Ae ree aalee aao sajaao barjoree
Posted on: January 3, 2025
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 a very old film Pratibha-1937.
The film was made by Shalini Cinetone, Kolhapur in 2 languages- Marathi and Hindi. The film story was based on a novel by N.H.Apte, in Marathi. It was directed by Kala Maharshi Baburao Painter and its music was composed by Govind Rao Tembe. All the 10 songs of the film were written by Pt. Anand Kumar. The cast of the film was Durga Khote, Master Shyam, Nanasaheb Phatak, Raja Paranjape, Heerabai Badodekar, Keshav Rao Datey and others.
During the 1930’s decade, the common people in India had two major sources of entertainment. One – Stage Dramas and Two – the recently started Radio. The first one was financially accessible to the people, but Radio was still a rich man’s preserve. The organised Radio started from 23-7-1927, first in Bombay, then in Calcutta and then in Madras. In addition, books by famous authors in all languages were also available. However films – first the Silent and from 1931 onwards The Talkie films gave the visual satisfaction providing audio and visual pleasures. No wonder this medium soon became the most popular. With the portable equipment films reached the nooks and corners of India.
Due to its attraction, well known artists from the other mediums like Music, instruments, stage actors and even authors like dramatists and story/song writers were keen to join films. To start with, Bombay being in Maharashtra, the Marathi singers, actors, musicians-vocal and instrumental as well as technicians thronged in majority to the film industry. From stage, famous actors like Bal Gandharva, Bapurao Pendharkar, Hirabai Badodekar, Sureshbabu Mane, Govindrao Tembe, Keshavrao Bhole, Master krishnarao, Dada Chandekar, Dhammankhan, B.R.Devdhar, Vishnupant pagnis, P.L.Deshpande, G.N.Joshi and many others joined films. Writers like V.S.Khandekar, N.S.Phadke, H.N.Apte etc also contributed to films.
From Hindi and Urdu, contributions came from people like Narayan Prasad Betab, Pt. Sudarshan, Agha Hashr Kashmiri, Pt. Narottam Vyas, Amritlal Nagar, K.M.Munshi, Safdar Aah Sitapuri, Kazi Nazrul Islam etc who joined films. Several musicians also joined. Not many readers may be knowing that even the great Indian poet writer Rabindranath Tagore had also acted in and directed a film – “Natir Puja” in 1932.
In today’s film, a very well known, popular and prestigious actor from the Marathi stage -Nanasaheb Phatak – did a role. ‘Nanasaheb’ Phatak was a great actor in Marathi theatre who left a memorable impression with his deep voice and powerful dialogue interpretation. Born Gopal Govind Phatak on June 24, 1899, he was drawn to the stage at a very young age. He is believed to have been initiated into Marathi theatre through the play Raksha Bandhan, in which he played the role of Giridhar. One of his earliest performances was in Yashwant Tipnis’s Matsyagandha in 1919 as the old king Shantanu.
With the help of his guru, Shri Ganpatrao Joshi, a veteran actor popularly known as ‘The Garrick of Maharashtra’, Phatak reached the height of his career during his time with the Lalitkaladarsha Natak Mandali—from 1921 to 1936. The Lalitkaladarsha Natak Mandali was founded by veteran singer-actor Sangeet Surya Keshavrao Bhosale. On September 20, 1913, the mandali (troupe) premiered a new play, Rakshasi Mahatvakanksha (Demonic Ambition), written by the highly respected playwright Veer Vamanrao Gopal Joshi, at the Bombay theatre. The play established Lalitkaladarsha Natak Mandali as a reputed company in the industry, and prominent playwrights began to hand over their plays to be staged by the troupe. Keshavrao Bhosle also pioneered the use of red velvet curtains in Marathi theatre. During his tenure with the mandali, Phatak gained tremendous popularity performing in plays including Rakshasi Mahatvakanksha in 1914, Warerkar’s Sanyasyacha Sansar (Sanyasi’s Life) in 1919, and Sonyacha Kalash (Golden Spire) in 1932.
Phatak also performed in films, and his major screen credits include the silent movie Bajirao-Mastani in 1925, his role as the evil Kamsa in Akashvani in 1934, the hero Mansingh in Rajput Ramani in 1936, the rival poet in Pratibha in 1937, in Panna Dai-in 1945 and Shivaji in Thoratanchi Kamala in 1941.(only Marathi)
In 1945, he played the role of Sudhakar, the drunkard in Gadkari’s Ekach Pyala, which set a new standard for other Marathi theatre performers. Phatak played this role for over 15 years. His ability to embody a variety of characters led him to perform across genres in drama, ranging from historical to mythological and social to Shakespearean. In 1954, the eminent Marathi writer Vishnu Vaman Shirwadkar, popularly known by his pen name Kusumagraj, adapted Shakespeare’s Macbeth for the Mumbai Marathi Sahitya Sangh as Rajmukut in Marathi. The play was directed by Herbert Marshall, a British director, and starred Nanasaheb Phatak as Macbeth and Durga Khote as Lady Macbeth. Despite stellar performances by these veteran actors, the production did not go well. Art and theatre critic Dhyaneshwar Nadkarni would later attribute this failure to ‘the Indianising of Macbeth’.
Phatak continued to be interested in Shakespeare. Shirwadkar said that Phatak once asked him to write a play to suit old-school actors, so he adapted Shakespeare’s King Lear as Natasamrat (The Actor-Emperor) in 1970 with Phatak in mind. Unfortunately, Phatak could not act in it. Nanasaheb Phatak remained a dominant figure on the Marathi stage for over 35 years. He was bestowed with the Akademi Award for Marathi Stage Acting in 1959. He passed away 15 years later on April 8, 1974.
(Thanks to articles from map.sahpedia.org, http://www.marathifilmdata.com, and Natya kalawant from Rasrang .)
The writer of this film’s story was N.H.Apte aka Narayan Harin Apte (1889-1971) Marathi novelist and scenarist; key influence on the elaboration of the reformist social as agenre in the 20s and 30s. A product of 19th C. social reform movements in Maharashtra, Apte was self-taught and ran a publishing house, Apte & Co.(Est: 1924) which brought out a literary-political journal, Alhaad (started in 1915). Author of novels and short-story anthologies within the conventions of the historical (e.g. Manavi Asha, Rajputache Bhishma), or of the social (Na Patnari Goshta, the source for Kunku/Duniya Na Mane, 1937). Invented the social sub-genre of the dainik kadambari or ‘daily life’ novel, usually in a middle-class setting (Paach Te Paach, Waiting Room). Introduced to film by Baburao Painter writing Savkari Pash, the historical Rana Hamir (both 1925) and Pratibha (1937). Best-known film writing for Shantaram at Prabhat Studio (Amritmanthan, 1934; Kunku/Duniya Na Mane, 1937). May have provided the story, uncredited, of Phalke’s Gangavataran (1937). Worked with Dharmadhikari (Kunkvacha Dhani, 1951) and Dinkar D. Patil (Umaj Padel Tar, 1960). Also wrote K.P. Bhave’s Dhruva Kumar (1938), Shantaram Athavale’s Bhagyarekha (1948) and Sansar Karaychay Mala (1954). He wrote stories and dialogues for many Hindi and Marathi films. His Filmography….
1923: Sinhagad, 1924: Sati Padmini, 1925: Rana Hamir, Savkari Pash, 1933: Sinhagad (Story), 1934: Amritmanthan, Amritmanthan (Writer, Story), 1936: Rajput Ramani, Savkari Pash, 1937: Duniya Na Mane (Writer, Story, Dialogue, Adaptation), Gangavataran, Kunku, Pratibha, Pratibha, 1938: Dhruva Kumar, 1948: Bhagya Rekha (Writer, Lyricist, Story, Screenplay, Dialogue), 1951: Kunkvacha Dhani, 1954: Sansar Karaychay Mala, 1956: Sajani, 1960: Umaj Padel Tar (Writer, Story) (Details from Encyclopedia of Indian Cinema, with thanks.)
Pt. Anand Kumar was a well known name in the film circles in that period. He was into production, direction, acting, writing and as a Lyricist. Pt. Anand Kumar was born in Delhi on 4-9- 1907. He was a producer, director, writer and Lyricist. From childhood, he was not interested in studies in English medium. He was taught Urdu, Hindi and Sanskrit by his poor Brahmin Shastri father.
When he was 15 year old, he entered a business. He was always discontented. He wanted to become an actor, but family resisted. He tried fasting and even suicide. Then he stole some money and ran to Bombay. He could not get into any studio and after money finished, he returned to Delhi, only to take more money and run to Bombay again. Even after this failure, he went back to Delhi and started writing stories.
His first book ‘Mera Huq‘ became a hot seller and he started earning money. He was invited by film people and he went to Bombay nth time. He wrote stories, dialogues and Lyrics of scores of films and earned name and money. He produced the film ‘Zameen’-43, under his own banner Anand Brothers. He directed 5 films,including a Hit Marathi film, Gora Kumbhar-42. Some of his films as a Lyricist were Suvarn Mandir-34,Katle aam-35, Pratibha-37, Divorce-38, Saathi-38, Alakh Niranjan-40, Punarmilan-40, Charnon ki Dasi-41, Raja Rani-42 etc. As a writer some films were, Divorce-38, Honhaar-36, Saathi-38, Vasant sena-42, Rang mahal-48 etc etc.
‘Pratibha’ was a bilingual film – Hindi/Marathi – produced by Shalini Cinetone of Kolhapur. When Baburao Painter left Maharashtra Film Co., and others left to start Prabhat at Pune, the king of Kolhapur – Shahu Maharaj was disturbed. He wanted kolhapur to remain a hub of film production. He himself established Kolhapur Shalini Cinetone, mainly to keep Painter employed. Baburao, Bhalji Pendharkar and Master Vinayak also came back to make films here. After few films like ‘Akashvaani’ (1934), ‘Vilasi Ishwar’ (1935) (in Hindi it was ‘Nigaah e Nafrat’ (1935), a Debut film for Shobhana Shilotri, who became Shobhana Samarth later on), ‘Pratibha’ and Phalke’s only talkie film ‘Gangavataran’ (1937) (debut film of Leela Mishra aka Leela Mausi), ‘Gangavataran’ was made on lavish scale spending lot of money. However the film flopped and Kolhapur Shalini Cinetone was closed down forever.
The story of the film Pratibha-1937 was….
Poet Prasad (Datey) lives far from the city in a forest, enjoying only the company of wife Pratibha (Khote). The court poet Kaveeshwar (Phatak) of the neighbouring kingdom learns about his poetry and beautiful wife and invites them to his palace, promising glory and fame. Against Pratibha’s advice, Prasad succumbs to the temptation, only to find that his poetry is plagiarized and his wife is harassed.
Today’s song is sung by the famous classical singer Heerabai Badodekar. Enjoy this 88 year old song….
Song-Ae ree aalee aao sajaao barjoree (Pratibha)(1937) Singer- Hirabai Badodekar, Lyricist- Pt. Anand Kumar, MD- Govindrao Tembe
Lyrics
ae ree aalee
aao sajaao barjoree
ae ree aalee
aao sajaao barjoree
ae ree aalee
aao sajaao barjoree
ae ree aalee
aao sajaao barjoree
ae ree aalee
aao sajaao barjoree
ae ree aalee
aao sajaao barjoree
ae ree aalee
aao sajaao barjoree
ae ree aalee
aao sajaao barjoree
maathhe pe ??
maathhe pe ??
ho re
maathhe pe ??
aa aa aa aa aa e
maathhe pe ??
aa aa aa aa
aa aa aa aa
aa aa aa aa
maathhe pe ??
aa aa aa aa
maathhe pe ??
bindiya ??
naina katarwaa ?? moree ??
haathhan mein kangan ?? re
?? maroree
sajaao barjoree
ae ree aalee
aao sajaao barjoree
ae ree aalee
aao sajaao barjoree
ae ree aalee
aao sajaao barjoree
ae ree aalee
aao sajaao barjoree
ae ree aalee
aao sajaao barjoree
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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