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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

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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.

Blog Day : 4108 Post No. : 15259

Today’s song is a lovely duet by Lata and Hemant Kumar, from film Daaka-59. The film was made by Starland productions, Bombay for Hasmukh Kheda. The film was directed by Nanubhai Bhatt and the 6 songs of the film were written by Majrooh Sultanpuri (2 songs) and by Prem Dhawan (4 songs). Their music was composed by the King of Melody – Chitragupta. Dilip Dholakia was his assistant for this movie.

The cast of the film was Ashok Kumar, Nirupa Roy, Pran, Maruti, Smriti Biswas, Badri Pershad, Balam, Kesari, Kathana etc.etc. Songs of this film were recorded in 1956, but for reasons not known to us, the film was censored only in 1959 (25-11-1959). The length of the film was 12,698 feet and was in 14 reels.

Why I gave the details of the length and number of reels is that during the period of 50s, I remember how the films used to begin in the theatres. In Hyderabad city, once the show time was up, the theatre would be plunged in darkness and advertisements would start with slides or shorts. After this, usually there would be Indian News Reel or a Documentary of the Films Division. The Indian News reel was interesting and when some Cricket match was being played, here or abroad, some shots of the match would be shown. By this time, all the audience used to be in their seats. The first scene of the start of the main film was showing its Censor Certificate. It was at this time, when 99% audience used to read loudly in chorus, “14 Reels”, as if they had discovered some top secret ! Perhaps, it gave them an idea whether the film was a long one , normal or a short one.

Ashok Kumar (13-10-1911 to 10-12-2001) the Hero of this film, always surprised me. I wonder how much energy this man must have had. If you see his Career graph,it is most unusual. I am saying this because, normally an actor is at his best Performance level when he is young. As the age increases, his level diminishes and after a certain period, he is away from the Silver screen. In case of Ashok Kumar this is very different story. See the following chart and you will realise what I mean.

Period in years Aproximate Age No. of films done in the decade
Decade 1 (1936-1940 ) 25-30 years 12 (First film- Jeevan Naiya-1936)
Decade 2 (1941-1950 ) 30-40 years 23
Decade 3 (1951-1960) 40-50 years 55
Decade 4(1961-1970) 50-60 years 62
Decade 5(1971-1980) 60-70 years 85
Decade 6 (1981-1990) 70-80 years 60
Decade 7 (1991-1997 ) 81-86 years 13 (Last film- Aankhon mein tum ho-1997)

From 1936 to 1997 he acted in 310 films. That is a very long journey in films, of 61 years ! His first Heroine-Devikarani- was born in 1908 and the Heroine of his last film- Suman Ranganathan was born in 1974 ! He worked with Heroines from 4 generations (a film generation is counted as 15 years). Ashok Kumar ,in his career, paired with Devika Rani-she was 3 years elder to him in age- in 8 films, with Nalini Jayawant in 11 films and with Nirupa Roy in 21 films in 33 years’ period-from Bhai Bhai-56 to Dana Pani-89.

He had to sing his own songs. By that time the system of Playback had started, but actor singing his/her own songs also continued for some time. He sang 77 songs in 25 films. Effectively, his singing was halted by Mohd. Rafi, when he sang for Ashok Kumar in the film Saajan-47- a duet with Lalita Deulkar ( Humko tumhara hi aasra). After this Ashok Kumar sang one song each in film Chalti ka naam Gaadi-58, Aashirvad-68, Kangan-72, Khoobsurat-80 and finally in Shaukeen-82.

Look at his energy level in the above chart. As he grew up in age, his demand increased, he worked in more and more films till he was 86 year old. He was simply unique in this respect. May be Amitabh Bachhan is a match to him or even better than him because nowadays more films are made than before. I hope some contributor does this comparison in the same way.

When Ashok kumar started acting, he had a great problem. He did not know what to do with his hands. in all his early films, you will find him acting very awkwardly, because of this problem. When he acted in film Anjaan-41, this problem was solved. In this film he did a Doctor’s role, who is accused of a murder- which he did not commit. He had to be a detective to collect proof of his innocence and argue in the court also. During this period, he started smoking cigarettes and his ‘Hand’ problem was solved once for all. After this film, Ashok Kumar and his smoking became inseparable in every film ! (and also in private life) .

Ashok Kumar was one of those actors who did Natural acting in their films. Initially, that was not so, but after solving his ‘Hand’ problem in film Anjaan-41, he was one of the best such actor. Motilal, Sanjeev Kumar, Amol Palekar, Farooq Shaikh and Paresh Raval are some other names that came to my mind in this category.

For actress Smriti Biswas, film Daaka-59 was her last film. She quit films and married actor, director, producer and studio owner S D Narang.

Actress Smriti Biswas was born on 17-2-1932, in Calcutta in a middle class family. She was educated at home and she worked as child star in Bangla films, Sandhya and Dwandwa in the 1930s.

Hoping to make a better career, she shifted to Lahore. Here Pancholi studio gave her a break with the film Dhamkee-45. The film shooting started in 1943, but it was released in 1945. She got Raagini-45 in the same year. Its Director was Shanker Mehta. Two more of her films, viz Nek Dil-48 and Roop rekha-48 were also released there.

After Partition she returned to Calcutta. S.D.Narang, actor, producer and director also shifted to Calcutta along with her. He established his own Bengal National Studio and made Bangla and Hindi films with Smriti. Their ‘Ek Aurat’-48 was quite popular.

New Theatres cast Smriti in their film “Pehla Aadmi”-50 based on the story of Subhash Chandra Bose. It was directed by Bimal Roy. Both Smriti and Narang came down to Bombay. In the decade of 1950’s, she did about 21 films there. Daaka-59 was her last film. In 1960, she married S.D.Narang and retied from films, though she was still in demand. She has 2 sons. S.D.Narang died on 25-1-1986. She is in her 80s but enjoys life with family and friends.

Smriti Biswas did only about 27 films in her career, but her vivacious looks, sweet face and speaking style still reminds us of her roles.

Some of her more well known films are, Arab ka Saudagar-56, Bhai saheb-54, Lakhon mein ek-55, Samsheer-53, Aab e Hayat-55, Hum Safar-53 (opposite Dev Anand), Dilli ka Thug-58, Teen batti chaar Rasta-53, Baap re Baap-55 and Bhagam Bhag-56.

Recently I saw an article in Maharashtra Times of 14-4-2017. It was mentioned that She was living in a barely 500 square feet flat in Nashik, along with her two grown up, unmarried sons. All the property, Gold and money left by S D Narang was looted by other relatives and Smriti finds it difficult to pull on.

The Heroine of this film Nirupa Roy was a very unconventional actress of Hindi films. Her repertoire of roles was so varied that she could not be stamped with any one type of roles.

Nirupa Roy (4-1-1931 to 13-10-2004) was an enigma of Hindi Cinema. She has been a Heroine in 110 films,a mother in over 50 films,has been a Goddess in 50 Mythological films, a suffering wife in over 30 films and a Stunt girl in about 10 films.( I remember our Raja ji once said that it was difficult to imagine Nirupa Roy in any other dress than a Saree.) She sang Bhajans,romantic songs,Comedy songs,qawalis,sad songs and peasant folk songs on the screen.

She changed her Heroes like “Badalate huwe saathi”. She did 18 films with Trilok Kapoor ( 50-65), 12 films with Balraj Sahni ( 53-72), 16 films with P.Jairaj ( 53-78), and 21 films with Ashok Kumar ( 56-89). She was Amitabh’s mother in 12 films and a stunt Girl in 8 films. She even wrote a popular film song for film Samrat Chandragupta-58 ( Mujhe dekh chaand sharmaye – Lata).

Today’s song is a sweet duet of Lata and Hemant Kumar. Listening to some of their duets is a divine experience. Some of their duets like “yaad kiya dilne kahan ho tum”, “ye raat ye chandni phir kahan”, “gupchup gupchup pyar karen”, and ” Sanware salone aaye din bahar ke ” are some of the songs they made immortal in HFM. Lata’s voice never sounded sweeter with any other singer.

Today’s song is not as well known as the songs mentioned above, nevertheless this song has the hallmark of a Lata-Hemant Kumar duet song. It is a song that is best heard at night time- a “chhaayaageet” category song.


Song- Chaand ne kuchh kaha taaron ne kuchh suna (Daakaa)(1959) Singers- Hemant Kumar, Lata Mangeshkar, Lyrics- Prem Dhawan, MD- Chitragupta
Both

Lyrics

chaand ne kuchh kaha
taaron ne kuchh suna
baat hi baat mein jaane kya ho gaya
aankhen jhuk jhuk gayin
dhadkanen ruk gayin
kya bataaun mera dil kahaan kho gaya

chaand ne kuchh kaha taaron ne kuch suna
baat hi baat mein jaane kya ho gaya

hum to khud se hi nazren churaane lage
jaane kya soch kar muskuraane lage
hum to khud se hi nazren churaane lage
jaane kya soch kar muskuraane lage

ab to dil na kisi bhi bahaane lage
baat hi baat mein jaane kya ho gaya
aankhen jhuk jhuk gayin dhadkanen ruk gayin
kya bataaun mera dil kahaan kho gaya

raat aayi hai zulfen sanwaare huye
aankhon aankhon mein kya kya ishaare huye
raat aayi hai zulfen sanwaare huye
aankhon aankhon mein kya kya ishaare huye
bas hai itni khabar
hum tumhaare huye
baat hi baat mein jaane kya ho gaya

chaand ne kuchh kaha
taaron ne kuchh suna
baat hi baat mein jaane kya ho gaya

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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.

Blog Day : 4107 Post No. : 15258

“Gunjan” (1948) was a Nalini Production movie. It was directed by V Desai. The movie had Trilok Kapoor, Nalini Jaiwant, David Abraham, Pande, Balraj Sahni, Veena Kumari, Purnima, Narmada Shanker etc in it.

The movie had nine songs in it. hree of these songs have been covered.

Here is the fourth song from “Gunjan” (1948) to appear in the blog. This song is sung by Nalini Jaiwant. S R Saaz is the lyricist. Music is composed by Ashok Ghosh.

Only the audio of the song is available. It is clear that the song was picturised on Nalini Jaiwant herself who was not only the leading lady of the movie but also the producer of the movie. Nalini Jaiwant is considered an occasional singer but she has sung this song like an accomplished singer. This song is arguably the best of all the Nalini Jaiwant songs that she has sung in HFM.


Song-Jal barsaaye nainwa man mein kaisi aag lagi(Gunjan)(1948) Singer-Nalini Jaiwant, Lyrics-S R Saaz, MD-Ashok Ghosh

Lyrics

aa
jal barsaaye nainwa
man mein kaisi aag lagi
man mein kaisi aag lagi
man mein kaisi aag lagi
kyun aa gayi jawaani mujhpar
liye dukhon ka haar aar
gaya kahaan wo bhola bachpan
kit gayen laado pyaar
uljhan mein hai jaan phansi
phir ye kaisi aag lagi
man mein kaisi aag lagi
man mein kaisi aag lagi

aa aa
main samjhi thhi prem kali se
mahak uthhegi kyaari
jaane ekaaek hua kya
kali bani chigaari
hey
ghar ke deepak se ghar jalta hai
dhuaan nikal na paaye
ae
ghut ghut kar marti abla sa
nikle na munh se haay
uljhan mein hai jaan phansi
phir ye kaisi aag lagi
man mein kaisi aag lagi
man mein kaisi aag lagi ee
man mein kaisi aag lagi


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.

Blog Day : 4106 Post No. : 15257

Today’s song is from the film Gokul ka Chor-1959. My last post was from film Gokul ka Raja-54. Its now time to get out of Gokul Town – after this post. Not that there are no more films on Gokul. There are still 2 more films with same title ” Gokul”, one of 1946 and the other of 1985. I always wondered why there were no films on Mathura or Vrindavan… two more places closely connected to Krishna. As far as Dwarka is concerned, there is a sole film ” Dwarkadheesh”, made in 1956.

During my school days, we boys always used to have 2 groups, one each who like Ram and Krishna. In our school annual functions,in the debating contest, boys from each group vehemently and enthusiastically spoke about their Group God – Ram or Krishna. From the young age itself, personally, I always adored Krishna. In my opinion, Krishna is more relevant in Kaliyug.

There were 4 Yugs
1. Satyug – 17,28,000 years
2. Tretayug – 12,96,000 years
3. Dwaparyug – 8,64,000 years
4. Kaliyug – 4,32,000 years

Shri Ram was the 7th incarnation (Avtar) of Lord Vishnu and he was born in the middle of Tretayug.
Krishna was the 8th Avatar and was born in the end part of the Dwaparyug.
The 4th yug is Kaliyug in which we are living.

Shri Ram ruled for 11000 years. He existed 1.75 million years ago.

Shri Krishna ruled for 125 years and died just one month before Dwaparyug ended and Kaliyug started. That is only 5122 years BCE, before Today. So mathematically also Krishna was closer to Kaliyug of today.

Shri Ram presented an ideal to follow Raj-Dharma, and all rules, regulations, Laws and Social Norms, irrespective of the sufferings. During his times, Praja used to follow the King. That is why there was a Ram Rajya, where ultimately the Evil paid for its misdeeds.

In Shri Krishna’s times, the world had changed and Krishna taught us how to live in today’s Yug, by Tit for Tat, not tolerating injustice, being street smart, using Chanakya type Neetis to achieve Goals. He provided lessons through his own behaviour, how to survive and be successful with Tact and Intelligence, how Karma is more important than Dharma, when it come to destroying the Evil. The whole Bhagwadgeeta is full of worldly advise.
That is why I feel Krishna is more relevant in today’s times. Ram is respected, Krishna is loved.

So much for the Ram and Krishna philosophies. Anyway, To Each His Own. I only expressed my views.
Interestingly, at a cursory count, I find that out of films on Ram (Ramayan and related) and Krishna (Mahabharat and related), 70% films are on Krishna and 30% films are on Ram. Even the film makers seem to consider Krishna as a better entertainer !

Now, coming to today’s film Gokul ka chor-59, it was made by Roopvani films for producer Sharad Pai. He was the son of Baburao Pai, one of the leading Film Distributors of yore and a partner of Prabhat Films. He joined after Keshavrao Dhaiber had to leave Prabhat, because he married the company Heroine Nalini Tarkhad, breaking the directorial agreement rule. For the same reason, V.Shantaram had also to leave Prabhat when he married Jayashree kamulkar, another Prabhat Heroine. But , funnily, S.Fattelal escaped this rule, because he had married Gulab aka Kamlabai, Prabhat Heroine of the Silent Era, before this rule was formulated ! (This Gulab aka Kamlabai is in the Prabhat Logo)

This film was directed by Vasant Painter and the music was by Sudhir Phadke. Information in details about Sudhir Phadke is already given by Sudhir ji, few years back and by me recently, so I will not repeat it.

However, Vasant Painter is a name not known to many Hindi film watchers.

Vasant Anandrao Painter was born in a village near Kolhapur on 13-8- 1913. His father Anandrao, along with cousin Baburao Painter wanted to make films. Anandrao had bought a second hand Projector, which he turned into a Camera and shot a short film also. Unfortunately, Anandrao Mistry aka Anandrao Painter died suddenly in 1916 and Baburao Painter went on to become the famous founder of Marathi films in the Silent Era.

By the time Vasant became 20 year old,the Silent film era was in full swing and many films were made in Kolhapur,Poona and Bombay.He had a liking for painting,so he picked up poster painting work,first in Maharashtra Film company and later in Prabhat film company when it was started in Kolhapur. He did all jobs,including assisting in cinematography and direction.

His first break came when he was 33 year old. He got an opportunity to direct Prabhat’s film ” Gokul”-46 and later on “Seedha Raasta”-47. After V.Shantaram had left Prabhat to start his own Rajkamal, Vasant Painter remained in Prabhat loyally, so he got the reward. Actress Kamala Kotnis had floated a production company,Kamala Chitra Ltd. She invited Painter to direct her film,’Sati Ahilya’-49. Snehal Bhatkar was the MD. Painter directed ‘ Bhishma Pratignya ‘-1950. This was,probably,the only Mythological film Nargis had acted in, with Shahu Modak. His other films were,Murliwala-51, Devyani-52, Sajni-56, Patit paawan-55, Gokul ka chor-59, Pyar ki jeet-62 and Dagaa-77. Meanwhile he was producing and directing several Marathi films too. He had won 9 awards,including the prestigious ” V.Shantaram Award”.

Vasant Painter died on 31-5-2006, leaving behind him 6 daughters and 1 son.

The cast of the film consisted of Kumkum. Romi, Manorama, Mohan Choti (real name Mohan Gorakshkar from Amaravati, Maharashtra) Ratnamala, Vasantrao Pehelwan, Madhav Kale, Madhu Apte, Polson etc.etc.

In any star cast of any film, after the names of main and known actors, there will be a line of names of actors who are not familiar and they can not be identified in the film, except by a few handful such experts. Information on these actors is neither collected nor compiled, leave alone their Bios being available. They are just names in the list. One such name in this list is Madhav Kale.

Madhav Kale was born in Nashik in 1903. After his school education at Nashik, he joined Deccan college at Poona and passed Intermediate course. He was interested in playing in dramas, which was opposed by his mother. But he used to take part in dramas while in college. He was a good singer too. Wanting to join films, he sent applications to many companies. Saroj and sharda companies responded. He acted in several silent films like Mukti sangram, Kanak kesari etc. He entered the Talkie films with Vikram Charitra-32, Mera Imaan-34 and Vishnu Bhakti-34. During this period, he got married in 1934.

He acted in 21 films. His last film was Gokul ka chor-59 (today’s film). He even directed one film, Sacha Sapna-42. He sang 13 songs in 7 films till 1942.

There is no information about him after this.

Another name in the cast is of Madhu Apte. His full name was Madhukar Shankar Apte. He was a Marathi stage and film actor predominantly, who successfully used his handicap of stammering to advantage, in delivering dialogues and creating humour by mistiming the dialogues. He was born on 1-3-1919 at Poona and died on 25-2-1993 at Poona.

Today’s song is sung by Sudha Malhotra and chorus. This is perhaps the first time I am presenting a song of Sudha Malhotra. Whenever her name comes up I remember her popular bhajan, ” Darshan do Ghanshyam nath more, aankhiyan pyaasi re”. I also remember that she is one of those few cine artistes, who try to hide that their debut in the films is through a non-descript film and who insists that a leading Music Director was responsible to launch her in films.

Sudha Malhotra first sang few songs in film “The Last message ( Aakhri paigham)”-1949, under MDs Abid Hussain Khan and Sushant Bannerji. However, in every interview, she has insisted that she debuted in film Arzoo-50 under Anil Biswas. The facts are available in HFGK for anyone to see.

(Some information for this post is taken, with thanks, from The Premier of Hinduism by D S Sarma, Marathi Cinema in Retrospect by Sanjit Narvekar and The Lost Treasure by Kamlakar P.)


Song-Aaya ri kaun sakhi apni nagariya (Gokul Ka Chor)(1959) Singer- Sudha Malhotra, Lyrics- Madhukar Rajasthani, MD- Sudhir Phadke
Chorus

Lyrics

Aaya ri kaun sakhi apni nagariya
apni nagariya
apni nagariya
praanon mein baaj rahi
meethhi baansuriya
meethhi baansuriya
meethhi baansuriya
padte hi paanv sakhi
dharti pe salone
chhalki umang bhari
man ki gagariya
man ki gagariya
o o o o
jeewan ke angna
aasha ka jhoolna
jhoole hain krishn kanhaai
jhoole hain krishn kanhaai
jeewan ke angna
aasha ka jhoolna
jhoole hain krishn kanhaai
jhoole hain krishn kanhaai
baanto badhaai
baanto
baanto badhaai
aaye krishn kanhaai
aaye krishn kanhaai
hohohohohohoho

sooraj ka tej laaya nainon mein bhar ke
sudh budh dev bhoole dekho tadke
maaya hansi ?? koi naya roop dharke
mukh par chaand khila nandkumar ke
dukh se ubaarne
dharti sanwaarne
jyoti nayi jagmagaayi
jhoole hain krishan kanhaayi
jeewan ke angnaa asha ka jhoolna
jhoole hain krishn kanhaayi
jhoole hain krishn kanhaayi
baanto badhaayi
baanto
baanto badhayi
aaye krishn kanhaayi
aaye krishn kanhaayi
ho ho
hohohohoho

baadal ka rang liye
paaras ka tan hai
bali bali jaaye sakhi
baanka man hai

gyaani ka gyaan laayi paawan kiran hai
bade bade jhoomen sakhi
ye to rain hai

jyoti ye karm ka
deepak hai dharm ka
vedon ki hai ye sachchaai
jhoole hain krishn kanhaayi
baanto badhaayi
baanto
baanto badhaayi
aaye krishn kanhaayi
aaye krishn kanhaayi
ho ho
hohohohoho


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.

Blog Day : 4105 Post No. : 15256

“Shole”(1953) was directed by B R Chopra for Hira Films. The movie had had Ashok Kumar, Bina Rai, Purnima, Jeevan, Mohana, Manmohan Krishna, Mirza Musharaf, Romi, Naaz, Uma Dutt etc in it.

The movie had eight songs in it, including two multiple version songs.

Seven songs from the movie have been covered in the past.

Here is the list of the songs of the movie that have been covered in the past:

S N Song Song number in blog Date of posting
1 Mera dil kabhi roye kabhi gaaye re MD-Dhaniram 2216 4-Dec-09
2 Anokhaa jaadoogar Bhagwaan Multiple version song MD-Dhaniram 3519 13-Feb-11
3 Nigaahen mila MD-Dhaniram 9527 5-Mar-14
4 Ghadi ghadi bhar jiya bekaraar ho…aaja gali baalma MD-Dhaniram 14706 20-Oct-18
4 Ae dil tu kahin le chal Multiple version song MD-Nareshwar Bhattcharji 15189 27-Aug-19

Here is the eighth and final song from “Shole”(1953) to appear in the blog. This song is sung by Geeta Dutt. Majrooh Sultanpuri is the lyricist. It is the only song in the movie penned by Majrooh Sultanpuri. Other songs were penned by Kamil Rashid (4), Saraswati Kumar Deepak (2) and Sahir Ludhianvi (1).

Music is composed by Dhaniram.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.

I have not been able to get one (may be more) word right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

With this song, “Shole”(1953) joins the list of movies that have all their songs covered in the blog.


Song-Bala se hasraten mit jaayen (Shole)(1953) Singer-Geeta Dutt, Lyrics-Majrooh Sultanpuri, MD-Dhaniram

Lyrics

bala se hasraten mit jaayen
dil barbaad ho jaaye
hamen manzoor hai sab kuchh
jo tu aabaad ho jaaye

jo chaahe sahenge door se gham
ab yoon hi pyaar nibhaayenge hum
ab yoon hi pyaar nibhaayenge hum
kismat ne dhaaya hai wo sitam
tujhe paa ke bhi chain na aayenge hum
ab yoon hi pyaar nibhaayenge hum
jo chaahe sahenge door se gham

khush hoke hamen karen dil se juda
khush hoke hamen karen dil se juda
ye bhi to hai ik andaaz e wafa
ye bhi to hai ik andaaz e wafa
samjhenge muhabbat ka ??
tujhe kis roz yaad na aayenge hum
ab yoon hi pyaar nibhaayenge hum
jo chaahe sahenge door se gham

ujdi hui is mehfil ki qasam
toote huye saaz e dil ki qasam
jinse ?? dhadkan jaag uthhe
ab aise bhi geet na gaayenge ham
ab yoon hi pyaar nibhaayenge hum
jo chaahe sahenge door se gham


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular 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.

Blog Day : 4103 Post No. : 15253

Today’s song is from film Ajamil-1948. This was the maiden venture of Sanskar Chitra, Bombay, of owner Moolraj Kapadiya, who was also the producer of this movie. The film was directed by his close relative-Jamnadas Kapadiya, for whom this was his only film as a director. The film was made in Gujarati and Hindi simultaneously. The story, screenplay and songs for the Gujarati version were by Kavi Prabhulal Dwivedi and for Hindi version it was S P Tripathi, who wrote all the 12 songs of the film. While HFGK mentions name of Dwivedi as the Lyricist, according to Girdharilal Vishwakarma ji, the famous Music Historian and Record collector, the records of the songs of Hindi version carry the name of Tripathi. The Music Director of this film was Master Mohan Junior.

In the history of Hindi Cinema, besides the biggest problem of Same name artistes causing confusion, there were many other smaller, but irritating unsolved mysteries like…
1. Who sang the song ” Dilli se aaya bhai Tingu” in film Ek thi ladki-49 ?
2. Who was the artiste who sang on screen,” Hawa mein udta jaaye” from film Barsat-49 ?
3. Who were the composers ” Vasant Ramchandra” ?
4. Are they one person or two – Shyam ji Ghanashyam ji and Hemant Kedar ?
5. Who said ” Yahoo” in film Junglee-64 song ?
6. Who sang ” Leke pehla pehla pyar’ on screen ?
7. Why composers Jaidev and C Ramchandra gave music in different names ?
8. Whose voice is in the ” Mehboob production” ‘s logo ?
9. Who was the artiste in Prabhat’s logo ?
10. What happened to actresses Latika and Mrudula ? etc.etc.

I have listed only a few here, but there are many more such riddles,puzzles and unsolved (as yet) mysteries in Hindi cinema world.
Since the time I started writing on old films, I tried relentlessly to get the right answers, with proofs,for some of these riddles. I was successful in solving some mysteries too. As far as the Same name artiste’s confusions are concerned, I had dug out information on 50 such artistes and published this in my book. From time to time even my articles here also contained them. Presently, I have information on another 20 such same name artistes with me, which will be published in my next book,after adding few more pairs.

One mystery connected with today’s film is about its Music Director – Master Mohan Junior. As per a note in HFGK,under the film “Daana paani”-53, it was composer Madan Mohan, who gave music in this name. There was no reason to doubt this claim as it came from HFGK, but one day…..
One day in 2012, I received a query from Shri Girdharilal Vishwakarma ji, asking about Mohan Junior, who, according to him was a different person. He wanted to know if I had some information.

I had no such information. I was actually floored with this query. After receiving this query, I immediately got in touch with Madan Mohan’s son Sanjeev Kohli ji and daughter Sangeeta Gupta ji and asked them this question. Sanjeev ji promptly responded saying that in all probabilities, Mohan Junior was a different person and that is why they have not included film Dana Pani-53 in Madan ji’s filmography.
Then I contacted Harish Raghuwanshi ji of Surat. We did a hard work and then found out that Mohan Junior indeed was different. He was a Gujarati Music Director. Further Harish ji found that one Dr. Vipin Kikani had done his Ph.D. on ” Gujarati stage and its artistes” and that he had written about Mohan Junior in his book. Harish ji got the book, translated the relevant portion in Hindi, made its PDF and sent it to me with his Gujarati Filmography.

By now, the mystery was almost solved, but still, to get a first person confirmation, I requested Girdharilal ji to talk to Madhubala Jhaveri,because she had sung some songs for Mohan Junior. He did it immediately and Madhubala ji confirmed that Mohan Junior was a Gujarati person and he was NOT Madan Mohan.

At last, it was conclusively proved that Master Mohan Junior was not a pseudo name for Madan Mohan but he was a different person. Here is his full information…….

Master Mohan Junior was born in 1908 in a Bhurji Rajpoot family at Masuda, near Ajmer. When he was 5 year old, the great Plague epidemic killed all members of his family and he became an orphan. His cousin sister took him to Idar and he grew up there. He had inherited the singing ability of his father.When he was 13 year old, Raghunath-his brother in law- sent him to ” Morvi Subodh Arya Natak Mandali “, in 1921. Later he also worked with Imperial,Laxmikant Natak Mandali and Arya Naitik drama company from 1926 to 1930. His brother in law was quite attached to him.

He started with Gujarat Kala Mandir as a Music Composer from 1930 onwards. His attempts to become an actor failed in 1932. He was now owner of the company Arya Natak Mandali, in which Ramlal was a Music composer. His music became famous with many famous dramas.Raskavi Raghunath Brahmabhat has praised his music capabilities.

He gave music to 6 Gujarati films, namely- Ajamil-48, Vadilon naa vaanke-48, Bhakta Pooran-49, Vevishat-49, Choodi Chaandlo-50 and Bhakta Narsaiyo-52. He also gave music to 2 Hindi films- Ajamil-48 and Daana Paani-53.

Even after all clarification about Mohan Junior, still 2 questions remained –

1.Why did Begum Akhtar say that Madan Mohan gave music. The answer to that is-she was right, that Gazal (in film Dana Pani-53) was composed by Madan mohan and it was used in the film. It was concluded therefore that the entire film music was given by Madan Mohan. I think HFGK went overboard in this.

2.Why that composer called himself Junior, because in 48, and 49 Madan Mohan was not a composer as yet. He debuted with Aankhe-50. I found out that during that period there was yet another Mohan-a Mohan Sharma, a Music director for Jai Hind-1949(unreleased) and Chocolate-1950.

May be to distinguish himself,he called himself as Mohan Junior.

Sanjeev Kohli ji has also now agreed that he must be a different person. However Sanjeev ji has requested me NOT to quote his name elsewhere in this connection.,as he does not want any controversy now. so let us keep him out of this.

Although all this search for truth took place back in 2012- 7 years ago, I have recounted all this now, only to stress the difficulties one faces in breaking an old myth or decoding a mystery. Further, all this was never brought before readers any time. Additionally Mohan Junior’s bio data is published first time here.

Film Ajamil was also made in silent era in 1922 by Kohinoor film company, Bombay. Kanjibhai Rathod had directed it. Next, it was made in 1934 as a Talkie, by Saroj Movietone. It’s director was Abdul Rehman Kabuli, about whom I just wrote in my previous post. The role of Ajamil was done by Ashraf khan – who himself became a Sufi Saint in his later life.

The story of Ajamil has been taken from the 6th chapter of Bhagwat Puran. It stresses the value of Naam smaran or Jaap and how it can make a Saint out of a bad man. The story of Ajamil is…

Ajamila was once a very noble Brahmin, performing his duties and prescribed rituals most sincerely and was also a good husband, good son and good father. Once when he was in the forest to gather the fuel-wood for his rituals, he fell for a woman, heart and soul. Actually the woman was one of very low morals. From that time onwards he lived with her, abandoned his family and his own parents. He got ten children by her, made a living and supported this large family by blackmailing rich people, by cheating, fraud and gambling. He was particularly fond of the youngest child, Narayana, by name. The attachment to the child was so pronounced that whether he was eating, drinking, relaxing or working, he would always want Narayana to be by his side and partake of his food or participate in his enjoyment. When finally the call from Yama, the God of Death, came, it came suddenly and in his agony he called his child to his side and cried: O Narayana. He called aloud with great fear.

The messengers of Yama who almost got him in their noose suddenly found from within his heart four well-clad beautiful angel-like figures, each with four hands, preventing the messengers of Yama from discharging their duty. An intense conversation ensued between the messengers of Yama on the one side and the messengers of Narayana – because that is what they were – on the other side. They asked: You are the emissaries of Dharma-raja; then you should know what dharma is and what rules apply for punishment. The messengers of Yama replied: (VI – 1 -40 to 68):

What is declared by the Vedas is dharma. What is prohibited by Vedas is adharma. The one God who has created this entire world and who has allotted the different duties to varnas and ashramas is Lord Narayana. He has ordained that our Lord Yama take the lives of people when their time is over and punish them according to sins committed by them. There are several witnesses to whatever a man does in his life.

They are the Sun, Agni the Fire-God, Space, the Wind-God, Animals, the Moon, the God of SandhyA the twilight, Day, Night, the eight quarters, Water, Earth, Time and the God of Dharma, who is Yama himself. Nothing can be hidden from any of these. . We are doing our duty ordained by our boss.

Back came a pretty long rejoinder from the messengers of Vishnu: Your Master who must show to the world what right action is, has sent messengers like you who do not seem to know the rules! This Ajamila, though he has forgotten his real divine nature, has pronounced the four-syllabled name of God Narayana at the time of death and by that very action has done the Prayaschitta – प्रायश्चित्त (repentance act) for all his sins.

A thief of gold, a drinker of wine, a betrayer of a friend, a killer of a brahmin, one who commits adultery with the wife of his Guru, a killer of a woman or of a king, or of a cow or of his father — all these worst sinners have been declared to be absolved by the recitation of God’s name because by that very act he becomes God’s protege and deserves to be under His care.

After all this explanation by the messengers of Vishnu the messengers of Yama felt overpowered and they went back to their overlord. In the meantime Ajamila came back to his senses and remembered all the conversation that went on in the presence of his subtle body between the messengers. He was about to say something, when the messengers of Vishnu also disappeared. It was quite a while before he could take stock of the situation.

Here he was. alive and kicking, by the mercy of God Narayana, whose name he had just taken on the point of death, not in remembrance of the Lord but in passionate affection of his child. If this single act of the utterance of a four-syllable word Narayana can make such a difference to life after death, what larger worlds of fullness and majesty he may not conquer by really leading a noble life of Dharma in the memory of the Lord? — so thought Ajamila. And that very moment he renounced everything to which he was attached, went to Benares and engaged himself in austerities and meditation and in due time reached the abode of the Lord. (adapted and abridged from krishnamurthy’s.com, with thanks)

Today’s song is by Amirbai Karnataki and chorus. it is a melodious song. This is the second song from this film to be discussed on this Blog.

(I thank, Harish Raghuwanshi ji, Girdharilal Vishwakarma ji, family of Madan Mohan ji and Dr. Vipin Kikani ji for information used in this post. I also thank Sadanand kamath ji for uploading the song video on my request, promptly – as always.).


Song-Aaya aaya mehmaan man bhaaya (Ajaamil)(1948) Singer-Amirbai Karnataki, Lyrics- S P Tripathi, MD- Master Mohan Junior
chorus

Lyrics

Aaya aaya
mehmaan man bhaaya
Aaya aaya
mehmaan man bhaaya
kaun nainon se dil mein samaaya
kaun nainon se dil mein samaaya aa aa
Aaya aaya
mehmaan man bhaaya
Aaya aaya
mehmaan man bhaaya

kalpana ne dil mein jinki
khenchi thhi rekha
nainon ne aaj wahi
nainon ne aaj wahi
?? roop dekha
sudh budh ko bhool gayi
harsh mein magan bhai

dekho dekho ye nachti hai chhaaya
dekho dekho ye nachti hai chhaaya
Aaya aaya
mehmaan man bhaaya
Aaya aaya mehmaan man bhaaya

yug yug ki aas meri
haan aan aan
man ki madhur saadh mori
ho o ho
naach uthhi haan
naach uthhi
naach uthhi haan
naach uthhi

dekh to main aaya
aur dil mein samaaya
dekh to main aaya
aur dil mein samaaya
Aaya aaya
mehmaan man bhaaya

na na na
aaya aaya
sajan man bhaaya
Aaya aaya
mehmaan man bhaaya

na na na
aaya aaya
sajan man bhaaya
kaase(??) sajoon
jhoom uthhi
jhoom uthhi
jug jug se jhoom uthhi
jhoom uthhi
jhoom uthhi
jug jug se jhoom uthhi
kya
kaaya meri
P? phir chhaaya
kaaya meri
P? phir chhaaya
Aaya aaya
sajan man bhaaya
Aaya aaya
sajan man bhaaya
Aaya aaya


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular 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.

Blog Day :

4102 Post No. : 15252 Movie Count :

4190

The Dadasaheb Phalke Award is India’s highest award in cinema. It is presented annually at the National Film Awards ceremony by the Directorate of Film Festivals, an organisation set up by the Ministry of Information and Broadcasting. The recipient is honoured for their “outstanding contribution to the growth and development of Indian cinema” and is selected by a committee consisting of eminent personalities from the Indian film industry. The award comprises a Swarna Kamal (Golden Lotus) medallion, a shawl, and a cash prize of ?1,000,000 (US$14,000). Presented first in 1969, the award was introduced by the Government of India to commemorate Dadasaheb Phalke’s contribution to Indian cinema. Phalke (1870–1944), who is popularly known as and often regarded as “the father of Indian cinema”, was an Indian filmmaker who directed India’s first full-length feature film, Raja Harishchandra.

The first recipient of the award was actress Devika Rani, who was honoured at the 17th National Film Awards held in 1969. As of 2017, there have been 49 awardees. Among those, actor Prithviraj Kapoor (1971) and actor Vinod Khanna (2017) are the only posthumous recipients. Raj Kapoor accepted the award on behalf of his father Prithviraj Kapoor at the 19th National Film Awards in 1971 and was himself a recipient in 1987 at the 35th National Film Awards ceremony. Bommireddy Narasimha Reddy (1974) and Bommireddy Nagi Reddy (1986); Raj Kapoor (1987) and Shashi Kapoor (2014); Lata Mangeshkar (1989) and Asha Bhosle (2000) along with B. R. Chopra (1998) and Yash Chopra (2001) are the siblings who have won the award.

Note:- all of the above information I have extracted from Wikipedia and apologize for any wrong information therein.

October 11th 1942 was the date when Teji Bachchan- wife of Shri. Harivansh Rai Bachchan gave India the Shahenshah of Bollywood. He goes by the name Shri. Amitabh Bachchan. Anyone who has even the faintest knowledge about Indian movies -anywhere in the world- would have heard about this actor. He may have not been India’s first mega-superstar, that title will always be associated with Rajesh Khanna. The reason I have used the term Mega-Superstar for Rajesh Khanna is because Dilip Kumar- Dev Anand-Raj Kapoor were equally big stars of their generation and the trio were inspiration for the next set of actors like Manoj Kumar, Dharmendra, Rajendra Kumar, Rajesh Khanna, Jeetendra, Amitabh Bachchan etc. The popularity and fan-following that Rajesh Khanna achieved was much more than what the trio of the 50s and 60s may have experienced collectively. Amitabh Bachchan had a long journey to reach the level of popularity that was Rajesh Khanna’s; but even at the height of his superstardom one has never heard of girls writing letters to Amitabh with blood, or throwing themselves at his car or trying to commit suicide at the news of his marriage to Jaya Bhaduri etc.

What Amitabh experienced was a different kind of affection from his fans. There were people who prayed for his life in 1982 when he had an accident during the shoot of “Coolie”. There are accounts of people walking barefoot from far-flung places to the hospital where AB was admitted and battling for life after the accident; people offering prayers at various places of worship cutting across religious differences. AB has always thanked his fans for all the love they showered on him during that period. In fact, he always greets them on Sunday evenings (whenever he is in Mumbai i.e.) for which there is a huge crowd of fans waiting outside his Mumbai residence.

He may have been dubbed the angry-young-man in the early phase of his career but he was equally adept at emotional, romantic or comic roles. “Mahaan” (1983) had him in three roles where we had him as an emotional father/ husband, serious-faced inspector and comic stage artist. The turn of the century saw him change his style and take on a variety of roles and characters- strict father who will not accept his son marrying against his wishes (Kabhi Khushi Kabhi Gham), strict principal who wanted all his students to adhere to the ‘parampara’ ‘pratishtha’ etc laid down by the college (Mohabbatein), friendly-indulgent father to Akshay Kumar (“Ek Rishtaa: the bond of love” and “Waqt: the race against time”) etc. etc. etc. We saw him as a rustic near-bumbling cop in “Bunty Aur Babli”; aging teacher of a deaf-blind girl in “Black”; these successful experiments have seen him through 50 years in an industry which has many talented actors but no one has been given epithets like “Shahenshah of Bollywood”, “Big B” or “Star Of The Millennium”. He continues his reign over the hearts of his fans in spite of the next generation and the one after it giving movies that gross over 100 crores per film. He still gets author backed roles that befit his age and many-a-times is the central character of the story as in “Baghban” and “Baabul”. His detractors may feel that he is the most off-key (besura) singer (and I believe he agrees that he is mostly off-key) but the songs that he has sung (from the first full song “mere pass aao mere doston”) have been well received by his die-hard fans-yours truly included. 🙂

Coming back to the opening para of this post- here is the connection- Amitabh Bachchan is the recipient of this prestigious award for this year. He joins an august list of personalities who have had a major influence on the Indian film industry beginning from Devika Rani who is acknowledged as the first lady of Indian cinema.

This is the latest feather in AB’s cap in addition to the Padma awards – Padma Shri, Padma Bhushan and Padma Vibhushan; 4 National Awards for best actor and 15 Filmfare awards and numerous other awards from various national and international organisations.

Today he turns 77 and I am confused as to which is an appropriate song that should go with this post- I have a big collection to choose from- the blog has about 20 songs which have had Amitabh Bachchan in the recording room as a singer or uttering a few words with the main singer.

Today’s song is from the BR films produced 2006 release “Baabul”. It had AB play an indulgent and friendly father to Salman Khan and a loving father-in-law to Rani Mukherjee. The movie had a simple story of the loving father-in-law, fighting the opposition from his own wife and other family members, against his decision of getting his son’s widow remarried. The song comes at the fag end of the movie. It was on my list of songs under consideration for this post. What clinched the matter in its favour is that the song has two versions to it. The version in the movie is in the voice of Amitabh Bachchan and the album version is in Jagjit Singh’s voice. And only this morning I saw a message on our WhatsApp group that yesterday was Jagjit Singh’s anniversary.

So, we wish our Big B a long and healthy life and lots more years of entertaining us along with remembering Jagjit Singh and his smooth voice.

Video (Amitabh Bachchan voice)

Audio

Song-Kehta hai baabul o meri bitiya (Baabul)(2006) Singer-Amitabh Bachchan/ Jagjit Singh, Lyrics-Sameer, MD-Aadesh Srivastava

Lyrics

kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
daakiya koyi jab aayega
tujhko churaa ke le jaayega
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
katega kaise lamha tere bina bata aa aa
jiyuga kaise tanha tere bina bata

tu suhaagan rahe sang saajan rahe raat din
iss khushi ke liye har sitam main uthha loonga aa
tere jaane kaa gham mujhko hoga magar laadli
leke iss dard ko main sada muskuraaoonga
baabul toh dil se de raha duaa yahi
khushi ke saaye mein ho zindagi teri
baabul toh dil se de raha duaa yahi ee
khushi ke saaye mein ho zindagi teri

waqt ke saath zakhm yeh bhar jayega
pal guzar jayega tu meri baat maan le ae
yaadon ke aasre umr kat’ti nahin
hai haqeeqat yahi abb too jaan le ae ae
samundaron ka paani koyi naa pi saka
akela khaara jeevan koyi naa jee saka aa
samundaron ka paani koyi naa pi saka
akela khaara jeevan koyi naa jee saka

kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
daakiya koyi jab aayega
tujh ko churaa ke le jaayega
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata


This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular 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.

Blog Day : 4102 Post No. : 15251

Amitabh Bachhchan, the star of the Millennium, was born in the than Allahabad (which is the English name of city named Ilahbad in Urdu) on 11.10.1942. His given name is Inquilab Srivastava, as per Wikipedia. This is a surprise for me and surely for many people, as a never heard fact. Also has the distinction of acting as the hero in the film ‘Inquilab’ not named after him :-). His father did name him after the slogan of freedom movement “Inquilab Zindabad”. I have never heard of anyone named ‘inquilab’, but have a friend named ‘Kranti’ which is the same thing with change in language only.

So, on 11.10.2019, he is celebrating 77th birthday as the most celebrated star actor and film personality. The Government of India honoured him with the Padma Shree in 1984, the Padma Bhushan in 2001 and the Padma Vibhushan in 2015 The Government of France honoured him with its highest civilian honour, “Knight of the Legion of Honour”, in 2007 for his exceptional career in the world of cinema and beyond. As per Wikipedia page again, he has won 15 filmfare awards, the most nominated actor with 41 nominations so far and still counting.

His achievements include 4 national awards and Dada Saheb Phalke award for “Lifetime Achievement”.

Luckily, I had the lyrics of this song from the film “Shaan” (1980) ready to present as the birthday celebration post. I said in my reply to Peevecie’s Mom’s comments on this post that BEST buses is a topic of another post. I had this song in mind, most of which is picturized on a BEST double decker bus. “BEST” was formerly Bombay Electricity Supply and Transport, now it is renamed as ‘Brihan Mumbai Electricity Supply and Transport”. My father has been saying this to us right from the beginning that though BEST’s face are the buses which have been the more reliable lifeline of Bombay since almost a century now, its main business and source of income is the electricity supply to the city areas.

If I have to write about the BEST than the story has to start with my father. It is in family folklore that my father had after completing engineering had the option of coming to Mumbai (than Bombay) or to go to Lucknow to join the Railways. This was in the early 60’s, and Bombay was a known place of people in the family, who used to visit it for business purposes also. Also my mother’s ‘Maternal uncle’ had studied in Grant Medical College in the 40’s and everyone was familiar with the city. There was a job in hand in Lucknow, which is an unknown place, nobody in the family had ever been and far away from Belgaum. The family was in favour of Bombay as my father’s sister was already staying here at Kalyan. The decision was left to my father’s youngest sister, who voted in favour of Bambai. So he came to Bombay and joined BEST as a “foreman” trainee. There is a lot more I want to write about my father’s journey (most of it is related to BEST), but will save it for another post. Sometimes I do wonder, if he had gone to Lucknow instead of coming to Mumbai, how different the things would have turned out. I envy the people who have spent their formative years in Lucknow(met a few in my working life), their diction of Urdu language. Some of them, though convent educated did speak a fluent form of spoken khari boli which is closer in diction and grammar to the Urdu that our teachers taught us, compared to my own, the so called Urdu medium product, with our typical bambaiyya dialect. More of the royal ‘aap’ and ‘hum’ in the conversations of people of my generations who spent years in Lucknow, or thereabouts, even as far as some northern cities of Madhya Pradesh.

Will go back to Amitabh Bachchan for now. The first movie I am aware of watching in the theatre is “Do aur do Paanch”, with a similar star cast of Amitabh, Shashi Kapoor and Parween Babi, similar to ‘Shaan’ I mean. Incidently both these films were released in the same year. But we all saw “Do aur do paanch” at Belgaum during summer vacations, whereas “Shaan” was seen in Mumbai. Thereafter, Amitabh Bachchan movies were seen regularly, with the whole family. The movies of before 1980 are all seen on TV, but the movies after 1980, including “Silsila”, “Kaalia”, “Namak Halaal”, ‘Naseeb”,”KhudgarzKhuddaar”, “bemisaal”, ‘Laawaris” etc. I remember watching in theatre.

My personal favorite Amitabh films are not the comic or multistarrers, but his solo films like ‘Zanjeer’, ‘Bemisaal”, ‘Kaalia”, “Abhimaan” ‘Anand’ etc. Among the films of the new millennia, I have seen a few, but missed most of them. He is without doubt the longest running superstar of the hindi film industry.

So here in this song there are four singers, Kishore Kumar for Amitabh Bachchan, Mohammed Rafi for Shashi Kapoor, Asha Bhosle for Parveen Babi and Usha Mangeshkar for Bindiya Goswami. Anand Bakshi is the lyricist and is composed by R. D. Burman.

The film is ‘Shaan’(1980), also mentioned in para 4 above.


Song-Jaanu meri jaan main tere qurbaan (Shaan)(1980) Singers-Kishore Kumar, Mohammed Rafi, Asha Bhosle, Usha Mangeshkar, Lyrics-Anand Bakshi, MD-R D Burman
Asha Bhoonsle + Usha Mangeshkar
All

Lyrics

Jaanu meri jaan
main tere qurbaan
Jaanu meri jaan
main tere qurbaan
arrey main tera tu meri
jaanu saara hindustaan
main tera tu meri
jaane saaraa hindustaan

Jaanu meri jaan
main tere qurbaan
Jaanu meri jaan
main tere qurbaan
arrey main tera tu meri
jaane saara hindustaan
main tera tu meri
jaane saaraa hindustaan

nazron se na tol mujhe
dil se kaam le
tu jis ki wo tere bin
kyon kisi ka naam le
arre nazron se na tol mujhe
dil se kaam le
tu jis ki wo tere bin
kyun kisi ka naam le
Jaanu meri jaan
main tere qurbaan
O Jaanu meri jaan
main tere qurbaan
arrey main tera tu meri
jaane saara hindustaan
main tera tu meri
jaane saaraa hindustaan

ha aha ha haan haan ha

hey ae ae
ae ae aaaaa
ae ae ae
oo ooo oooooo
chhoti si ik baat bani
baat se daastaan

bhool ke sab baaten hans de
hai yahi pyaar ki shaan
chhoti si ik baat bani
baat se daastaan

bhool ke sab baaten hans de
hai yahi pyaar ki shaan
jaanu meri jaan
main tere qurbaan
o jaanu meri jaan
main tere qurbaan
tu mera main teri
jaane saaraa hindustaan

tu mera
main teri
jaane saaraa hindustaan
arrey Jaanu meri jaan
main tere qurbaan
Jaanu meri jaan
main tere qurbaan
Hoy main tera tu meri
jaane saara hindustaan
tu meraa main teri
jaane saaraa hindustaan

————————————-
Devnagri script lyrics (Provided by nahm)
————————————-
जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
अरे मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
मैं तेरा तू मेरी
जाने सारा हिंदुस्तान

जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
अरे मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
मैं तेरा तू मेरी
जाने सारा हिंदुस्तान

नज़रों से न तोल मुझे
दिल से काम ले
तू जिस की वो तेरे बिन
क्यूँ किसी का नाम ले
नज़रों से न तोल मुझे
दिल से काम ले
तू जिस की वो तेरे बिन
क्यूँ किसी का नाम ले
जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
अरे मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
मैं तेरा तू मेरी
जाने सारा हिंदुस्तान

हा हा हा ह आहा हा

हे ए ए
हो हो हो हो
ओ ओ ओ ओ

छोटी सी इक बात बनी
बात से दास्तां

भूल के सब बाते हंस दे
है यही प्यार की शान
छोटी सी इक बात बनी
बात से दास्तां

भूल के सब बातें हंस दे
है यही प्यार की शान
जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
तू मेरा मैं तेरी
जाने सारा हिंदुस्तान

तू मेरा
मैं तेरी
जाने सारा हिंदुस्तान
जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
हो मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
मैं तेरा तू मेरी
जाने सारा हिंदुस्तान


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular 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.

Blog Day : 4101 Post No. : 15250

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 48
——————————————————————————————

Today’s song is from the 1973 movie ‘Heeraa’ which made its debut on the blog on 10th Oct’2009.

Other movies represented on the blog on that day were as follows;
(Movies represented on the blog on 10.10.2009 (in descending order);

Song Movie title-Year Remarks
Tujh sang preet lagaayi sajnaa ho raamaa Kaamchor-1982 All Songs covered in the blog
Apne pyaar ke sapne sach huye Barsaat Ki Ek Raat-1981 03 of 05 songs covered
Main tujhse milne aayi mandir jaane ke bahaane Heera-1973 03 of 05 songs covered
Arre yaar meri tum bhi ho ghazab Teen Deviyaan-1965 All Songs covered in the blog

Kashtiyaan sab ki kinaare pe pahunch jaati hain,
Naakuda jinka nahin,
Unka khuda hota hain”

Those lines played in the background with the ‘logo’ of Sultan Productions the home production of Producer and director Sultan Ahmed.

That also reminds us of the other production houses’ logos and some of them which played some famous lines and that was also one of the thrilling experiences of watching movies in the seventies.

‘Heera’ or ‘Heeraa-1973’ was directed by Sultan Ahmed and it was his home production.

It had Sunil Dutt, Asha Parekh, Farida Jalal, Shatrughan Sinha, Helen, Kanhaiyyalal, Anwar Hussain, Nazir Hussain, Sulochana, Mukri, Randhir, Tabassum, Tuntun, Mumtaz Begam, B.B. Bhalla, Polsan, Renuka, Keshav Rana, Abhimanyu Sharma, Jankidas, Master Raju, Pahalwan, Habib, Mac Mohan, Maqbool, Bam Lahiri, Abhimanyu Sharma, Master Rajoo and many others.
Faryal, Asha Potdar, Shyam Kumar, Satyendra Kappu make a friendly appearance in this movie.
The movie also introduced a sheep ‘Kaptaan’.

Story of this movie was written by K.B. Pathak. Dialogues were written by Wajahat Mirza. Wajahat Mirza also shared the screenplay writing K.B. Pathak and Sultan Ahmed. Editing of this movie was done by M.S. Shinde.

Lata Mangeshkar, Mohd Rafi, Kishore Kumar, Asha Bhonsle, Usha Khanna and Mukri gave their voices to the songs in this movie.

This movie was passed by Censor Board on 23.10.1973.

HFGK Vol-V (1971-1980) listed six songs on the movie page for this movie, it was however corrected in the addenda that the first song in the list, is actually only few lines of the first song in the movie ‘ek chhokariya beech bajariya’ , and thus reducing the total number of songs of this movie to five.

This song ‘ek chhokariya beech bajariya’ was presented on the blog by our Respected Arun ji and he also had mentioned in brief about this movie and its story. (Wherein only one correction is required that the villain Balwant (Shatrughan Sinha) is not arrested b the police in the end of this movie, but he gets killed during the encounter with Heera (Sunil Dutt) and the Police).

I have vague memories of watching this movie either with my Father or my Uncle. And I must be around five or six years old then. After that I have never watched this movie again.

But I always have the nostalgia with me for the song ‘main tujhse milne aayi mandir jaane ke bahaane’ from this movie. I remember this song was very popular then and was frequently played on loud speakers. (however, none of the songs from this movie made it to the annual list of ‘Binaca Geetmala’ of that year). Other than this song the nostalgia related with this movie that I always carried was ‘the daaku, the horses and the guns and the ‘khandahars’ 🙂

Other than the two songs mentioned above the other song which one can remember after listening to it is ‘Jai Ambe Jagdambe Maa Jai Ambe Jagdambe’ which was also heard, may be during ‘Durga Pooja’ festivals only.

And these three songs mentioned above are the three songs from this movie which have been posted in the blog so far.

One can find the today’s song also heard on radio in those days, but I think it was not much popular and forgotten easily thereafter. However this can remind us of the many this type of songs in other movies 😊

Music for this movie was composed by Kalyanji-Anandji, while two lyricists wrote the songs for this movie, Indeewar three songs and Anjaan two songs.

Today’s song is written by Anjaan and sung by Lata Mangeshkar. On screen it is performed by Asha Parekh.

Asha Parekh recently celebrated her 77th birth anniversary on this 2nd October. (She was born on 2nd October 1942). We belatedly wish her a very healthy and peaceful life ahead.

This song happens to be a song in the ‘villain’s den’ where Asha Parekh and her Father Kanhaiyyalal are hostages after Balwant (Shatrughan Sinha) has abducted them. And he forces Asha Devi (Asha Parekh) to dance in his den …

‘le baandh le ye ghunghroo… aur aisaa naach ke aaj saari sabhaa mein aag lag jaaye’

Naach …

And that is why this song …

Let us now enjoy this song sung by Lata Mangeshkar and composed by Kalyanji-Anandji.


Song-Aaj naachoon aise ke aag lag jaaye (Heera)(1973) Singer-Lata, Lyrics-Anjaan, MD-Kalyanji Anandji

Lyrics

aaj naachoon aise ke aag lag jaaye
aaj naachoon aise ke aag lag jaaye
aag lage aisi ke bujhne naa paaye ae
bujhne naa paaye
aaj naachoon aise ke aag lag jaaye
aaj naachoon aise ke aag lag jaaye
aag lage aisi ke bujhne naa paaye ae
bujhne naa paaye

O deewaane tu sun
meri paayal ki dhun
iski jhankaar mein maut ka raag hai
ho koi sangedil
khaaq mein jaaye mil
aaj ghunghroo ke bolon mein wo aag hai
jaa re jaa aa
jaa re jaa
jaa re jaa aa
mujhe aise tu dekhen kyun
aankh jo milaaun to aag lag jaaye
aankh jo milaaun to aag lag jaaye ae
aag lage aisi ke bujhne naa paaye ae
bujhne naa paaye

kar naa ghaayal mujhe
rang degaa tujhe
har lahu ka jo katraa giregaa yahaan
zulm itnaa na kar
yoon naa hadd se guzar
tu agar hai zameen to koi aasmaan
jaa re jaa aa
jaa re jaa
jaa re jaa aa
dekho mujhko na chhoona yoon
haath naa lagaa tu
ke aag lag jaaye
haath naa lagaa tu
ke aag lag jaaye ae
aag lage aisi ke bujhne na paaye ae
bujhne na paaye …

———————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————–
आज नाचूँ ऐसे के आग लग जाए
आज नाचूँ ऐसे के आग लग जाए
आग लगे ऐसी के बुझने ना पाए ए
बुझने ना पाए
आज नाचूँ ऐसे के आग लग जाए
आज नाचूँ ऐसे के आग लग जाए
आग लगे ऐसी के बुझने ना पाए ए
बुझने ना पाए

ओ दिवाने तू सुन
मेरी पायल की धुन
इसकी झंकार में मौत का राग है
हो कोई संगदिल
खाक में जाए मिल
आज घुंघरू के बोलों में वो आग है
जा रे जा आ
जा रे जा
जा रे जा आ
मुझे ऐसे तू देखें क्यूँ
आँख जो मिलाऊं तो आग लग जाए
आँख जो मिलाऊं तो आग लग जाए ए
आग लगे ऐसी के बुझने ना पाए ए
बुझने ना पाए

कर ना घायल मुझे
रंग देगा तुझे
हर लहू का जो कतरा गिरेगा यहाँ
ज़ुल्म इतना ना कर
यूं ना हद से गुज़र
तू अगर है ज़मीन तो कोई आसमान
जा रे जा आ
जा रे जा
जा रे जा आ
देखो मुझको ना छूना यूं
हाथ ना लगा तू के आग लग जाए
हाथ ना लगा तू के आग लग जाए ए
आग लगे ऐसी के बुझने ना पाए ए
बुझने ना पाए … … …


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular 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.

Blog Day : 4101 Post No. : 15249

Hullo Atuldom

The 80s was a period when there were a whole set of “Made in South” movies. Movies essentially remakes of popular and successful Telugu, Tamil and Kannada movies. Movies with nearly same formula- one hero and two heroines, both ladies loving the hero equally with the hero behaving courteously with one and loving the other passionately. To add further twist, the heroines will be sisters (as in Tohfa), childhood best friends (as in Raaste Pyar Ke), or meet accidentally and become good friends (as in Maang Bharo Sajna and Asha Jyoti).

All the movies would have good songs which used to be popular in the 80s and 90s but may have been forgotten since. The most important aspect of these movies used to be that one of the heroines would sacrifice her love or never reveal her love so that the other can lead a happy life with her partner/ husband etc. The hero in most of these South-made movies was Jeetendra and the heroines were mostly Rekha, Reena Roy, Shabana Azmi, Moushumi Chatterjee, Jaya Prada or Sridevi. Taking note of the success of Jeetendra in these movies Rajesh Khanna also acted in a few South-made movies.

Asha Jyoti was one of them. The movie had five songs with Anuradha Paudwal, Asha Bhonsle and Kishore Kumar as playback singers. Anjaan was the lyricist and Laxmi Pyare were the music directors. One song has been posted from the movie. In that post Atulji has speculated about the status of the relations between the main cast. I have seen this movie a long time back and here is the story of the movie, hope that it clears all speculations. 🙂

Asha Jyoti (1984) had Rajesh Khanna, Reena Roy and Rekha as the main cast. The film was directed by Dasari Narayana Rao, who had also directed Aaj Ka M.L.A. Ram Avtar with Khanna in the lead role and music was given by Laxmikant Pyarelal. The film is remake of Telugu Movie Srivari Muchatlu (1981).

Ramesh Chander (Om Shivpuri), a businessman, asks his son Deepak (Rajesh Khanna), a musician, if he would marry his childhood friend Asha (Rekha), but Deepak keeps declining this idea. Deepak falls in love with one of his fans named Jyoti (Reena Roy), a dancer, and he informs his parents by telegram that he has chosen a girl. Deepak promises to pay off the debts owed by Jyoti’s father. But when Deepak reaches his home in Bombay (now Mumbai), he finds that Ramesh has committed suicide due to bankruptcy. Ramesh expresses his last wish that his second wife and her daughter be taken care of. Deepak is delayed in Bombay and is unable to return to Kashmir.

In Kashmir, Jyoti’s creditor asks her father for money, but Jyoti expresses her inability to pay, so the creditor warns Jyoti’s father she will be in grave trouble. When Deepak does arrive at Jyoti’s house, her father lies, saying that he has married her off to the creditor. Deepak is heartbroken and returns home.

Seth Badri Prasad (Madan Puri), a rich man and childhood friend of Ramesh, bails Deepak out from bankruptcy and gets Ramesh’s creditors to not to file suit against Deepak and to auction the bungalow that he would buy. Deepak feels indebted to Prasad. Badri Prasad had been forcing his friend Ramesh Chander to ask Deepak to marry Asha, daughter of Badri Prasad. After Deepak returns to Bombay, his mother suggests to him that he should now get settled in his life and bring some happiness in his life and so he marries Asha. During the wedding, Deepak observes a woman similar to Jyoti. Deepak searches for the Jyoti lookalike and finds the woman was actually Jyoti.

Now Deepak knows that Jyoti was not married to Hukumchand (Roopesh Kumar) and that her father had lied to him. Jyoti had come to Bombay in search of Deepak and tells him that she is the mother of Deepak’s child. Deepak decides to end his marriage with Asha and to tell Asha the truth, but Jyoti insists that Asha would not be able to remarry as society might discard her. Jyoti asks Deepak to act as if they had never met and be a loyal husband of Asha, so that Jyoti can take care of Deepak’s child.

Later, Jyoti becomes a popular dance teacher in her city. Asha decides to learn dancing form Jyoti and they become close friends. Asha discloses that her husband is not loving her and he does not even come close to her. Jyoti visits Asha’s home and learns that Asha is none other than Deepak’s wife. Jyoti tells Deepak to be a true husband to Asha and give Asha the pleasures of married life.

Asha learns that Jyoti and Deepak were lovers before her marriage to Deepak and suspects they are having an affair. Asha found that Deepak and Jyoti are well-wishers of Asha, are innocent and victims of the unpredictable nature of fate. After coming to know the truth, Asha and Jyoti decide to sacrifice their respective lives to let the other live a nice happy married life with Deepak.

Sitting through the movie was not a pain. I loved the way the ladies (over) dressed in silk sarees and had extra long hair plaited in the traditional South Indian Style complete with a garden full of flowers on their hair and heavy jewellery. There was a time in my life when I yearned to have hair like my idol -Rekha- sported in these movies. These movies also showed that Rekha was an artist who followed all instructions of the choreographer and enacted the semi-classical dances that were there in the movie, as can be seen in the song of this movie that is already posted. She also had large eyes that conveyed a variety of emotions.

Today’s song comes towards the end of the movie where we have Asha dressing up Jyoti as a bride and trying to rectify the wrong that fate has delivered on Deepak and his Jyoti (the movies in this genre excelled in naming their characters). We also see that Deepak and Jyoti are not comfortable with this turn of events but Asha prevails on them and we have this Asha Bhonsle play backed song.

I am sure the readers have guessed why I chose a song that has the “oh! so beautiful!” Rekha for today’s post. Yes, she turns a year older today and it has become a compulsion for me that write atleast a small post to wish her.
Wish you a very happy birthday Rekhaji.


Song-Aayi pehli milan ki wo raat (Asha Jyoti)(1984) Singer-Asha Bhonsle, Lyrics-Anjaan, MD-Laxmikant Pyarelal

Lyrics

aayi pehli milan ki woh raat
sajan se na sharmaana
aayi pehli milan ki woh raat
sajan se na sharmaana
kya kya huyi re piya ke sang baat
kya kya huyi re piya ke sang baat
sawere humen batlaana
aayi pehli milan ki woh raat
sajan se na sharmaana

ho o o
kitne saawan pyaase tarse
tabhi suhaagan raat aati hai
aati hai toh
pyaar se mann ka kora aanchal bhar jaati hai
kora aanchal bhar jaati hai ae
pyaase mann pe huyi kya barsaat
sawere humen batlaana
aayi pehli milan ki woh raat
sajan se na sharmaana

tan se tan ka milan nahin yeh
tan se tan ka milan nahin yeh
yeh hai do saanson ka sangam
apne jiya ko bas mein rakhna
dil ki dhadkan jaaye na thham
kaisi hoti hai
kaisi hoti hai pehli mulaakaat
sawere humen batlaana
aayi pehli milan ki woh raat
sajan se na sharmaana

madhur milan ki iss bela mein
tan mann jeewan kar de arpan
madhur milan ki iss bela mein
tan mann jeewan kar de arpan
pyaar se saajan ka mann jeete
wahi dulhan hai yahaan suhaagan
o o o o
kiski jeet huyi re kiski maat
sawere hume batlaana
aayi pehli milan ki woh raat
sajan se na sharmaana
kya kya huyi re piya ke sang baat
kya kya huyi re piya ke sang baat
sawere humen batlaana
aayi pehli milan ki woh raat
sajan se na sharmaana


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.

Blog Day : 4101 Post No. : 15248

“Kabeela”(1976) was produced and directed by Bholu Khosla for Khosla Enterprises, Bombay. The movie had Feroz Khan,Rekha,Bindu(special appearance),Kamini Kaushal, Imtiaz, Premnath, V.Gopal, Sudhir, Shyamkumar, Manju Bansal, Trilok Kapoor(special appearance), Dhumal, Surendranath, Hiralal, Habib, Dumasia, Nawab, Baby Sonia, Darshan, Rammi, Madan Verley, Jagadish Joshi, Sharad Saxena etc in it.

The movie had four songs in it. One song has been covered in the past.

Today (10 october 2019) is the 65th birthday (DoB 10 october 1954) of Rekha. Daughter of Gemini Ganeshan and Pushpawalli, both well known movie actors themselves,

Rekha made her debut in Hindi movies with “Saawan Bhaadon”(1970). The movie was a hit. It was like a batsman hitting a century on debut.

Those were the days when Indian cricketers who scored century on debut failed to score another century in their career. A batsman called Gundappa Vishwanath had scored a century on debut at Kanpur in 1969. Like his predecessors, he struggled to score another century and people thought that his test career was doomed. It took him fourteen more tests and four more years before he scored his second test century in Bombay (in february 1973) and broke a big jinx for Indian test cricketers scoring a test century on debut. Subsequently, batsmen like Azharuddin, Saurav Ganguly, Sehwag, Shikhar Dhawan and Rohit Sharma scored centuries on debut and subsequently scored more centuries.

Rekha, after her smashing debut lost her way. Movie critics of those days likened her to Faryal and commented that she was squandering her career like Faryal.

It was during 1978 that Rekha reinvented her in “Ghar”(1978). It was like an ugly duckling has transformed into a swan, with this movie.

And Rekha never looked back since.

On the occasion of her 65th birthday, here is a song from her ugly duckling days, when she was still struggling in Hindi film industry.

This song is sung by Lata. Farooque Kaiser is the lyricist. Music is composed by Kalyanji Anandji.

The song is picturised as a background song. Rekha, Feroz Khan.Prem Nath,Hira Lal, Kamini Kaushal and Sharat Saxena are visible in the picturisation.

Lyrics of this song were sent to me by Prakashchandra.

We take this opportunity to wish Rekha a very happy birthday and many happy returns of the day.

Video

Audio

Song-Do phool zindagi ke hans kar yahaan khile thhe (Kabeela)(1976) Singer-Lata, Lyrics-Farooque Kaiser, MD-Kalyanji Anandji

Lyrics(Provided by Prakashchandra)

sajnaaa aa
o sajnaa
o o sajnaa

do phool zindagi ke ae
do phool zindagi ke ae
hans kar yahaan khiley thhe
sajnaa aa aa
o sajnaaa
sajnaa
yeh woh jagah hai
hum tum jahaan miley the ae
do phool zindagi ke
hans kar yahaan khiley thhe

tera der se woh aanaa
mera roothh roothh jaanaa
tera der se woh aanaa
mera roothh roothh jaanaa
tera pyaar se manaanaa
mera toot toot jaanaa
shiqwe thhe woh milan ke
shiqwe thhe woh milan ke
woh pyaar ke giley thhe ae
do phool zindagi ke ae
hans kar yahaan khiley thhe
sajnaa
yeh woh jagah hai
hum tum jahaan miley the ae
do phool zindagi ke
hans kar yahaan khiley thhe ae

aawaaz tere dil ki
raahon se aa rahi hai
aawaaz tere dil ki
raahon se aa rahi hai
khushboo tere badan ki
baahon se aa rahi hai
jaanaa thhaa door ham se
jaanaa thhaa door ham se
kyun pyaar se miley thhe ae
do phool zindagi ke ae
hans kar yahaan khiley thhe
sajnaa aa aa aa
sajnaa aa aa aa
sajnaaa aa
sajnaa aa


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(© 2008 - 2019) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15258

Number of movies covered in the blog

Movies with all their songs covered =1179
Total Number of movies covered =4192

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