Ye kya adaa hai pagle
Posted on: December 23, 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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Blog Day : |
6367 | Post No. : | 19745 |
Today’s song is from a stunt film- Chaalbaaz-1958.
The film was produced by Balwant Bhatt and Ram Kamlani. It was directed by the veteran of such films- Nanabhai Bhatt. Music was by the melody maker- Chitragupta. 5 singers sang 7 songs, written by Anjum Jaipuri (2) and Prem Dhavan (5). The cast included Nirupa Roy, Jairaj,Nishi, K.N.Singh, Shammi, Cuckoo, David, Master Bhagwan, Moti (Horse) and Tiger (Dog) etc etc.
The title Chaalbaaz seems to be quite a favourite with filmmakers. Films with the same title were made in 1958, 69, 80, 89 and 2003. In addition there was Chaalbaaz Leader-70 and Chaalbaaz Haseena-2002 also.
Read more on this topic…
This article is written by Sadanand Kamath, 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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Blog Day : |
6366 | Post No. : | 19744 |
‘Jumbish’ (1986) was produced and directed by a newcomer, Salahuddin Parvez who also wrote the story, screenplay, dialogues and lyrics for the film. Surprisingly, he had no connection with the film industry. He was an Urdu poet and writer having published 13 books of his poems and 3 novels. In this film, Akbar Khan and Padmini Kolhapure acted in lead roles.
I have already covered the story of the film in details in one of my earlier articles on the film, the link of which is here. The theme of the story is that since time immemorial, there has always been the tug of war between divines and devils in the world, the former wanting the peace and prosperity on an enduring basis and the latter worked to sabotage the same. This tug of war will go on in future also. But on every occasion, it is the peace-loving people who will be the ultimate winner.
Read more on this topic…
This article is written by Avinash Scrapwala, 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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6366 | Post No. : | 19743 |
#the Decade of Sixties – 1961 – 1970 #
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The song in this post is a lesser heard song sung by Asha Bhonsle. It is from the movie ‘Akela-1963’. I do not remember to have listened to any other song from this movie, except the one which has been posted on this blog.
Read more on this topic…
Ab chaahe to le le meree jaan
Posted on: December 22, 2025
This article is written by Avinash Scrapwala, 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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Blog Day : |
6366 | Post No. : | 19742 |
#the Decade of Fifties – 1951 – 1960 #
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“Bhalaa Aadmi-1958” was directed by Bhagwan for Unity Films, Bombay. It had Anita Guha, Chandrashekhar, Bhagwan, Kumkum, Kumar, Protima Devi, Baburao Pahalwan, Shyam Kumar, Leela Gandhi, Ulhas and others.
This obscure movie had ten songs where three lyricists contributed lyrics for this movie. This was also the first movie of Anand Bakshi as a lyrics-writer. Out of the ten songs Saba Afghani wrote three songs, Anand Bakshi wrote five songs and Ehsan Rizvi the third lyrics writer wrote two songs for this movie ‘Bhalaa Aadmi-1968’. The playback singers for this movie included Suman Kalyanpur, Bhooshan, and Sudha Malhotra. But as per information available in Geet Kosh Vol-III (1951-1960) singers’ name for only four songs are mentioned and the singers’ names for six songs are not mentioned, so there is a possibility of more singers singing for this movie. Music for this movie was composed by Nisar.
Read more on this topic…
Dil ka sun le tu afsaana
Posted on: December 22, 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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Blog Day : |
6366 | Post No. : | 19741 |
Today’s song is from a dubbed Hindi film -Piya Milan-1958.
This costume film was directed by Raghunath and the music was by P Ramesh Naidu, who was assisted by S.L.Merchant. The cast of the South indian dubbed film was Vyjayantimala, Raja Sulochana, Shri Ram, M.N.Rajam, Helen, Reeta, V.Nagiah, T.S.Baliah, P.L.Veerappa, Thangvellu, Chandra babu, G.A.K.Devar and many others. Lyricists were Harsha (3) and Hasrat Jaipuri (6). These 9 songs of the film were sung by P.Susheela, Lata mangeshkar, Usha Mangeshkar, Om Verma and jagmohan Bakshi. Actually, the film was produced by Jubilee Films, but was sold to R.R. Productions for releasing it.
Film Piya Milan-1958 was originally a Tamil film MARMAVEERA-1956, dubbed in Hindi. Most songs were having the same tune as given by the Tamil original’s composer S.Vedhu. The greatest attraction of this film was the Guest appearance by N.T.Rama Rao, Sivaji Ganeshan and Gemini Ganeshan. They were the heavyweight actors of the Southern films.
The 50’s decade was full of a deluge of films from the south. After S.S.Vasan proved that it was possible to capture the All India Hindi Audience market for South-made films, there was a mad rush and almost all major and minor film companies from south tried to get at least a small piece of the “Hindi Audience Cake” for their films. Films came in the shapes of Bilinguals, remakes and dubbed ones. Bilinguals – when a film is made in 2 languages at a time, one language being Hindi, remakes were new Hindi films made on old Hit films of South Indian languages. Dubbed films were films made in the southern language, with a sound track of Hindi language. In 1958 alone there were 7 films from the South, dubbed in Hindi, for All India markets.
Since the 1950’s decade, every south artist’s dream was to shine in the Hindi film industry, because Hindi films meant All India fame and an honour. In this dream many actresses achieved success, but comparatively actors were almost nowhere. The only name perhaps could be taken was that of actor Ranjan and few more. However, Jamuna, Vaijayantimala, Hema malini, Ragini, Padmini, Rekha and many more actresses from South became famous in Hindi films. Likewise when the Tamil and Telugu industry became a big one, many actresses like Khushbu etc from the Hindi land became famous in South films. Somehow males could not achieve this.
One of the major problems for south Indian artists is the Hindi language. The actresses like Vaijayantimala, Hema Malini and Rekha became experts, but Southern actors could not cross this hurdle. N.T.Ramarao ( 28-5-1923 to 18-1-1996) tried hard. He featured in 23 Hindi films which were mostly dubbed films barring few. One film Brahmarshi Vishwamitra-1991 was even directed by him. Sivaji Ganeshan (1-10-1927 to 21-7-2001) a winner of the prestigious ” Dadasaheb Phalke Award” in 1996, also featured in 19 Hindi films. Gemini Ganesan-real name R.Ganesan ( 17-11-1920 to 22-3-2005) was actress Rekha’s father. He acted in 24 Hindi films.
Similarly many music directors also had the same desire to shine in Hindi films, but had the same problem of language. One of these MDs was P.Ramesh Naidu who gave music to the Hindi film Piya Milan-1958.
Pasupuleti Ramesh Naidu (Born 18-10-1933, Died 2-9-2005) was born in Kondapalli in Krishna District (Andhra Pradesh). He was so obsessed with music that he ran away and landed in Bombay when he was 17 year old. B R Chopra took him under his wings and Ramesh learnt Instrumentation and orchestration in HMV at Bombay.
Here he learned music and also got opportunities to interact with Hindi and Marathi directors. His debut as a music director was for a Marathi Movie ” Bhandawal Paahije” 1950, produced, Directed and acted by Kishore Sahu, when he was 17 years old. He was first introduced to Telugu movies in Dampatyam by Actress Krishnaveni. He moved back to Bombay and gave music for Kishore Sahu’s Hamlet 1954, Waheeda Rahman’s DUBBED Telugu movie Jai Singh (1959). He later went to Calcutta, married a Bengali woman and worked for about ten years for Bengali, Nepali and Oriya films before returning to Telugu films with the movie Amma Mata in 1972. He composed music mainly for the directors Dasari Narayana Rao, Vijaya Nirmala and writer Jandhyala. His other major works are Srivariki, Premalekha, Sivaranjani, Ananda Bhairavi and Swayamkrushi.
After a few years he went back to Andhra and got married. He got a son also and then he came to Bombay, on his way to Calcutta. he spent 10 years there giving music to Bangla, Oriya and Nepali films.
He was invited to Madras and he gave music to Amma mata-72. He settled there with his family. He gave music in Tamil, Telugu and Kannada films. He came to Bombay from time to time to give music to Dubbed and Remade films from the South. He also gave music in a few Bhojpuri films. His Hindi films were Hamlet-54, Jaisingh-59, Piya Milan-58, Nartaki Chitra-65, Ganga Bhavani-79, Azaadi ki Oar-86,and Hum bhi kuch kam nahin-1983.His first south film was Dampatyam-57 and last was Ish Gup chup-1993. He surpassed Salil Chaudhari by giving music in 10 Indian languages( Salil da gave music in 9 ). Ramesh Naidu got the National Award for the film ‘Megh Sandesham’. Naidu left this world on 2-9-2005, at Hyderabad.
The story of the film Piya Milan-1958 was…..
Maharaja Kulasekhara is the king of Kurni Empire. He has a beautiful daughter Vijaya (Vyjayanti mala), who is in love with a young rich boy, Mahinder (Shri Ram).
Maharaja Parakram Bahu of the neighbouring kingdom comes calling and before going back proposes to Vijaya. He is told that she is already engaged and this alliance is not possible.
Parakram goes back enraged. He consults his vazir, Nari and they decide to destroy Kulasekhara. They tempt Srimantha, the commander of Kulshekar and then attack Kurni, capture the Maharaja and abduct Vijaya. The kingdom is then given to Shrimantha. Shrimantha and his cronies torture the poor Janata and loot them.
Suddenly, a masked man called PARAMVEER appears from nowhere and protects the oppressed janata. He also punishes the cronies and Looters. Meanwhile Parakram Bahu decided to marry Vijaya forcibly. Getting this news, Paramveer attacks Parakram Bahu in the night ,captures him and rescues the princess Vijaya.
Then Param veer leads a mutiny and defeats Srimantha and rescues Maharaja Kulasekhara. Finally, it is revealed that Param Veer is no one else but Mahinder, the fiance of Vijaya.
All is well, after this.
one of the cast members was Raja Sulochana. Raja sounds like a male name, but she was a dancer cum actress. In southern films, her name is mentioned as Rajsulochana, but in Hindi it is used as Raja Sulochana. Chittajallu Rajeevalochana (15 August 1935 – 5 March 2013), better known as Rajsulochana, was a classical dancer and actress. She has acted in more than 300 Telugu, Tamil, Kannada, Malayalam and Hindi language films.
She was born on 15 August 1935 in Bezawada (now Vijayawada), in Andhra Pradesh. Her father, Pilliarchetty Bhakthavatsalam Naidu worked in Indian Railways and was transferred to Madras as PA to the General Manager of M&SM Railway. At school, her name was recorded in error as Rajasulochana. She learned Indian classical dance from Lalithamma, K. N. Dhandayuthapani Pillai, Acharyulu and Vempati Chinna Satyam, Krishnakumar, Vishnu Vysarkar, and Kalamandalam Madhavan.
The Kannada stage and screen maestro H. L. N. Simha gave her an acting opportunity in Gunasagari (Kannada, 1953), produced by Gubbi Veeranna. Subsequently, she acted in about 274 films in all South Indian languages. She acted with all the leading stars of South Indian cinema such as M. G. Ramachandran, Sivaji Ganesan, N. T. Rama Rao, Akkineni Nageswara Rao, Rajkumar, S. S. Rajendran, Prem Nazir, A. P. Nagarajan and M. N. Nambiar.
Rajasulochana was a special friend of the boss A.V.Meiyappan and he was trying to push her in Hindi films.It was rumoured that due to this only,this song and dance item with master Bhagwan was thrust in the film Chori Chori-1956, even if it did look like a patch, having no connection to the picture story in any manner !
Rajasulochana was a good dancer/actress and acted in some 80 odd Telugu,Kannada and Tamil movies.
She acted/danced in few Hindi movies like, Chori chori, Aayi phirse Bahar, Alladin ka chirag, Naya aadmi, Sitaron Se aage etc.
She founded the dance school “Pushpanjali Nritya Kala Kendram” in 1961 in Chennai. It has trained many students in Indian classical dance forms and celebrated its Silver Jubilee in 1986. She gave many dance performances in India and abroad and got critical acclaim for the dance dramas.
She had a son out of her first marriage and after it ended in a divorce, she married actor-director C. S. Rao and had twin daughters. One daughter lives in Chennai. The other twin daughter and son live in Chicago, Illinois.
Rajasulochana died in Chennai on 5 March 2013 at the age of 77. Condoling her death, the then Tamil Nadu Chief Minister Jayalalithaa had said the actress had left an imprint for herself in the film industry. She was engaged in creating artistes in her dance school “Pushpanjali Nritya Kala Kendram ” here, Jayalalithaa said.
Here is a song from today’s film, sung by Lata Mangeshkar. Enjoy….
Video (poor audio)
Audio
Song-Dil ka sun le tu afsaana (Piya Milan)(1958) Singer-Lata, Lyricist-Hasrat Jaipuri, MD-P Ramesh Naidu
Lyrics
Sun le re
man kee dhun
matwaaree moree
aa aa aa aa aa
aa aa aa
aa aa aa
sajan
jo dil le
ye man gaaye
saj kar main naachoon
dil ka sun le tu afsaana
dil ka sun le tu afsaana
haaye qaatil jaana na
haaye qaatil jaana na
dil ka sun le
dil ka sun le
sun le afsaana aa
le lo ye dil apna sainya
nain raseelon se saajan
nain raseelon se ae
jaano dil ko
o jee jaano dil ko
haarey ham to
baaton baaton se
ham to baaton baaton se
arre matwaare
hmm
arre matware mere piya
tadpe hamaara jiya
chhotee see jaan jaaye re
arre matwaare
hmm
arre matwaare mere piya
tadpe hamaara jiya
chhotee see jaan jaaye re
ho dekho
chhotee see jaan jaaye re
dil ka sun le tu afsaana
dil ka sun le tu afsaana
haaye qaatil jaana na aa
haaye qaatil jaana na aa
dil ko sun le
dil ka sun le
sun le afsaana
man ka tan ta ho ke hardam
ban na bhola re ae
ban na bhola re ae
tera mera
o jee tera mera
ab ye zaalim
saath naa chhoote re
ab to
saath na chhoote re
arre dilwaale
hmm
arre dilwaale maan zara
mujhko pehchaan zara
chhotee see jaan jaaye re
arre dilwaale
hmm
are dilwaale maan zara
mujhko pehchaan zara
chhotee see jaan jaaye re
ho moree chhotee see jaan jaaye re
dil ka sun le tu afsaana
dil ka sun le tu afsaana
haaye qaatil jaana na aa
haaye qaatil jaana na aa
dil ka sun le
dil ka sun le
sun le afsaana
- In: Century post by Guest poster | Century songs for the blog | Duet | expression of love | Feelings of heart | Guest poster century song | Guest posts | Kavitha Krishnamurthy Songs | Mohammad Aziz song | Mohammad Aziz-Kavita Krishnamurthy duet | One singer singing for two actors | Post by Peevesie's mom | Songs of 1980s (1981 to 1990) | Songs of 1986 | Uncategorized | Yearwise breakup of songs
- 11 Comments
This article is written by Peevesie’s mom, 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.
This article is her 700th song post in the blog.
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Blog Day : |
6365 | Post No. : | 19740 | Movie Count : |
5171 |
Hullo Atuldom
21st December is the birthday of an actor who made his debut in films in 1986. Though the first film he signed was ‘Tan Badan’, first film for which he started shooting was ‘Love 86’ in June of 1985. ‘Ilzaam’ (release date 28th February 1986) & ‘Love 86’ (release date 14th February 1986) released before his firstsigned ‘Tan Badan’ (release date 25th April 1986).
He was born as the youngest of 5 children and was given the pet name ‘Chi-Chi’ (meaning little finger). His father was former actor Aroon (alias Arun Kumar Ahuja) and singer-actress Nirmala Devi was his mother. He belongs to an ethnically mixed family, as, through his father, his grandfather was Punjabi while his grandmother was Sindhi, but he himself identifies more with his Punjabi side. His paternal side ancestry can be traced to Gujranwala in undivided India & his maternal side had its roots in Varanasi, U.P.
Aroon (Arunkumar Ahuja) came to Mumbai (Bombay back then) to become an actor in the late 1930s. He is best known for appearing in Mehboob Khan’s Aurat (1940). Aroon’s professional career as an actor lasted for 15 years, from 1939 to 1954. In these years, he worked as a hero in 30 films. He produced one unsuccessful film which caused financial loss. The family, living in a bungalow on Mumbai’s Carter Road, moved to Virar, a northern Mumbai suburb. Hence, he wanted his children to be educated before associating with films.
Did I mention that I am writing about Govind Ahuja whom Hindi film fans know as Govinda. He saw ‘Disco Dancer’ (1982), which inspired him to practise dancing for hours. He then made and circulated a promotional VHS cassette to all producers. He was offered jobs in a some commercials. He was offered the role of Abhimanyu in the popular mythological serial Mahabharat (1988) during its casting and he even had auditioned for it. But he was signed by his uncle Anand (born Uday Narayan Singh, we have seen him in a few Hrishikesh Mukherjee films- for example in ‘Golmaal’ as one of Amol Palekar’s friends) for ‘Tan Badan’ which became Govinda’s debut in Hindi Films. And, this actor, Govinda, went to on entertain film goers for the last 39 years. He has seen a lot of ups-n-downs in his career but has been majorly admired for his dancing & comic timing; I would like to add that he is very good in emotional as well as actions scenes. He is still very active and may he continue to do so.
For today’s post I would like to present a song from his first released film (as per date of film releases):- “Love 86”. It was directed by Esmayeel Shroff & produced by Pranlal Mehta. It had Tanuja playing mother to Neelam & Farha (she had not started adding Naaz to her name then). Tanuja’s estranged husband was played by Shafi Inamdar, Asrani played her secretary. Satish Shah & Ravi Baswani played bumbling cops. Rohan Kapoor (singer Mahendra Kapoor’s son) & Govinda played young men who have taken to petty crimes to survive. The young brigade encounter each other, fall in love & manage to keep meeting with lots of help from the father of the girls; the mother opposes as she wants the girls marry brothers from wealthy families so that the girls can stay together in the same family. The movie is a love story so all will be well in the end.
The film had six songs penned by S. H. Bihari (3), Santosh Anand, Sameer & Prem Pandit (one each). Suresh Wadkar, Shailendra Singh, Shabbir Kumar, Kavita Krishnamurthy, Mohammad Aziz, Hemlata & Anuradha Paudwal were the playback singers used.
Today’s song happens when the boys have managed to hoodwink the mother & get permission to go out on a drive with the girls. The bumbling cops, who have been suspended because of the antics of the boys are on the trail of the couples, in disguise of course!
Before I conclude the post I would like to thank my daughter for my first encounter with this blog, through this song post. This opened a whole new world for me, where I could raise ‘farmaishes’ and post my two-bit knowledge as comments.
Atulji, the man behind this blog was kind enough to post one of my mails to him, which had the lyrics of a song from ‘Taxi Taxi’ & I progressed from a commenter to a lyrics contributor, with these songs:-
Jeewan mein hamsafar milte to hain zaroor,
Atulji’s action of converting another mail of mine, which was for the birthday of child actor,(turned adult) Master Satyajeet’s birthday, into this post made me a guest poster on the blog.
Since that post in September 2012, I have slowly moved to a few hundred posts. Here are the songs that accompanied my century posts:-
| Century post | Song | Movie (Year) | Date | Remarks |
|---|---|---|---|---|
| 100th post | Har aadmee ko biwi ka ghulaam hona chaahiye | Hiraasat (1987) | 6 November 2015 | Remembering Sanjeev Kumar on his death anniversary |
| 200th post | Langee mirchee main Kolhapur kee | Ashaanti (1982) | 19 November 2017 | For Zeenat Aman’s birthday |
| 300th post | Mannu Bhai motor chalee pam pam pam | Phool Khile Hain Gulshan Gulshan (1978) | 4 August 2019 | For Kishore Kumar’s birth anniversary |
| 400th post | Hey suno meree baat chalo mere saath | Ye Gulistaan Hamaara (1972) | 3 December 2020 | Remembering Dev Anand on his death anniversary |
| 500th post | Aa meree jaan main tujhmein apnee jaan rakh doon | Chaandni (1989) | 24 February 2022 | Tribute to Lata Mangeshkar |
| 600th post | Hulchal machaa dee toone hulchal | Main Solah Baras Ki (1998) | 3 December 2023 | Remembering Dev Anand on his death anniversary |
I must also mention that I have come across many knowledgeable film lovers who are store houses of knowledge after I became a regular follower of the blog. I should thank Atulji for making me a part of this elite world which I love to call Atuldom. I have learnt to enjoy songs for the singing, writing & composition after becoming an Atulite; before 2009 I associated songs with the images accompanying them. I know the background stories with the songs, along with finding versions of some popular songs that I would have otherwise overlooked as being vintage or pre-historic songs; I would like to mention the Ashok Kumar sung version (as an example) of ‘ek chatur naar’ here which I would have labelled pre-historic. 🙂
Song-Aa mohabbat ko koi naya naam den (Love 86)(1986) Singers-Kavita Krishnamurthy, Mohammad Aziz, Lyricist-S H Bihari, MD-Laxmikant Pyarelal
Both
Lyrics
pyaar kee had se
aage nikal aaye hum
aa aa mohabbat ko koi ee naya naam den
aa aa mohabbat ko koi naya naam den
pyar kee had se
aage nikal aaye hum
aa aa ibaadat ko koi ee ee naya naam den
aa aa mohabbat ko koi ee naya naam den
aa aa aa aa
ye nigaahen uthheen
wo fasaane baney
aankh ke bol
kab kisee ne sune
dil se dil mil gaya
ab zamaane se kya aa aa
aa aa izaazat ko koi naya naam den
aa mohabbat ko koi naya naam den
aa aa aa
jab se toone chhua
ik nasha sa chha gaya ho
jab se toone chhua
ik nasha sa chha gaya ho
dard mein zindagee ka
maza aa gaya
dhadkanon ko naheen
dhadkanon se gila aa aa
aa shikaayat ko koi naya naam den
aa mohabbat ko koi naya naam den
aa aa aa aa
tere daaman kee khushboo se mehkee rahoon
bin piye hee sada ladkhadaaya karoon oon
kabhee main tere dil ko sataaya karoon
kabhee maim tere dil ko jalaaya karoon
dekh kar bhee tujhe an-dekha karoon oon
aa sharaat ko koi naya naam den
aa mohabbat ko koi ee naya naam den
pyaar kee hadd se
aage nikal aaye hum
aa mohabbat ko koi ee naya naam den
aa ibaadat ko
koi naya naam den
aa aa aa aa
Apne apne se lage hamen
Posted on: December 21, 2025
This article is written by Avinash Scrapwala, 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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Blog Day : |
6365 | Post No. : | 19739 |
Pancham’s Music – Eighties-to-Nineties (1981-1994…) Duets-5
My previous post in this series had a duet song sung by Lata Mangeshkar and Suresh Wadkar for the movie ‘Palay Khan-1986’. Incidentally, in this post we again have a duet song by the same singers, but coming from the pen of another lyricist.
This song is from the movie “Apne Apne-1987” which was directed by Ramesh Behl for ‘Rose Movies’. It was passed by Censor Board on 05.03.1987. Ramesh Behl, who directed this movie, was also the producer of this movie. The cast of this movie included Jeetendra, Rekha, Karan Shah, and Mandakini, with Satish Shah, Atlee Brar, Dan Dhanoa, Sushma Seth, Bina, Babli, Anjana, Ghanshyam, Chandu, Pandurang Boloor, Lata, Sheela, Leena, Mina, Tina, Rupa, Omi Chopra, Surendra, Rahi, Vasu, Iqbal, Rakesh, Reshma Aurora, Anthony, Prakash, and Kader Khan. Hema Malini had a special appearance in this movie. This movie was written by Aziz Qaisi. Sunder Shetty was the editor of this movie.
Read more on this topic…
This article is written by Nahm, 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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Blog Day : |
6365 | Post No. : | 19738 |
There are some people, who are in our lives, not related to us by blood, but are a very important part of our daily lives. Whom we meet every day, they come and wish us in the morning, they serve us, do a job for us to make our life easier. Yet some form an affinity, a well-wishing, non-interfering, loyal, non-judgmental, they are a friend of the family. Your children, your neighbor’s family, your acquaintances, your relatives, family members in far off and nearby places, your colleagues, your business associates, or whomever you come in regular contact with, associate that person as your so and so.
Read more on this topic…
Kaun hai beta kaun hai maata
Posted on: December 21, 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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Blog Day : |
6365 | Post No. : | 19737 |
Today’s song is from a much less known film Balyogi Upmanyu-1958.
The film was made by Prakash Pictures, once a famous film company, which made hit films on Mythology, especially Bharat Milap-1942 and Ram Rajya-1943.
The film was produced by Shankar Bhatt and directed by Harsukh Bhatt. Music was by the Master of melody – Chitragupta. Lyricist was Bharat Vyas. The cast of the film was Sulochana (Latkar), Lalita Pawar, Jeevan, Madan Puri, Vinod Kumar (Vinod Mehra in the main child role), Ajeet and many others.
The success story of the famous Prakash Pictures (1934 to 1971) is also a success and hard work story of two brothers-Vijay and Shankar Bhatt. The sons of a railway guard, Vijay Bhatt, along with his elder brother and his lifelong partner, Shankar bhai Bhatt, shared a fascination for theatre and films.
The mid twenties brought them to Bombay, where Vijay Bhatt enrolled in St.Xavier’s college and studied upto Inter-Science. While Shankarbhai took up a job in a store selling readymade garments. In order to secure a steady, lucrative job, he obtained a Diploma in Electrical Lighting and Traction from the International Correspondence School, London. Quitting college, he joined the BEST and worked for 3 years rising to be an officer with the designation of Drawing Office Superintendent.
He quit his job after two months and both the brothers decided to take on the world of showbiz. A flair for writing led him to get involved in a humble way as a storywriter.
It was Ardeshir Irani, the ‘Father of Indian Talkies’ and the maker of ‘Alam Ara’, who would show them the way. At that time, he was the managing director of The Royal Studios. He glanced through the stories, selected one of them and asked the brothers to meet the proprietor of the studio, Seth Aboo Hussein. ‘Show him the story and then come back to me. If it is all right for him, it is all right for me’ they were told.
The story was approved and Ardeshir Irani took it upon himself to teach Vijay Bhatt how to write Screenplay. Every evening after the day’s work and dinner, the Bhatt brothers would make their way to Majestic Cinema, built by Ardeshir Irani in 1918 in partnership with the exhibitor, Abdulaly Yusoofaly. Irani would be here every evening with his friends. And it was here that Vijay Bhatt scripted his very first screenplay, ‘Vidhika Vidhan’, which was made into a film by director K.P.Bhave.
Ardeshir Irani made two more films based on the stories of Bhatt brothers. They were ‘ Paani mein Aag’ and ‘Ghulam’-1929, both of which were directed by Nagendra Muzumdar. Their third film featured a newly recruited actor from Peshavar, Prithviraj Kapoor.
By now, Ardeshir Irani had founded his own Imperial Studios and drawn to it a host of artists and technicians. The Bhatt brothers too had gathered enough experience and ventured to make films on their own.They soon founded the Royal Film Co., in partnership with a cousin and the first film to be produced under this banner was Black Ghost. It starred Master Vithal and Madhuri and was photographed by V. M.Vyas. With Vijay Bhatt at the helm of the creative affairs and Shankarbhai in charge of the business aspect, they made seven silent films under the banner of The Royal Film Company in an open air studio in Juhu. Among them was ‘Heer Ranjha’, where Vijay Bhatt gave A.R. Kardar, a poster maker for foreign film distributors, his first acting assignment.
Then came the year of Talkies and the Bhatts too switched over to this new medium with ‘Alif Laila’-1933, which was based on an Arabian Nights story and made under the banner ofRoyal Cinetone. This was followed by 3 other talkies made under the banner of Kardar Studios. He then founded a film distribution concern, Royal Pictures Corporation, which acquired the distribution rights of ‘Sohni Mahiwal’ for North India for Rs. 11,000 – a sensational amount at that time. For, as he often used to say, “In those days, it cost just about Rs. 8000 to make a film 8 -9 thousand feet in length!”
By now Vijay Bhatt had evolved into a director to be reckoned with. It was time to set up his own production company. And Prakash Pictures was born. Prakash Studios was built in 1934 at Andheri. That time Andheri was an undeveloped suburb of Bombay and not many facilities like roads, Lights etc were available easily there. The place where the studio was to come up was a very big open area. Except for huge open grounds, there was one double storey bungalow. All offices were kept in that. The first film to be made there was the film ‘Actress’-1934 ( Bambai ki Mohini), written and produced by Vijay Bhatt.
After a few more stunt films, a shooting floor was constructed and they made ” Khwaab ki duniya” in 1937. In 1938 they made State Express, Passing show, Challenge and Top ka Gola etc. By that time their reserves for stars included Sardar Akhtar, Pramila, Ratnamala, Ranjana, Jayant, Umakant, Prem Adeeb etc. Harsukh Bhatt and Raja Nawathe were assistant directors. By making stunt films they made good money and completed the second shooting floor also with that money. The famed torch of Prakash Pictures continued to shine over decades and in all, 64 films were made in various Genres, in black and white as well as colour. Vijay Bhatt directed 23 films. He also wrote lyrics for the film Snehlata-1936.
Because of hectic activities in the studio and the traffic to the studio,that part of Andheri became developed with street lights, cement roads, Bus stops etc. Their next film Purnima-38 did excellent business. Bhatt brothers were impressed with Gandhi’s favourite bhajan ” Vaishnav jan to “. They made a film ‘ Narsi Bhagat’ in 1942 with Vishnupant Pagnis and Durga Khote. It ran so well that Prakash made ‘ Bharat Milap’ in Hindi and ( भरत भेट ) in Marathi. The tremendous success made them make ‘Ram Rajya’ ( again in Hindi and marathi) and Prakash became famous all over India, making name, fame and a lot of money.
From 1945 to 1948, Prakash faced a spate of flop films. Bhatta brothers kept silent for 4 years, renting its studio to other producers. Prakash was planning a Love story. Their friend Naushad suggested them Baiju Bawra. They made the film with less famous Bharat Bhushan and Meena Kumari. The film created Box office records.
Goonj uthi Shehnai-59, Hariyali aur Rasta-62 and Himalay ki God mein-65 did well but again few flop films…. Bhatt brothers decided to stop making films from 1971 and sold the studio and all the land.
Vijay Bhatt died on 17-10-1993 at Bombay.
Vijay Bhatt played an important role in the careers of some major stars. He was the person who gave Mehzabeen (Meena Kumari), the name Baby Meena. He also gave her the first major heroine’s role in Baiju Bawra-52. Till then she did roles in B and C grade films.
O K Dhar Kashmiri was given the name “JEEWAN”,when he did Narad’s role in Bharat Milap. Later he did Narad’s role in over 100 films.
Suraiyya got her big singing role in Station master-42. Manoj Kumar was made hero in Himalaya ki God mein-65.
Today on that land many factories are erected. Few Housing societies and a Marriage Hall ” Vishal” came up too. Thus ended a glorious chapter of a film making studio called “Prakash Pictures”- a guarantee for wholesome entertainment !
(information for this article is used from vijaybhatt.com, a book ” तीन भिंतींची दुनिया ” by Bhai Bhagat, with thanks, and my notes.)
The decade of the 1950’s was called “The Golden Era of HFM”. It was also the Zenith level for Mythological films. This decade- from 1951 to 1960 produced 124 Mythological and Religious films, giving an average of 1 New such film every month for 10 continuous years. 1958 was also not an exception. From Balyogi Upmanyu to Teerth yatra, this year, 11 Religious/Mythological films were released.
Who was Balyogi Upmanyu ? This is not a famous name and it is unlikely that our readers knew it. The chapters 34 & 35 in Section 7.1 of Vayaviya-saṃhita of Shiva Purana elucidated the story of Upamanyu.
Upamanyu was son of a great sage Vyaghrapada, who was a great Siddha in his former birth. Once the boy had tasted some quantity of milk in the hermitage of his uncle. He entreated his mother to give cow’s milk. However, the saintly mother, the wife of Vyaghrapada, was not able to provide him milk due to poverty. She informed Upamanyu, If Shiva is not pleased, people do not get those pleasing things viz. kingdom, heaven, salvation or a milk diet. Everything is the result of Shiva’s grace and not that of any other lord. The great lord who is the bestower of wealth and befitting benefits to those who desire them, has not been worshipped by us now.
On hearing the words of his mother, Upamanyu said: — “O mother, do not feel unhappy; if there is Shiva, everything good will result. Sooner or later I shall get an ocean of milk.”
Worship him alone with due devotion. “Namaḥ Shivaya” mantra is directly expressive of Shiva, the bestower of boons. Permitted by her he went to the mountain Himavat and performed penance with purity of mind. He took in only wind (no food). With eight bricks he built an altar and installed Shiva’s phallic image of clay. He invoked the unchanging lord Shiva accompanied by the Gaṇas and Parvati. He worshipped him with the leaves and flowers available in the forest repeating the five-syllabled Mantra with devotion. He performed penance for a long time. Though harassed by Raksasa, he somehow maintained his penance. He uttered “Namaḥ Śivaya” like one in great distress. The whole universe including the mobile and immobile beings became ignited due to the penance of that brahmin, the noble Upamanyu.Then the gods went to Vaikuntha and mentioned everything to Vishnu. Vishnu went to the Mandara mountain and explained Shiva that Upamanyu has burnt everything by his penance for obtaining the milk.
Then, the trident-bearing lord Shiva resolved to go there assuming the form of Indra. Seated on a white elephant Sadashiva in the form of Indra went to the hermitage of the sage. He said: – “O elder brother of Dhaumya, I am delighted with your penance. Mention the boon you wish to have. I shall grant you whatever you desire.” The leading sage when urged in reverence — ‘I request you to grant me the boon of devotion to Shiva’.
On hearing that Indra said: — “you do not know me the lord of gods. O brahminical sage, be my devotee. Always worship only me. Welfare be to you. I shall give you everything. Abandon Rudra who is devoid of attributes.”
On hearing that, the sage began to repeat the five-syllable Mantra. He thought that Indra had come there to put obstacles in his holy rites and so said. Upamanyu said: — “You do not know Rudra the lord of the chiefs of the gods, the progenitor of Brahma, Vishnu and Shiva and who is greater than Prakriti. I desire to get my boon granted by the lord who is separate from Sat and Asat, who is the unmanifest, as mentioned by the propounders of Brahman and who is eternal, single and multifarious. I desire to secure the boon from that lord whom the knowers of truth meditate upon, who bestows the goal of Saṃkhya and Yoga, viz. release. There is no higher truth than Shiva who is the cause of all causes, the creator of Brahma, Vishnu and other gods and who is the lord beyond attributes.”
After saying this, Upamanyu, ready to die himself, eschewed his desire for milk and got ready to kill Indra. He took the ash and reinvigorated it with the Aghorastra mantra. Aiming it at Indra, he cast it off and shouted loudly. Remembering the feet of Shiva he attempted to burn off his body. Upamanyu held the fiery missile ready for discharge. Shiva prevented the missile of the Yogi gently. At the behest of the lord, Nandi caught in the middle the Aghorastra hurled by him. Assuming his own form with the crescent moon for his crest, Lord Shiva revealed himself to the brahmin. The Lord showed to him a thousand oceans of milk, nectar curds, ghee, fruits, foodstuffs and a mountain of sweet pies.
Then Upamanyu, enveloped by the waves of bliss fell at his feet, his mind made humble with devotion. Then the smiling lord Shiva called him nearer, kissed him on the head and granted him boons. Shva said: — “Be my devotee. This goddess Parvati is your mother. You have been adopted as my son. The milk ocean is given to you. So also, the ocean of honey, of rice with curds and ghee and of fruits etc. Your father is lord Shiva. I give you the status of a god; the eternal chieftainship of the Gaṇas. Choose boons as you please. I am delighted. I shall grant you boons. You need not hesitate at all.”
He gave him the Pashupata rite, the Pashupata knowledge and the perpetual ability to propound and discourse. Obtaining the divine boons and the perpetual bachelorhood from Shiva & Parvati he became joyous. The brahmin then requested lord Shiva for a boon: – “O lord of the chiefs of the gods, be pleased. Please grant me devotion to you, great, divine and unflinching. Grant me an abiding faith in persons devoted to you. Grant me the great slavery and the perpetual proximity to you.”
Shiva said: — “O dear Upamanyu, I am delighted. Indeed, everything has been granted by me to you. O brahminical sage, you are of steady devotion. I wanted to test you. Be free from old age, death and misery. Be glorious and endowed with splendour and divine knowledge. Your kinsmen, your family and spiritual lineage shall be everlasting. O excellent brahmin, your devotion to me shall be permanent.”
Thus, granting him the boons lord Shiva who had the lustre of a crore suns, vanished there itself.
(adapted from http://www.dnaofhinduism.com with thanks and my notes).
here is a song, sung by Hemant Kumar, from this film. As usual, the song composed by Chitragupta is very melodious. Enjoy….
Song-Kaun hai beta kaun hai maata (Balyogi Upmanyu)(1958) Singer-Hemant Kumar, Lyricist-Bharat Vyas, MD-Chitragupta
Lyrics
kaun hai beta aa aa
kaun hai maata aa
kaun hai beta
kaun hai maata
chhod de baalak
jag se naata aa
chhod de baalak
jag se naata
kaun pita hai
kaun hai daata
chhod de baalak
jag se naata aa
chhod de baalak
jag se naata
upar ujala bheetar kaala
ye duniya makdee ka jaala
upar ujala bheetar kaala
ye duniya makdee ka jaala
ulajh ulajh kar rah jaata jo o o
ulajh ulajh kar rah jaata jo o o
in taaron mein ghar hai banaata
chhod de baalak
jag se naata
chhod de baalak
jag se naata
man kee trishna mit naheen paaye
jyun jyun bujhaaye badhhtee jaaye
man kee trishna mit naheen paaye
jyun jyun bujhaaye badhhtee jaaye
yogaamrit ka ek hee pyaala aa aa
yogaamrit ka ek hee pyaala
janam janam kee pyaas bujhata
chhod de baalak
jag se naata
kaun hai beta
kaun hai maata aa
chhod de baalak
jag se naata
chhod de balak
jag se naata
Tum na maano magar haqeeqat hai
Posted on: December 20, 2025
This article is written by Sadanand Kamath, 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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‘Aurat Pair Kee Jootee Naheen Hai’ (1985) was produced by B K Adarsh and was directed by Prithviraj Chatterjee. The cast included Marc Zuber, Deepti Naval, Gulshan Grover, Sachin, Satyen Kappu, Anjali Sen, Goga Kapoor, Jagdeep, Brahm Bhardwaj, Shivraj, Dulari, Vikas Anand etc.
The VCD of the film is available on one of the video sharing platforms but with a poor quality of video. It is obvious from the title of the film that it is a feminist film. Before watching the film, I read the synopsis of the story which gave me an impression of tackling the feminist subject in an amateurish way. But a ghazal in the film forced me to watch the film. I am happy that despite a poor quality of video, I have watched the film in one sitting and felt satisfied the way the theme was handled in a matured way without the additional doses of songs and sub-plots. The story of the film was written by B K Adarsh and probably it was his first film (out of about 15 films he produced) which tackled an important social issue. Unfortunately, the film failed badly at the box office.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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