Sun dard bharee fariyaad
Posted on: November 26, 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.
|
Blog Day : |
5975 | Post No. : | 18649 |
Today’s song is from the film Paak Daman-1957.
The story of this and other such same titled films was from a popular stage drama of the early 1900s. There were many versions of the story with small and big variations. The Parsi Urdu Theatre’s dramas were penned by Agha Hashra Kashmiri, known as Shakespeare of India. The Parsi Gujarati plays were written by various authors. Syed Yawar Aliu, a student of Dagh Dehlvi penned the script for the Moon Parsi Theatre. The Alfred drama company had their own version of this story.
Film ‘Paak Daman’-1931, with actress Ram Pyari in lead with Hyder Shah was based on a Gujarati play. ‘Paak Daman’-1940 was penned by Agha Hashra Kashmiri for the Parsi Urdu Theatre. This was a small budget movie with a not so popular star cast. One coincidence was that in the 1940 version, actor Ghulam Mohd acted, while for the 1957 version Music Director Ghulam Mohd. composed the music.
Paak Daman-1957 was made by Wadia Brothers, Bombay. The film was directed by S.M.Yusuf and the music for the 11 songs was composed by Ghulam Mohd, with his brother Ibrahim assisting him. The cast of the film was Chitra, Sudesh Kumar, M.Kumar, Krishna Kumari, Adib, Moti Sagar, Mirza Misharraf, Shaikh, Balam, W.M.Khan, H.Prakash, Sardar Mansoor, Mumtaz (sister of singer Mubarak Begum), Roopmala and many others.
The story of the film Paak Daman-1957 was ….
Handsome and well-educated Yusuf(Sudesh Kumar) inherits his father’s estate in Lucknow. To him gambling becomes just a pastime in the company of Asad (Kumar), a man without principles, and his associates Abboo and Nabbo. – Both Yusuf and Asad are in love with the beautiful Suraiya ( Chitra). Her cousin Mahmud (Moti Sagar) is also secretly in love with her; but she is unaware of it. She believes that Mahmud loves Sabiya (Krishna kumari), her best friend.
One day Asad sends his mother to Suraiya’s aunt with a view to bring about his marriage with her. The aunt rejects the proposal saying that Asad is a wastrel and not a fit husband for Suraiya. But noble Mahmud, knowing that Suraiya loves Yusuf, suggests that she be married to Yusuf. He decides to marry Sobiya who loves him deeply. – Infuriated Asad begins to destroy the perfectly happy matrimonial union of Yusuf and Suraiya. He lures Yusuf into the gulf of vice through gambling and drink. He even forges a letter from Mahmud to Suraiya and involves Yusuf into the murdered of Mahmud.
As the police arrive on the scene. Asad deliberately helps Yusuf to abscond. Hearing of Mahmud’s death, poor Sabiya goes mad. With Yusuf in hiding and out of his way. Asad now proceeds to make Syraiya his own. He sends his henchman Nabbo to steal the letter from her house. He obtains the letter, but is caught by the police. Far away from Lucknow, Yusuf finds a job at the quarry of Haji Saheb who is none other than Sabiyas father.
Yusuf comes back to Lucknow in disguise and his heart bleeds to find Suraiya and child undergoing untold-of hardships with only the faithful old servant Tehsin(W.M.Khan) by her side. – Asad kidnaps Suraiya’s child and lures her into his secret den. Since she refuses to marry him, he places the child before the cage of a tiger and opens the door. Yusuf comes up in the nick of time, in the disguise of Gunga, and saves the child. Just then the police arrive with Tehsin and others and Asad is arrested. Thus all’s well that ends well.
Films based on Muslim social stories were made since the Talkie started. Initially, stories from Urdu dramas were used but later on, special stories were written and films were made. From 1931 to 1947 alone there were as many as 38 films. After the Partition, Muslim social films were made sporadically, but during the 1960 to 1980 period, there was a surge in their numbers. Muslim social films do not include films made on Mughal kings, from babar to Bahadur Zafar Shah or Arabian Nights etc. These are films discussing various problems encountered exclusively in the lives of Muslim households. Most of such films used Lucknow as the background.
In this film Paak Daman-1957 few old timers from the early era of Talkie could be seen like Omkar Devaskar, W.M.Khan, H.Prakash, M.Kumar etc. Most of them migrated to Pakistanlater. Prakash went there but came back and stayed here till his death. Kumar migrated in 1964. Director Yusuf migrated in 1958. In fact today’s film was his last film in India as a director.
S.M.Yusuf , born on 20-6-1910, was originally from U.P. and started his career by assisting directors in various studios. He was one cine artist who migrated to Pakistan and became a very successful director there too.
After Partition, several artistes-heroes, heroines, Directors, Comedians, lyricists, Composers, Singers and character artistes migrated to Pakistan. Almost 90% of them failed there miserably. Some of them like Meena Shorey shone for a while but ended up in penury and anonymity. Exceptions were like Malika -e-Tarannum Noorjahan. From the successful artistes,the major chunk was musicians-composers like Khurshid Anwar, Nissar Bazmi, Nashaad etc. Among the directors. S M Yusuf was one of the exceptions who succeeded.
The migration of Cine artistes continued till 1965, when President General Ayub Khan banned Indian actors. Shaikh Mukhtar-1963 and Kumar-64 were probably the last to migrate to Pakistan. Till then some artistes like Sheila Ramani, Nasir Khan, Pran, Manorama, Composer Timir Baran etc went and worked in Pakistani films.
S.M.Yusuf started directing films in India from Bharat ke Laal-36. He directed 24 films like, Darban, Aina, Grihasthi, Saheli, Rai Saheb, Mehendi,Guru Ghantal, Bahurani, Maalik, Gujara, Hyderabad ki Nazneen,Bikhre Moti etc. He married actress Nigar Sultana. He also acted in a small role in the film Guzara-54.
In late 50’s he migrated to Pakistan with his talented son Director Iqbal Yousuf. His first film Saheli (1960) was a big hit of that time and was awarded in India also. It was a remake of his film Mehendi, made in India. He also made a remake of his film Ghumastha as Bahu Rani in Pakistan. Film Nek Perveen was a remake of same title film from India.His other films were Aulad, Dulhan, Honahar, Ashyana, Eid Mubarak, Suhagan, Zindagi aik safar hay, Shareek-e-Hayat, Bahu raani, Goonj uthi shehnai, Nek perveen and Haar gaya insaan.
When he went to Pakistan, he made his first film there Saheli, which was a ditto remake of his own Hindi film- Mehendi-1950. This film Saheli became such a great hit that it virtually grabbed all major awards including a Nigar award for S M Yusuf himself. He made about 15 films in Pakistan,before he died on 17-8-1994, at Lahore,from where he had begun his career ! In his last years, he had settled in Canada, but he came to Pakistan on a visit, as if to die in his own place.
One name Moti Sagar in the cast, was a case of ‘ Same Name Confusion’. Producer Director Ramanand Sagar’s son Moti Sagar was also in Hindi films, but not as an actot. he was a different person. usually these names are mixed up for filmography.
In the Hindi film industry, there are 4 types of people.
The first type is those people, who join this industry, struggle very hard and succeed in fulfilling their dreams, for example Guru Dutt, Mehboob, Johnny Walker, Lata Mangeshkar, Mohd.Rafi etc. who are well known to all by now. The second type of people are those who join the industry,struggle very hard ,do not succeed and leave dejected. The third type is those people who have a filmi connection or a strong luck,who join,struggle a bit and succeed like for example,Raj Kapoor,Dev Anand,Dilip Kumar, Rakesh and Rajesh Roshan, Anand Milind, Nanda, Nargis, Meena Kumari etc
And….. the fourth type is those people who join the industry, struggle very hard and succeed partly, but end up doing something else, to keep them sustaining here.
The industry is full of people of the 4th type. People who come with dreams in their eyes, but end up doing something else.People who start as a Hero in 2-3 films, settle for side roles and finally character roles, like Dev Kumar, Sujit Kumar, Jeevan etc.
Not only this but we have examples where they started with something else and ended with a totally different thing and succeeded.For Example,Guru Dutt started as a Choreographer/dance Director (Lakharani-45) and ended up Actor/Director, Ashok kumar started as a Lab Technician in photography but became a great actor and Amiya Chakravarty who started as a Bangla Teacher and a Canteen Manager in Bombay Talkies,for which later he directed finest movies.
In olden days, when the Studio system was there, Artistes used to be employed on a monthly basis and they had to do whatever work was given as per their capability. For example, in Ranjit Studios over 700 people were on the rolls at one time(The Government had to open a Ration shop inside the studio premises for them) from where actors were made out of script writers and the Director wrote songs ! So people joined the industry with a mind prepared to do whatever job, just to succeed in their ambition.
MOTI SAGAR was one such person who came to the industry to become a Hero, but ended up doing sundry roles,singing songs,writing stories and scripts and producing films. He ,however, could not get great success in any of these and ended up being ‘Jack of all trades, Master of None’.
MOTI SAGAR was born in New Delhi on 16-4-1925, but graduated from Lahore. In Lahore he got interested in acting in films. Then he met Inayat Hussain and G.A.Chishti-the composers and he loved singing. He came to Bombay in 1946. His cousins Motilal, Mukesh and Tara Harish were already there in films. Harish and Motilal were established, and Mukesh was trying very hard.
Moti Sagar did a second hero’s role in MALHAR-1951. He sang his first song under Bulo C.Rani in GUL SANOBER-53 with Kalyani. Then came Pamposh, Shikar, Deewali ki raat, Makhichoos, Jai mahadev, Salgirah, Filmi duniya filmi, and Prerana. When he stopped getting songs and roles, he switched over to writing. He wrote stories for Badal, Lalkaar, Charas, Ram Bharose. He acted in 13 films. He directed 2 films, namely Prerana-84 and Tanya-94. He wrote songs also for the film Prerana-84. He sang 13 songs in 9 films. When this stopped he produced 2 films Hum Tere Ashiq hai and Badal. So, Moti Sagar was an Actor, Director, Producer, Lyricist, and a Singer.
Today’s song is sung by Asha Bhosle. Enjoy this 67 year old song….
Song- Sun dard bharee Fariyaad (Paak Daaman)(1957) Singer- Asha Bhosle, Lyricist- Shakeel Badayuni, MD- Ghulam Mohammad
Lyrics
sun dard bharee fariyaad
o o
dard bharee fariyaad
o
taqdeer banaane waale re
taqdeer banaane waale re
sun dard bharee fariyaad
gham ne mujhe barbaad kiya hai
maine tujhee ko yaad kiya hai
gham ne mujhe barbaad kiya hai
maine tujhee ko yaad kiya hai
ae ae
gham se mujhko chhudaa le re ae ae
gham se mujhko chhudaa le re
taqdeer banaane waale re
taqdeer banaane waale re
sun dard bharee fariyaad
dil ke sahaare toot chuke hain
apne paraaye roothh chuke hain
dil ke sahaare toot chuke hain
apne paraaye roothh chuke hain
tu hee apna bana le re ae
tu hee apna bana le re
taqdeer banaane waale re
taqdeer banaane waale re
sun dard bharee fariyaad
aa gaye naale aaj zabaan tak
sabr karoon main haaye kahaan tak
aa gaye naale aaj zaabaan tak
sabr karoon main haaye kahaan tak a a
dil mein pad gaye chhaale re ae
dil mein pad gaye chhaale re
taqdeer banaane waale re ae
taqdeer banane waale re ae
sun dard bharee fariyaad
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Leave a comment