Aayegee taazaa bahaar mere baagh mein
Posted on: March 29, 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 the film Maaya-1936.
The film was made by New Theatres, Calcutta, which was a leading filmmaking studio in India. The film was directed by P.C.Barua. The lyricist was Asghar Hussain Shor and the music directors were R.C.Boral and Pankaj Mullick. There were only 6 songs in this film, whereas the average number of songs in the period 1931 to 1940 was 9 songs/film. A total of 931 films were made in this decade, with an average of 9.3 films/yr. Total 8247 songs were in these films. Incidentally the lowest average of songs was 4.6 songs/film in the period 2011-2020 ( as per the statistics provided by Shri Girdharilal Vishwakarma ji in RMIM in January 2022.) I find that the number of songs in Hindi films made in Bengal were less compared to films made at other centres. This was apart from melody and popularity resting with Calcutta made films, on an All India Basis for the same period.
The first Talkie film came in 1931. The first year had just 24 films, but within a span of 3 years, the Talkie films crossed the century mark, with 121 films in 1934, 152 in 1935 and 134 in 1936. Making a film was a complicated process which needed a studio, the latest machinery and a lot of money. This was difficult for a single person and thus the Studio System got established. The studios ruled the industry and the film making. Films were sold on the names of the studios and the actors had secondary appeal to the audience.
There were three major film centres in 1936 – Bombay, Calcutta and Poona. In Bombay, studios like Imperial, Bombay Talkies, Sagar Movietone, Ranjit etc were big names. In Calcutta, New Theatres and East India Film Corporation were major players. Prabhat film company was famous from Poona. This was the position in 1936. Like any other industry, the film industry too needed an organisation of the big players, so that the workers had no upper hand on them. Accordingly, “Indian Motion Pictures Association” (IMPA) was established first in Bombay, followed by Bengal Motion Picture Association in Calcutta. Poona, being in the Bombay Presidency, did not have a separate organization.
1936 saw the formation of Huns Pictures by Master Vinayak and Baburao Pendharkar. The year was noteworthy for Prabhat Film company as one of its directors, Keshavrao Dhaibar had to leave the company, for marrying one of the company’s employee-actress Nalini Tarkhud and thus breaking the company’s rule not to marry an employee ! Much later, even V.Shantaram had to leave Prabhat when he married actress Jayashree, an employee of Prabhat !!
Let us now take a look at some important films of 1936….
The year was notable for the type of films it produced. The initial limitation of making films only on Mythologicals or folk stories slowly changed over to social issues and problems. As such, due to British rule Indians had started following a lot of western manners, dressing patterns and our traditions were giving way to modern ways of developing countries like Europe or the America.
From Calcutta came 3 films of New Theatres, Manzil, Maaya and Karodpati. Manzil was a love story of a rich boy and a poor boy loving the same girl. Maya was a story of a rich wayward girl and an orphan girl in her house loving the same boy. Karodpati was a comedy enacted by Saigal and Molina Devi.
Bombay Talkies had 4 films, but only 2 were noteworthy. The first was Jeevan Naiya, which saw Ashok Kumar becoming a reluctant Hero (he was only a Lab-Technician) opposite Devika Rani. The other film was Achut Kanya – a film based on the ills of Untouchability.
The year 1936 was memorable because of films from Prabhat, which made the film Amar Jyoti, showing Durga Khote as a Lady Pirate. The film was made on Grand scale and in such a way that it was much ahead of its time !
The other important film was Sant Tukaram in Marathi. The film ran for one year in Bombay theatres. The role of the wife of Tukaram was done by an actress, who was a sweeper in the studio before this film, but she excelled in her role. Her name was Tanibai Davari. This was the first film to celebrate the Golden Jubilee at many places. It won the honour of ” One of the 3 Greatest films of the world” award at Venice Film Festival in 1937.
Sagar Movietone launched actor singer Surendra with the film Deccan Queen. The other film was Manmohan, which copied the film Devdas, by becoming a tragedy of a heart broken lover. Some other notable films were Sunehra Sansar by East India company, introducing Vijay Kumar from Shimla and K.N.Singh. K.N.Singh also debuted as a Hero in the only film Bandit of the Air from the same company. There were films like Jay Bharat from the Wadias, Passing Show from Prakash films and Said E Hawas from Minerva Movietone. Film Maa from Prafull Pictures used ” Vande Mataram” for the first time in a film. Film Shokh Dilruba had 150 kissing scenes (there was no restriction from Censors then). First Talkie Seeta Vivah from Orissa also came.
The cast of the film Maaya-1936 was Jamuna (wife of the director P.C.Barua), Pahadi Sanyal, Azurie, Nawab Kashmiri, K.C.Dey and others. Nawab Kashmiri was an actor entirely different from other actors of his times. His dedication and commitment to work was worth praise. Noted writer Saadat Hasan Manto has written about him in his book “Stars from another sky” thus….
” Nawab Kashmiri was an honourable fixture in new Theatre films. The only son of the Mufti-e-azam,of the biggest Imambara in Lucknow, he was called ‘Actors’ actor’. For doing the role of Ezra in Yahudi ki ladki, Nawab went to Bombay and stayed with Jew people to understand their ways of behaving. He also removed all his good teeth to fit as an old Jew Merchant in the film. he was a fan of Agha hashra kashmiri and had achieved a great name by acting in his several dramas. B.N.Sarcar himself called Nawab to join New Theatres,when he was in great demand elsewhere too. He had acted in film Maaya-38,as a Pickpocket. to do this role effectively,he had stayed in their slum for 15 days to copy their mannerisms. In NT, he became friendly with another actor-Hafiz ji, who later married the Heroine Rattanbai (legend says, her hair was so long, it used to reach her ankle), before Rattanbai shifted to Bombay in 1935 to do Bharat ki beti (Tere poojan ko bhagwan fame)
When Nawab did not get any issue from his first wife he married the daughter of prince Mehr of Audh. The first wife committed suicide leaving a huge property and Gold for him. Committed actors like Nawab Kashmiri disappeared with his generation.”
The singer of today’s song is K.C.Dey. He was the first ever Blind singer in Hindi films. In recent times there were two more blind singers – who were also music directors, just like K. C. Dey. They were Manohar Lal Sonik and Ravindra Jain.
K C Dey was one of the leading musicians of Bengal cinema, particularly the New Theatres’ of Calcutta, in an era dominated by stalwarts such as K L Saigal and Pankaj Mullick. It was K C Dey who influenced Manna Dey to take to music. Otherwise he would have ended up as a barrister, which his chartered accountant father wanted him to be. He was also the first Musical teacher and mentor of S.D.Burman.
Krishna Chandra Dey was born in Calcutta on 24-8-1904. His father’s name was Shibchandra Dey. From early childhood, young Krishna Chandra showed an affection towards music and could sing well. He used to attend many musical gatherings in his youth. At the age of thirteen years (in 1906) he lost his eyesight after suffering from severe pain in the head. All medical treatments failed and he soon became blind. His love of music then found its way through constant endeavour of vocal performances. Eminent musicians such as Sashi Bushan Dey, Satish Chattopaddhya, Darshan Singh, Ustad Keramutulla Khan, Ustad Badal Khan, Amarnath Bhattacharya, Dabir Khan, Satish Dutta and Radha Raman Das, along with a galaxy of others all contributed to his musical training. From the musical gatherings at the famous Bengali wrestler Gobarbabu’ house, he gradually started appearing before the public.
He is best remembered for his Kirtan songs. He was patronized by many elite families of Calcutta at that time. He often sings in jalsa of Rajbari of Sovabazar, Mitra House of Beadon Street and many others. K.C. Dey recorded around 600 songs, mostly in Bengali, Hindi, Urdu, Gujurati and 8 Naats (Muslim religious songs).
In february 1917, he provided his first recordings for the Gramophone Co Ltd., at their recording studios that were attached to their factory at 139, Beliaghata Road, Sealdah, Calcutta. Over the next few years his musical career appears to have been relatively uneventful, except that with good classical training his powerful yet melodious voice had been brought to maturity.Krishna Chandra Dey had made his first appearance in a ‘Talkie film’ made by Madan Theatres, Calcutta, and released at the Crown Cinema, Calcutta, on 13 March 1931, (renamed ‘Uttara’ Cinema in 1935) – featuring two songs being sung by K C Dey. On 24 September 1932, the New Theatres Ltd., production of the Bengali film “Chandidas” was released at the ‘Chitra’ cinema (now named ‘Mitra’) with Krishna Chandra Dey, in both acting and singing roles. The songs from “Chandidas” opened another chapter in the illustrious career of K C Dey and confirmed him as one of the most popular entertainers of the time. Between 1933 and 1935, Krishna Chandra Dey was in demand not only as an actor and singer, but also as a music director for motion pictures, being produced by East India Films, New Theatres Ltd., both of Calcutta, and also Sagar Movietone, Bombay.
In 1942, Krishna Chandra Dey went to Bombay where he performed the duties of music director, along with acting and singing roles. He acted in 28 films and 9 songs were filmed on him. He sang 58 songs in 20 films. He gave music to 14 Hindi films and composed 155 songs.
Krishna Chandra Dey is usually referred to as having been a confirmed bachelor, however, he is known to have been closely associated with Miss Tarakbala (Miss Light) and to have prepared the music for her recordings, a few of which were issued by The Gramophone Co., Ltd., on the “TWIN” record label, during the 1930s. Krishna Chandra Dey and Miss Tarakbala were married according to Hindu rites, in the presence of a Brahmin ‘Purohit’. After the marriage, Miss Tarakbala was renamed as Roma Dey, and was lovingly called ‘Memsahib’ by K.C. Dey. A son was born to the couple, but died at the age of 14 years.
Krishna Chandra Dey died on 28 November 1962, at the age of 69 years in Calcutta.
(Thanks to downmelodylane.com, wiki and muVyz.com and my notes.)
The story of the film Maaya-1936 was….
The story of Maaya was based on the favourite film topic of the Love Triangle.
Maaya (Jamuna),a beautiful, bubbly young girl is from a poor family. Her rich cousin, Shanta is a socialite and is slated to marry an equally rich boy, Pratap. Once Pratap comes to Shanta’s house, when she is not at home, but sees Maaya and falls in love. When Shanta learns about this, she is upset. She frets and gets angry too, but can not do much.Pratap and Maaya get so much closer to each other that she carries his child. Pratap leaves for the UK for higher studies in law and promises to marry Maaya on his return.
Pratap writes regular letters to Maaya, but cunning Shanta intercepts all letters and Maaya is heartbroken. She delivers a child and has to leave the town for fear of the society.
When Pratap comes back, he does not find Maaya, despite his search. Shanta, meanwhile, tries to get close to him. One day Pratap finds that in his office a case comes where he has to prosecute a lady for a murder. When he sees the lady, he is shocked to find that it is none other than Maaya. Maaya and a murderer ? Pratap goes to her prison cell to meet her and in the conversations, all misunderstandings are cleared.
On further investigations, Pratap finds that Maaya has been falsely implicated in this case by Shanta, so that he will marry her. Pratap leaves his Government job and defends Maaya in the court, getting her acquitted honourably.
Pratap and Maaya reunite, much to the disappointment of Shanta.
Enjoy today’s 89 year old song by K.C.Dey….
Song- Aayegee taaza bahaar mere baagh mein (Maaya)(1936) Singer- K C Dey, Lyricist- Asghar Hussain Shor, MD- R C Boral
Lyrics
aa aa
aa aa aa aa
ae aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa
aa aa
aayegee taaza bahaar mere baagh mein
aayegee taaza bahaar mere baagh mein
aayegee taaza bahaar mere baagh mein
aayegee taaza bahaar
phootengee kaliyaan phool khilenge
phootengee kaliyaan aa
kaliyaan
aa aa aa aa
phootengee kaliyaan phool khilenge
bulbul kee hogee pukaar mere baagh mein
bulbul kee hogee pukaar mere baagh mein
aayegee taaza bahaar mere baagh mein
aayegee taaza bahaar
ae baag mein
ae ae aa aa
aa aa aa aa
aayegee taaza bahaar mere baagh mein
aayegee taaza bahaar mere
rang birangee phool khilenge
rang birangee phool khilenge
aayegee gul pe jawaanee ee ee
rang birangee phool khilenge
rang birangee phool khilenge
aayegee gul pe jawaanee ee ee
aayegee gul pe jawaanee
gaayegaa bhanwra khoob taraane
gaayegaa bhanwra khoob taraane
phoolon pe hoke nisaar mere baagh mein
phoolon pe hoke nisaar mere baagh mein
aayegee taaza bahaar mere baagh mein
aayegee taaza bahaar mere baagh mein
aayegee taaza bahaaaar mere baagh mein
aayegee taaza bahaar
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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