruv to grant him his wish. But he does not ask anything, simply smiles with happiness of seeing God. Lord Vishnu grants him a permanent place in the Universe, surrounded by the Saptarshis (The 7 sages), in the sky. Today we call it Dhruv Tara or the North Pole.
Today’s song is sung by Lalita Deulkar, Krishna Ganguly and Chorus. I do not know who Krishna Ganguly was. This is probably a song at the naming ceremony of Dhruv.
Song- Jhoolna jhoolo more pyaare (Bhakt Dhruv)(1947) Singers- Lalita Deulkar, Krishna Ganguly, Lyricist- Pt. Indra, MD- Shankar Rao Vyas
Lyrics
jhoolna jhoolo more pyaare lala re
jhoolna jhoolo more pyaare lala re
jhoolna jhoolo more pyaare
jhoolna jhoolo more pyaare lala re
jhoolna jhoolo more pyaare lala re
jhoolna jhoolo more pyaare
chhote lala more chhote chhote palna
chhote laala more chhote chhote palna
badi badi aasa lagi re more lalna
badi badi aasa lagi re
jhoolo more pyaare lala re
jhoolna jhoolo more pyaare lala re
jhoolna jhoolo more pyaare lala re
jhoolna jhoolo more pyaare
palna nihaare aur leve balaiya
palna nihaare aur leve balaiya
tere maata pita re o lalna
tere maata pita re
jhoolo more pyaare lala re
jhoolna jhoolo more pyaare lala re
jhoolna jhoolo more pyaare lala re
jhoolna jhoolo more pyaare
sukh ki nindiya sove more pyaare
sukh ki nindiya sove more pyaare
aankhon ke taare rajdulaare
aankhon ke taare rajdulaare
chanda ko lori sunaao
mere nanhe ko aake sula re
jhoolo more pyaare lala re
jhoolna jhoolo more pyaare lala re
jhoolna jhoolo more pyaare lala re
jhoolna jhoolo more pyaare
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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