Aankhon mein aansoo honthhon pe fariyaad le chale
Posted on: November 28, 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 Pyar ki Manzil-1950.
The sudden and unexpected death of Saigal, followed by India’s partition had disturbed the entire film industry.The major centres – Calcutta and Bombay – both had benefited with the songs of Saigal. A large number of Muslim community, working in different departments of filmmaking, had migrated to Pakistan, disturbing the set up. Luckily, India had a very capable second line of talented artistes waiting in the wings. It took 2-3 years for them to show their abilities, thus the period of 1947 to 1950 was full of uncertainties and testing the new entrants.
These 3 years saw the rise and assured performances of the newer Music Directors like Shankar-Jaikishen, S.D.Burman, Roshan, Khayyam, Madan Mohan etc. They were ably helped by the lyricists like Sahir, majrooh, Shailendra, Hasrat, Shakeel Rajendra Krishna, RMA Khan etc. with their meaningful songs. Rafi, Mukesh, Talat, Manna dey, Kishore and Lata, Asha, Shamshad, and Geeta brought the Hindi film music on track and took the industry successfully into the “Golden Era” of HFM.
The film companies made some Milestone movies in 1950.
DAHEJ by V.Shantaram was a powerful comment on the evil custom of Dowry in India. The film- a tragedy- not only conveyed the right message but also paved the way to get an Anti Dowry Law enacted.
JOGAN, a Love story between a Hindu Nun and an atheist lover, made by ranjit movietone had excellent songs and Bhajans.
SAMADHI, by Filmistan brought to light a familial conflict of ideologies between two brothers, with a background of Subhash Babu’s Indian National Army. Its song ” Gore gore, o banke chhore’ became an evergreen popular song.
BAWRE NAIN – the second film of the new Music Director Roshan had lovely songs. This tragedy film had Raj kapoor and Geeta Bali.
SARGAM was by Filmistan, but C.Ramchandra’s music made it his film and the songs to remember.
MASHAL, SANGRAM and MUQADDAR, though had good songs, could not save the sinking Bombay Talkies.
The most successful hit film was “Har Har Mahadev“, a surprise Blockbuster. It heralded a surge of Mythological films for the next 10 years, with 124 Religious films.
Based on a world famous popular strong story ” The Inspector General”, the Hindifilm AFSAR could not come up to its level, mainly due to Dev and Suraiyya’s private love affair during the making of this film. However two of her songs in the film became evergreen songs.
The year 1950 brought many Tragedy films and BABUL was one such film.
SHEESH MAHAL, ARZOO and PEHLA ADMI entertained the audience.
Some other good films were Dastaan, Aankhen, Bwqasoor, Anmol Ratan, Dilruba, Gauna, Khel, Khiladi, Lajawab, Nirala, Nirdosh, Pyar and few others which gave memorable songs too.
Film Pyar ki Manzil-1950, produced bySuper Team Federal productions,directed by Keki Mistry had Music by H/Bhagatram and Lyrics were provided by Rajinder Krishna,Shevan Rizvi and Tariq Lucknowi.Story/screenplay/Dialogues were by Azam Bazadpuri.
The cast included Rehman, Munawwar Sultana, Pratima Devi, Gope, Janaki Das, Ramesh Sinha, Kamal etc.etc.
The story is,
Rehman is a Lawyer,who loves M.Sultana,having met her accidentally after a ‘Takarana’ takes place. As usual, her father is agaist this match as they are not only from different caste, but also Rehman is not yet rich. Lovers suffer ,meanwhile, Rehman earns a name,fame and money in his practice. After few more minor hiccups,the lovers reach their Pyar Ki Manzil ‘successfully’.
The Heroine of this film was Munawwar Sultana. We have often heard and read that in olden days, young film aspirants from far off cities and smaller towns, ran away from homes to the Maya Nagari-Bombay, to try their luck. Few of them succeeded. But mind you, not ALL stars came running away to Bombay. Many of them were brought honourably too, particularly from other film centres like Calcutta and Lahore. For example, Shamshad Begum was brought to Bombay, honourably from Lahore. Saigal was brought from Calcutta to Bombay, with an attractive offer.
That, precisely, was the fame of Bombay, that careers are made in Bombay and opportunities are found in abundance for those who have Talent and Luck ! Munawar Sultana, was one such star, who was brought from Lahore with an offer of Rs. 4000 pm and rented furnished accommodation – by Mazhar Khan
Munawar Sultana was born on 8 November 1924, in Lahore, into a strict Punjabi Muslim family. According to an interview with son Sarfaraz and daughter Shaheen, conducted by Shishir Krishna Sharma, Munawwar’s father was a radio announcer. Munawwar wanted to become a doctor, but was side-tracked by an offer in films. This was a small role in the film, Dalsukh Pancholi’s Khazanchi (1941), where she played a barmaid, and had a song, “Peene Ke Din Aaye” picturised on her. It was sung by Umrao Zia Begum.She went by the screen name Asha for this period.
In 1945, she was visited in Lahore by producer-actor-director Mazhar Khan, who contracted her on a monthly fee of Rs. 4000 plus an apartment, and brought her to Bombay. Munawwar’s first film with Mazhar was Pehli Nazar, where she was cast opposite actor Motilal. In the popular song “Dil Jalta Hai Toh Jalne Do” (Let the Aflame HeartBurn) playbacked by singer Mukesh for Motilal, Khan focused on Munawwar’s close-ups during the picturisation.
Following Pehli Nazar, she was kept busy through 1947 to 1949 working in several films. Baburao Patel wrote in the cine-mag Filmindia 1949, about her being one of the most overworked actresses along with Suraiya and Nargis.
In 1947, Munawar acted in four films Dard, Elaan, Andhon Ki Duniya and Naiyya. Dard was directed by Kardar under Kardar Productions. In spite of no big stars being in the film, it turned out to be a surprise “musical hit” at the box office. The hero of the film was Kardar’s brother Nusrat (Kardar). The song “Afsana Likh Rahi Hoon” became a big success. Elaan garnered positive reviews for Munawwar. A Muslim social, the film was praised for its “progressive attitude” towards the need of education.
When Mehboob Khan heard the story initially, he spent a few days thinking about it.He anticipated the adverse reactions of the Fundamentalists on this film. His team for this film included many Muslims, almost in every department. Major contributors like Naushad, Zia Sarhadi, Amirbai Karnataki and most important , Munawar Sultana,the Heroine,were all Muslims.Others at least were connected indirectly,but Munawar was the Heroine.
Mehboob Khan had a sitting with her and explained to her the entire story and the likely repercussions to the film.He gave her an option to opt out of the film. Munawar played very bravely and firmly told Mehboob Khan that she was 100% with him and was ready to work and face whatever happens as an aftermath.
This act of courage was loved and appreciated by Mehboob Khan very much and he remained indebted to her ever after.
1948 saw Munawar in four more films. Parai Aag, Sona, Majboor and Meri Kahani
1949 was Munawar’s busiest year with seven releases. Out of her four films released in 1950, Munawar’s most notable film was Babul (Father’s House). She acted opposite Dilip and Nargis in this love triangle. Directed by S. U. Sunny, the music was composed by Naushad The film became a major success at the box office. She acted in a few more films till 1956, with Jallad being her last appearance.
From 1950, Munawar’s career slowed down, and she acted in fewer films. She met her husband Sharif Ali Bhagat, a businessman, on the sets of a movie for which he provided furniture. He produced two films with Munawar in the lead, Meri Kahani (1948) and Pyar Ki Manzil (1950).
In her career, she never sang any song and the Pakistani singer of the same name never acted in any film. Still there is always a confusion between these two artistes.
Following the sudden death of her husband in 1966, Munawar managed her family of four sons and three daughters. In the last eight years of her life, Munawar suffered from Alzheimer’s disease. She died on 15 September 2007, at her home in Ambedkar Road, Pali Hill, Mumbai, Maharashtra, India.
There was a singer from Pakistan, Munawwar Sultana, who only sang and never acted. She is mistaken for this Muanawwar Sultana as far as Filmography is concerned. They were two different people.
Today’s song is sung by Lata Mangeshkar. Enjoy this 74 year old song….
Song-Aankhon mein aansoo honthon pe fariyaad le chale (Pyaar Ki Manzil)(1950) Singer-Lata, Lyrics-Shewan Rizvi, MD-Husnlal Bhagatram
Lyrics
aankhon mein aansoo
honthon pe fariyaad le chale
fariyaad le chale
teree kasam ke saath
teree yaad le chale
yaad le chale
aankhon mein aansoon
honthon pe fariyaad le chale
fariyaad le chale
kuchh aur jab milee na
nishaanee teree hamen
nishaanee teree hamen
kuchh aur jab milee na
nishaanee teree hamen
nishaanee teree hamen
toota hua sa ik dil-e-naushaad le chale
naushaad le chale
aankhon mein aansoo
honthon pe fariyaad le chale
fariyaad le chale
itnee see hai kahaanee
gareebo ke pyaar kee
gareebon ke pyaar kee
itnee see hai kahaanee
gareebon ke pyaar kee
gareebon ke pyaar kee
jab tu na mil saka to
teree yaad le chale
yaad le chale
jab tu na mil saka to
teree yaad le chale
yaad le chale
aankhon mein aansoo
honthon pe fariyaad le chale
fariyaad le chale
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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