Bhaiyya bhaabhi laayenge
Posted on: November 22, 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 Akela-1941. It is sung by a lady called ‘Shamo’, about whom I have not been able to get any information from any of my sources. The film was made by Great India Pictures, Bombay. It was directed by Pesi Karani. Music was given to all 11 songs written by the Lyricist P.L.Santoshi.
1941 was the first year in the second decade of the Talkie Era and it was the beginning of the emergence of a New film industry. When Talkie started in 1931, for many years after that, the films were made by the people who had done work in the Silent films. These films had a spill over for the silent era artistes. Once the films started talking,most silent artistes who could not speak Hindi or Urdu automatically disappeared. Thus started the influx of new actors who could speak Hindi and sing songs, in whatever way they could. Intelligent directors like V Shantaram,Bhavnani, Sohrab Modi, Chandulal Shah, Himanshu Rai, B N Sircar, L V Prasad and a host of Gujarati directors understood that the Talkie needs a different treatment than silent films. Music directors from stage dramas tried their hand in composing film music.
In the next 8-9 years, there was a perceptible change in the film making, acting, singing, and composing music in the films that were made. Quality artistes from the silent era continued for some more years – finally giving way to the new artistes. The 30s and the 40s mostly differed in film music and story contents. The new blood composers like Anil Biswas, C Ramchandra, Naushad, Ghulam Haider, K Datta, Hansraj Behl, Bulo C Rani, Gyan Dutt and many more replaced the Parsi, Marathi and Gujarati drama music to more acceptable lilting songs. Many musical films were made and some everlasting songs were composed by these people. At the end of the 1940s, one more major change in the film industry took place due to Partition. Let us see some important films.
JBH Wadfia became Chairman of the Film Advisory Board. He produced the First Sindhi film of the United India- “Ekta”-1940. His film Court Dancer (Raj Nartaki in Hindi) was also in English.
Asra– Debut of actor director N A Ansari.
Behan– Mehboob directed this film having an incest suggestive story.
Beti– 8 songs of Khursheed in this film. She was on top in the early 1940.
Chandan– Debut of S N Tripathi as an MD.
Chitralekha– First big success of Kidar Sharma. Mehtab’s bath scene caused a ripple.
Dhandhora– Actor comedian Charlie directed the only film.
Doctor– Pankaj Mullick gave excellent songs. First popular song with woof beats-‘ Chale pawan ki chaal ‘.
Jhoola– One of the most successful films like kangan and bandhan, starring Ashok Kumar and Leela Chitnis.
Kanchan– First composed song of naushad-” Bata do koi”.
Khazanchi– A milestone in musical revolution with Punjabi Theka, by Ghulam haider. Debut of Shamshad Begum in Hindi films.
Lagan– Saigal, as usual, gives good songs.
Mala– was remade as ‘ Amar-55’ with music again by Naushad only.
Naya Sansar– Story of Newspaper world. A novelty. Ashok Kumar’s famous cigarette smoking in films started from this film, solving his problem of ‘ what to do with the hands during acting’ !
Nirdosh– Mukesh sings his first song.
Padosi– Last film of V Shantaram before leaving Prabhat. A Landmark film. ” Kaisa chhaya hai ujala” is a popular chorus song.
Pardesi– Debut of actress Anjali Devi (not the southwali) with real name ‘Durgesh’.
Radhika– Debut of Nalini Jaywant.
Raj Nartaki– Ambitious Wadia film in English , Bangla and Hindi. Released in the USA by Columbia Pictures of Hollywood.
Sangam– Amritlal Nagar’s first film as a writer. He did 18 films as writer and Lyricist.
Sikandar– A Magnum-Opus from Minerva. Chorus song- ” Zindagi hai pyar se” is very popular.
Taj mahal– Debut of Baby Suraiya as an actress.
Sasural and Ummeed were 2 films in which Noorjehan senior acted and sang. However these films are usually wrongly included in the filmography of Malika E Tarannum Noor jehan. She entered Hindi films only with the film Khandan-1942 at Lahore.
The cast of the film was Mazhar Khan, Bibbo, Moti, E.Billimorea, Protima Devi, Haadi etc. The film’s story as appeared in the September issue of the magazine Film India, was adapted by our Sadanand Kamath ji , on 13-9-2016, as follows….
Budhwa (Mazhar Khan), a blacksmith by profession, leads an honest life. He is successful in his venture. His ugly appearance does not fetch him a life partner and he is too shy to woo one. He has his companion, Kalwa who assists him in his work. Both of them are content and happy with what they are until Chelkaka, a bird fancier, brings up the question of Budhwa’s marriage.
Budhwa, at first, is diffident but soon warms up at the prospects of getting a life companion. He agrees for the marriage. Chelkaka finds him a nice girl Maina (Bibbo) who is already in love with Vasant Thakur (E Billimoria), a young jagirdar of the place.However, against the wishes of Maina, the marriage with Badhwa is fixed by her parents. On the wedding night, Maina runs away to meet her lover Vasant Thakur and to have a tryst with him. Unfortunately, Vasant cannot keep his words to Maina due to ruses used by her cousin Seeta (Miss Moti) who is also in love with Vasant.
Now Maina cannot go back to her parents as she has been outcast by the community. She ultimately decides to go back to Budhwa and spend her life in the service of Budhwa as repentance for what she did for him on the wedding night. Instead of walking to Budhwa’s house, fate takes her to him by way of an accident. Budhwa, without knowing the identity of the victim, treats her like his sister. In the meanwhile, Vasant has agreed to marry Seeta despite his love for Maina.
Once again, Chelkaka, the bird fancier, comes into the picture to know about the Maina who has taken shelter in Budhwa’s house without revealing her identity. Maina explains the whole story to Budhwa. After knowing her side of the story, Budhwa rushes to Vasant who finds him at the altar ready to get married to Seeta. In the climax, the dirty tricks played by Seeta are exposed and she confesses her wrong doings. Maina gets back Vasant. Budhwa is once again alone (akela) and this time without his work companion, Kalwa.
The Lyricist P.L.Santoshi (real name Pyarelal Shrivastav) was a story/ screenplay writer, Lyricist and a Director. He was born on 7-8-1916 at Jabalpur. For Cinema purpose, he took the name of Santoshi and it became so famous that his son too carried forward this as his surname, like Rajkumar Santoshi. This ” grabbing the Goodwill ” is not uncommon in the Film industry. Other notable cases are that of ” Bachhan” (original Surname Shrivastav) and ” Roshan ” (original surname Nagrath ).
Santoshi started his career with a small role and by writing a few songs in Jaddan bai’s ” Moti ka Haar”-1937.That time he worked as her private secretary also. He joined Ranjit and later Bombay Talkies and continued writing songs. He also wrote the screenplay of Kismat-43 along with Shahid Lateef. After joining Prabhat Films, his career as a Director started. As a lyricist he wrote more than 300 songs in about 100 films. His many songs became hits and were popular.
Santoshi made his debut as a Director in Bollywood with the Dev Anand starrer Hum Ek Hain in 1946. The movie didn’t do too well. The following year, he made Shehnai (1947) which gained success.
Khidki (1948) was Santoshi’s next film, which failed to do well. He then made Sargam (1950) with Raj Kapoor, which was successful. After this he made a few films like Apni Chhaya (1950), Shin Shinaki Boobla Boo (1952), Chham Chhama Chham (1952), Chalis Baba Ek Chor (1953), Sabse Bada Rupaiya (1955), Hum Panchhi Ek Daal Ke (1957), Garma Garam (1957), and Pehli Raat (1959), all of which failed to do well at the box-office. Santoshi started losing hold on the industry.
In 1960, Santoshi directed Barsaat Ki Raat, starring Bharat Bhushan and Madhubala, which became a hit. After a spree of flop films, Santoshi could now breathe a sigh of relief. But Santoshi’s next few films also failed to click. Pyaar Ki Dastan (1961), Opera House (1961), and Holiday In Bombay (1963) didn’t do too well. Dil Hi To Hai (1963), starring Raj Kapoor and Nutan, also fell below average despite being a good entertainer. Santoshi directed Roop Rupaiya, which was released in 1968. It was his last direction.
Santoshi also worked as a lyricist in many films. These included Pagal (1940), Akela (1941), Station Master (1942), Hum Ek Hain (1946), Sangram (1950),Saudagar (1951), Ghayal (1951), Anhoni (1952), Chalis Baba Ek Chor ( 1954), Dulhan (1958), and Holiday In Bombay (1963). As a screenplay/dialogue writer, Santoshi worked in Jhoola (1941), Station Master (1942), Nirala (1950), Post Box 999 (1958), Man Ki Aankhen (1970), and Saudagar (1973). P.L.Santoshi expired on 7 September 1978, in Bombay.
Pyarelal Santoshi is also famous for his liking of actress Rehana and there are many stories of how he was always snubbed by her and how he produced several films only to be with her.
Santoshi died on 7-9-1978,at Bombay.
Santoshi who rolled in lakhs of rupees one time, spent his last days with financial difficulties. In one of the interviews to Times of India,his son Rajkumar Santoshi,had said this about his father-
” My father was from Jabalpur. While his real surname was Shrivastav, his pen name was Santoshi. There was a shoot taking place in Jabalpur where they were looking for a dialogue assistant. He was a good writer and he wrote it for them. He got encouraged and came to Mumbai in the mid-30s to become a writer and a lyricist. Then, in 1946, he got a chance to direct a film where he introduced Dev Anand and Guru Dutt assisted him. He introduced OP Nayyar and encouraged Kishore Kumar and made films like Sargam with Raj Kapoor and Barsaat Ki Raat with Madhubala. He moved to Chennai for a few years to make Tamil films where he met my Tamilian mother and got married to her. He was married earlier, but those days, the anti-bigamy act had not kicked in and so he did not have to formally divorce to get married to my mother. He had two children from his first wife and we are still in touch. I was born in Chennai and moved to Mumbai at the age of five when my father returned to the city. The last three years before my father died was a very low phase for him in his career and he would ghostwrite for Telugu dubbed films to survive. We moved to a rented place in Thane. I also wanted to become a director and so I dropped my studies after Class XI and became an unpaid assistant to my father as he could not afford one. I feel very happy that I left studies and roamed with him in his last three years. Seeing him struggle, I understood life for the first time. My father was extremely emotional and respected and everyone called him guruji. His downfall had started as he turned producer. Creative people rarely become good businessmen. He was a spendthrift and was very generous. But I never regretted that fact as to make your life on your own strength, gives you another high. The struggle I have gone through helps me in my creative work today. He died in 1978 due to kidney failure. With zero savings and a mother, grandmother and two younger sisters to look after, I was left as the only earning member in the family. ”
As a Director, Santoshi directed 21 films-like Hum Ek hain-46,Shehnai, Khidki, Sargam, Apni Chhaya, Shin shinaki boobla boo, Chham chhama chham, Hum Panchhi ek daal ke, Sabse bada rupiah, Barsat ki Raat, Qawwali ki Raat, Dil hi to hai etc,the last being Roop Rupiah-68. He wrote the story/screenplay of 10 films and wrote more than 350 songs in about 100 films.
Today’s song is sung by a singer called “Shamo”. She sang 2 solos in this film. Enjoy this 83 years old song….
Song- Bhaiyya bhaabhi laayenge (Akela)(1941) Singer- Shamo, Lyricist- P.L.Santoshi, MD- Khan Mastana
Lyrics
bhaiyya bhaabhi laayenge
bhaiyya bhaabhi laayenge
ghoonghat oat chalegee bhaabhi
ha ha ha ha ha ha
ghoonghat oat chalegee bhabhi
ha ha ha ha ha ha
bhaiya chupke aayenge
ghoonghat ko hataayege
bhaiya chupke aayenge
ghoonghat ko hataayege
sau sau gaalee degee bhaabhi
bhaiya hans muskaayenge
sau sau gaalee degee bhaabhi
bhaiyya hans muskaayenge
bhaiyya bhaabhi laayenge
bhaiyya bhaabhi laayenge
niklegee jab bhaabhi sar sar
sar par jal kee gaagar dhar kar
niklegee jab bhaabhi sar sar
sar par jal kee gaagar dhar kar
naache geelee uskee gaagar
usko naach naachaayenge
naache geelee uskee gaagar
usko naach naachaayenge
bhaiyya bhaabhi laayenge
bhaiyya bhaabhi laayenge
aayenge wo laddoo lene
aayenge wo peda lene
aayenge wo laddoo lene
aayenge wo peda lene
nathhu ?? kidhar
haan haan
nathhu ?? kidhar
ha ha
dekhege har cheez bujhak(??) kar
dekhege har cheez bujhak(??) kar
le jaayenge man man bhar
le jaayenge man man bhar
khaanyenge khaanyenge
aur khilaayenge
khaayenge khaayenge
aur khilaayenge
bhaiyya bhaabhi laayenge
bhaiyya bhaabhi laayenge
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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