Aanaa kyaa hai ek bahaanaa jaane kaa
Posted on: April 24, 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 Badi Maa-1945.
There were 5 films called Maa and its varieties like Badi Maa, Chhoti Maa. Then there were Maa films with Baap, Beta, Beti, Behen,Biwi, Mamata, Aanchal, Pyaar, Aansoo, Saugandh, Shakti, and Qasam. Additionally, Durga and Santoshi Maa were also made. Almost 30 films about Maa at one place in the index book. I did not try other letters of the alphabet to see more possible films with the word maa – like Naani Maa, Dadi Maa, Meri Maa, Teri Maa, Apni Maa, Uski Maa etc !
The film was made by Prafull Pictures, Bombay, owned by the producer and Director of the film- Master Vinayak. The music was by Datta Korgaonkar aka K.Datta aka D.P.Korgaonkar. The cast of the film was Noorjahan, Ishwarlal, Yakub, Jog, Salvi, Meenakshi, Sitara, Leela Mishra, Damuanna, Lata Mangeshkar and others.
Lata came from a small town. She had no God Father in the film industry, but due to her Divine voice, far sighted composers like Ghulam Hyder gave her opportunities. To reach such composers also Lata needed help. In those circumstances, Mangeshkar’s family friend Master Vinayak helped them in general and Lata in particular to get her established in Hindi films. Datta Davjekar and D.C.Dutt also played their parts. I had read an article which gives details of efforts by Master Vinayak( Nanda’s father) to help Lata get entry into Hindi films. Lata never forgot this help from Master Vinayak, in the initial struggling period.
Lata Mangeshkar was born on September 28 1929 in the Holkar city of Indore. Her father Dinanath initially tutored her in music. Lata’s childhood was less stable. After Master Dinanath’s death, she was adopted by Vinayak Damodar Karnataki, a close personal friend of the Mangeshkar family, godfather to the 5 siblings, and a rather famous movie maker in his own right (better known as Master Vinayak, and also father of movie star Nanda).
Master Vinayak would play a key role in helping Lata and Asha get started with their careers.
Lata was taught by a series of accomplished musicians. She was still a child oblivious to the machinations of the movie world and still unsure as to her real mission in life. She could be a singer or an actress. Indeed, as the tradition was at the time, Lata did act and sing for movies. Lata acted in her last movie role in the early ’50s.
In 1942, Master Vinayak started his last Navyug Chitrapat movie Pahili Managalagaur, and ensured a bit part for 13-year old Lata. This, from all records, is Lata’s first stint with movies. Dada Chandekar created the music, but to the best of anyone’s knowledge, there was no Lata in any of the songs.
Master Vinayak started Pahili Managalagaur and wanted Lata to sing, but he could not finish it. However, he succeeded with Vasant Joglekar, a script writer director at Navyug to get Lata to sing for Kiti Hasaal. Finally, one day, music director Sadashivrao Nevrekar brought the shy 13-year old into the recording studio. The Marathi song “Naachu Ya Gade Khelu Saari Mani Haus Bhari” stands as Lata’s first recording. The movie was Kiti Hasaal, and the year was 1942. The song never saw the light of day. But Master Vinayak at least sensed that the foundation had been laid for a new standard in good female singing.
In the 1942-43 period, Master Vinayak launched Prafulla Pictures, his third and last motion picture studio. He would make 6 movies under this banner. Additionally, he would direct one movie under Shantaram’s Rajkamal Kalamandir, and he would also act in Shantaram’s Dr. Kotnis Ki Amar Kahani.
Of the 7 total movies created by the Master in the remaining 4 years of his life (1943-47), the first 3 were Marathi productions, and the remaining Hindi. All 7 movies made during the 1943-48 period were to star Lata Mangeshkar, although not in particularly significant roles. Thus, before he departed, Master Vinayak made sure that Lata’s entry into Bombay’s Hindi medium, if not clear, was at least visible and within reach. The rest would be up to her. In his scheme of things, his beautiful goddaughter was destined to be a great movie star and a great singer. Right or wrong, that was his belief, and he tried everything within his power to lay that groundwork.
In 1945, the script-writer/director Vasant Joglekar was now directing the Hindi movie Aap Ki Sewa Mein. The movie took more than 2 years to get released, but its place in history was secured when Datta Davjekar announced the successful recording of Paa Lagoon Kar Jori Re, Shyam Mo Se Na Khelo Hori Re the first released Lata song for any Indian movie in any language.
Master Vinayak set the stage for Badi Maa starring Noor Jehan with other big stars – and at the bottom of the list entered Lata and Asha Mangeshkar. Datta Koregaonkar did the music. Badi Maa has one of the best collections of Noor Jehan songs in a single movie. And hidden among these Noor Jehan gems, there is a beautiful devotional song sung by Lata, Mata Tere Charnon Mein. The piece almost went unnoticed, almost more because an almost unknown little girl called Lata Mangeshkar on an even lesser known 12-year old sang it called Asha Mangeshkar. Maata Tere Charnon Mein came close to making history. It was almost the first Lata recording to be released. Datta Davjekar just edged past it with his own Aap Ki Sewa Mein.
In 1946, Master Vinayak directed his second Hindi movie Subhadra that introduced Lata Mangeshkar to Vasant Desai, a mainstream Music Director of Shantaram’s Rajkamal Kalamandir. Singer-actress Shanta Apte sings a beautiful duet with Lata – Main Khili Khili Phulwari.
But our movie here is JEEVAN YATRA, a Rajkamal production directed by Master Vinayak, set to music by Vasant Desai, and enacted by an ensemble of big names like Nayantara, Yakub, Pratima Devi and of course, one small name – Lata Mangeshkar. Her solo “Chidiya Bole Choo Choo” is now an antique – a rare gem that would make any collector proud. In 1946, Master Vinayak finished the last movies of his life, Jeevan Yaatra, a Rajkamal production, set to music by Vasant Desai, and enacted by an ensemble of big names like Nayantara, Yakub, Pratima Devi and of course, one small name – Lata Mangeshkar with her solo Chidiya Bole Choo Choo. Mandir was another Master Vinayak movie, completed after his death by Dinkar Dattajirao Patil, in which Lata would act and sing as well with music by Vasant Desai.
Lata’s Vasant Desai movies, her Datta Koregaonkar connection, and her exposure to Rajkamal Kalamandir had all collectively made an impact. She was known in some circles as the little girl with some promise, but none were willing to take a chance, except Ghulam Haider.
It was in 1948 when Master Haider worked hard to get Lata her first few breaks. Three movies are notable in this range – Majboor, Padmini and Shaheed. The Majboor song “Dil Mere Todaa, Hai Mujhe Kisi Ka Na Chhoda ” is a classic. Also, the Padmini song “Bedard Tere Dard Ko Seene Se Laga Ke” became popular.
Now Anil Biswas and Khemchand Prakash were active who wanted a classic, well-modulated voice that would never stray into savage territory. Her song of the Bombay Talkies film Mahal (1949) – “Aega Aaega Aane Waala”, was composed by the late Khemraj Prakaash. This song had already swept over the whole of India and made her the voice of the time.
She received her first proper named credit under her own name in actor/director Raj Kapoor’s film Barsaat (1949). At the same time, Naushad and C. Ramchandra picked up on this voice. Lata needed no more help. Ghulam Haider’s job was done. He finished the job where Master Vinayak left.
For Lata Mangeshkar, the rest of history is on record. With everything in the world going her way starting 1948, there was no stopping for Lata Mangeshkar.
In 1950, she teamed up again with Dinkar Patil and actually scored the music for his movie Ram Ram Pahune. She joined Dinkar Patil to found Surel Productions in 1952 and produced Wadal(1953). Datta Koregaonkar, made Daaman, Gumashta and Rishta, all to be sung largely by Lata Mangeshkar. Lata did her last acting role in the Hindi-Marathi dual release, the C. Ramchandra-scored Chhatrapati Shivaji. She never acted again, or scored music under her original name. The Greatest Female Playback Singer ruled Indian film playback singing for the next many more decades.
Master Vinayak was forced to produce this war effort movie to save his company. At that time the Government desperately needed public support for their war efforts. Such pictures were given grants for production also. If they refused, the consequences were dire. The word Badi Maa, in this film, meant Motherland-India. The story was….
In Dinapur,Durgadas(Salvi) was worried about his son Dinesh(Ishwarlal) studying in London,due to attacks by Germans.Moneylender Ghanashyam(Girish)agrees to write off his loan,if his daughter Usha(Meenakshi) marries his son Rajendra(Yakoob).But Rajendra and Mona(Sitara Devi) are Japanese spies in India. When Durgadas refuses ,his house is confiscated,sold and he is on road.Ghanashyam’s daughter Hema(Noorjehan) does not like this as she loves Dinesh.Dinesh comes back to find father poor and destitute.SuddenlyJapanese attack the village and Rajendra helps them .Usha urges Rajendra to fight for Badi Maa i.e. Motherland, but dies due to bullets.Rajendra repents and saves his village, along with Dinesh.In this,Rajendra dies for the motherland or Badi Maa. Dinesh and Hema marry.
Do you know the meaning of the word “Staunch” ? Dictionary gives the meaning as ‘very loyal and committed in attitude’. In the film industry, K.Datta was another name for ‘staunch’, as he was a known supporter of Nurjahan.
K.Datta or Datta Korgaonkar aka D.P.Korgaonkar alias Anna saheb, was born in Sawantwadi in Konkan area on 4-6-1908. He grew up learning to sing. His mother was a Bhajan singer. He started singing on stage during Ganesh utsav melas. He formed a Music school, “Gayan Kala Mandir”, along with another singer Sadashiv Nevrekar. When Nevrekar became a Music Director, he also decided to become one and closed the school.
He was called to Kolhapur in 1937 to give music to a Marathi film, made by General Films of Siraj Ali Hakeem- Chandrarao Morey’-38. His first break in Hindi came in 1939 with Mera Haq (Hindi and Marathi),followed by Alakh Niranjan-40 (Hindi and Marathi), Geeta-40 ( in Hindi and Marathi) and Yaad-42.
He first came face to face with Noorjehan in Naadaan-43. He was simply mesmerised with her voice and singing style. He composed 7 songs for Noorjehan. After doing Zameen-43 and Maharathi Karna-44, he again composed 4 songs for Noorjehan in the film Badi Maa-45. He also gave a break to Lata and Asha to sing in a chorus with Noorjehan. It is very sad that initially, K.Datta’s name was not mentioned on the 78 RPM records of Badi Maa. Only on the ‘re-issue’ records his name came up.
His other films were Yateem-45, Shaahkaar-47, Rangmahal-48, Meri Kahani-48, Daaman-51, Gumasta-51, Rishta-54, Harihar Bhakti-56 and Ajanabi-66. In all K.Datta gave music independently in just 17 films, plus one film Badmash-44,with Khan Mastana. His Marathi films were 12 from 1938 to 1965.
After retirement in 1965, he spent his time in Bhakti, Pooja and Astrology. He used to have a special Pooja every Thursday, when Bhajans were sung. Many composers and other film industry people used to be his visitors. Naushad, C.Ramchandra, Madan Mohan, Sajjad Hussain etc were the regular visitors to Annasaheb. ( Only 3 people in the Hindi film Industry were called Anna Saheb. By coincidence, all 3 were MDs. They were Annasaheb Mainkar, K.Datta and C Ramchandra). He died of a heart attack in G.T.Hospital, Bombay, on 23-12-1978.
He was a Noorjehan believer to the core. To date K Datta remains the only top composer from Maharashtra to whom Noorjehan came first, Lata later. No one regretted Partition more than K Datta. Indeed, his creativity seemed to come to an end once Noorjehan left him high and dry by moving, with a song on her lips, to Pakistan. He once said, “Noor Jehan left for Pakistan and took my creativity with her”. The four Noorjehan numbers, as fashioned by K. Datta are historically most important. Because it was hearing and absorbing these four nuggets of Noorjehan, while acting with her in `Badi Maa’, that Lata Mangeshkar learnt to shape her vocal technique. If Lata came to sound a Noorjehan replica for so long, the tonal base for this was laid, just imagine, by a robustly tall Maharashtrian from the ghats called K Datta in `Badi Maa’.The last number of Noorjehan fetched him the ultimate tribute from no less a movie stalwart than Mehboob Khan, who said: “Bhai Datta, yeh gaana to aap ne Khuda ke darbar mein baithe hue banaya lag raha hai” (“It sounds as if you created this song sitting in Allah’s abode”).
K Datta used to play Ek anokha gham ek anokhi musibat ho gayi on a harmonium presented to him by O.P. Nayyar. How grimly significant that the one music director, O.P. Nayyar, who never in his life commissioned Lata, should have gifted that harmonium to the one Maharashtrian composer who believed only in Noorjehan!
Let us now enjoy the 80 year old song by Meenakshi….
Song- Aana kya hai ek bahaana jaane ka (Badi Maa)(1945) Singer-Meenakshi Shirodkar, Lyricist-Zia Sarhadi, MD-Datta Korgaonkar
Lyrics
aana kya hai
aana kya hai
ek bahaana jaane ka aa aa aa
ek bahaana jaane ka aa aa aa
jeevan kya hai ae ae
jeevan kya hai ae ae
ek sapna deewaane ka aa
ek sapna deewaane ka aa
aana kya hai
aana kya hai
kabhee ujaalaa haa aa aa
kabhee andheraa aa
andheraa aa
andheraa aa aa aa aa aa
andheraa aa aa aa aa aa aa aa
kabhee ujaalaa
kabhee andheraa aa
pal bhar ka ik badan hai teraa aa aa
pal bhar ka ik jag mein hai teraa
komal daal pe sabka deraa
komal daal pe sabka deraa
kaaran kya itraane kaa
aana kya hai
aana kya hai
?? baag hamaaraa
hara bhara sukh ka ??
?? baag hamaaraa
hara bhara sukh ka ??
sochoon aaj suhaagraat
???
??
ik main hoon ?? ka
aanaa kya hai
aanaa kya hai
ik bahaanaa jaane kaa aa aa aa
jeewan kya hai ae ae
ek sapna deewaane ka
aanaa kya hai
aana kyaa hai
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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