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

Archive for the ‘“Aankh” song’ Category


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: 4269 Post No.: 15496

“Black Shadow”(1961) was a stunt movie which was directed by Madan Mohan Mehra for Paul Productions, Bombay. This move had Nishi, Manhar Desai, Amrit Rana, Indira Bansal, Baburao, Sudha, Ramlal, Roshan, Menaka, Naseem, Narmada Shankar, BHaag Singh, Balraj Kapoor, Raju, Jaani Babu Qawwaal, Sheikh etc in it.

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

The songs of this movie are as obscure as the movie itself. Posting songs from missing movies of 1960s was a project which was originally the brainchild of our beloved Khyati Bhatt who prepared an excel sheet of missing movies of 1960s. Sudhir Jee took upon this project with right earnesh and posted elusive songs from many of these missing movies.

929 movies were released during 1960s (1961 to 1970). At present, 873 of these movies are represented in the blog.

During the early days of this project (which started in 2013), I also used to cover a few missing movies, before Sudhir Jee took over full responsibility of this project. During the earlier days of this project, I covered the first song from “Black Shadow”(1961) which was this song. It was the only song from this movie that I could locate at that time.

Now, nearly seven years later, when I searched for the songs of this movie, I was able to locate another song. And what a song it turns out to be. It is an all female duet sung by Shamshad Begam and Sudha Malhotra. Naqsh Llayalpuri is the lyricist. Music is composed by Harbans.

Going by the lyrics, I guess that it is a Punjabi style stage performance dance song where one female is dressed as a male and singing in Shamshad Begam’s voice whiile other female, playing a female sings in Sudha Malhotra’s voice.

Only the audio of this “expression of love” genre of song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Nazar hai kaanton se teekhi (Black Shadow)(1961) Singers-Shamshad Begam, Sudha Malhotra, Lyrics-Naqsh Llayalpuri, MD-Harbans

Lyrics

nazar hai kaanton se teekhi
badan hai phoolon se halka
nazar hai kaanton se teekhi
badan hai phoolon se halka
humaari jaan le lega
ishaara tere aanchal ka
ho dilbar jaaniya haaye
ho dilbar jaaniya
balle balle
ho dilbar jaaniya haaye
ho dilbar jaaniya

saja ke resham ka patka
ho mere dil ko de jhatka
hawa mein kyun ude zaalim
pahan ke joota makhmal ka
ho sun mere haaniya haaye
ho sun mere haaniya

balle baale
ho sun mere haaniya haaye
ho sun mere haaniya

ho o o
kashmiri sebo ki laali
chhalke tere gaalon se
saawan bhi sharmaaye tere
ghoonghar waale baalon se

dil ko le dooba hai
dora tere kaajal ka
nazar hai kanto se teekhi
ho tan hai phulo se halka
humaari jaan le lega
ishaara tere aanchal ka
ho dilbar jaaniya haaye
ho dilbar jaaniya
balle balle
ho dilbar jaaniya haaye
ho dilbar jaaniya

saja ke resham ka patka
ho mere dil ko de jhatka
hawa mein kyun ude zaalim
pahan ke joota makhmal ka
ho sun mere haaniya haaye
ho sun mere haaniya

ho balle balle
ho sun mere haaniya haaye
ho sun mere haaniya

o o o
rasmon ki zanjeer tod kar
aa gayi teri baahon mein

dekh goriye dol na jaana
pyaar ki lambi raahon mein
jeewan bhar ka saath hai apna
khel nahin pal ka

nazar hai kanto se teekhi
badan hai phoolon se halka
humaari jaan le lega
ishaara tere aanchal ka
ho dilbar jaaniya haaye
ho dilbar jaaniya
ho balle balle
ho dilbar jaaniya haaye
ho dilbar jaaniya


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?: 4265 Post No.: 15491

“Farmaaish”(1953) was produced by J Omprakash and directed by B K Sagar for Majestic Films, Bombay. This “social” fim had Bharat Bhushan, Vijylaxmi, Pran, Kuldeep, Maruti, Chandrashekhar, Ameer Bano, R K Sama, Kammo, Khairaati, Gope etc in it.

The movie had ten songs in it. Nine of these songs have been covered in the past.

Here is the tenth song from “Farmaaish”(1953) to appear in the blog. The song is sung by Shamshad Begam. Khawar Zamaan is the lyricist. Music is composed by Husnlal Bhagatram.

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


Song-Meri ankhiyaan ho gayin chaar o dilbar chaar baje(Farmaaish)(1953) Singer-Shamshad Begam, Lyrics-Khawar Zamaan, MD-Husnlal Bhagatram

Lyrics

Meri ankhiyaan ho gayin chaar
o dilbar chaar baje
o dilbar chaar baje
dil ho gaya
o dil ho gaya motor car
o dilbar chaar baje
o dilbar chaar baje

mujhe mila karo tum paune do
mujhe mila karo tum paune do
jo hota hai so hone do
jo hota hai so hone do
phir pyaar ka
o phir pyaar ka ho vyopaar
o dilbar chaar baje
o dilbar chaar baje
dil ho gaya
o dil ho gaya motor car
o dilbar chaar baje
o dilbar chaar baje

o o o o o o
mera peela pad gaya rang piya
haay rang piya
ho o o o o o
mera peela pad gaya rang piya
mere dil ko lag gaya jang piya
jee mere dil ko lag gaya jang piya
mujhe loota
ho mujhe loota beech baazaar
o dilbar chaar baje
o dilbar chaar baje
dil ho gaya
o dil ho gaya motor car
o dilbar chaar baje
o dilbar chaar baje

mujhe mila karo tum paune do
jo hota hai so hone do
jo hota hai so hone do
phir pyaar ka
o phir pyaar ka ho vyopaar
o dilbar chaar baje
o dilbar chaar baje
dil ho gaya
o dil ho gaya motor car
o dilbar chaar baje
o dilbar chaar baje

main jab se tera daas hua
main jab se tera daas hua
mere dil ka satyaanaas hua
jee mere dil ka satyaanaas hua
lagi pyaar ki
o lagi pyaar ki dil pe maar
o dilbar chaar baje
o dilbar chaar baje
meri ankhiyaan ho gayin chaar
o dilbar chaar baje
o dilbar chaar baje


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 : 4253 Post No. : 15473

“Khota Paisa”(1958) was produced and directed by M Sadiq. The movie had Johny Walker and Shyama in lead roles. Others in the movie included Veena, Jeewan, S N Banerjee, Dhumal, Ansari, Amir Bano, Indira Bansal, Rajan Haksar, Sagar, Munshi Munakka, Keshav Rana, Kathana, Cuckoo, Soofi, Balaram, Suresh Kumar, Jeewan Kala etc.

The movie had seven songs in it. Four of these songs have been covered in the past.

Today ( 10 march 2020) is Holi, the festival of colours. On this occasion, here is a Holi song from “Khota Paisa”(1958).

This song is sung by Asha Bhonsle and chorus. Rajinder Krishan is the lyricist. Music is composed by Madan Mohan.

The song is picturised on Dhumal, Jeevan, Shyama, Johny Walkar, Cuckoo, Amir Bano etc.

Lyrics of this song were sent to me by Prakashchandra.

I take this opportunity to greet everyone on this festive occasion. Please enjoy this festival in a safe and responsible way.


Song-Nainon mein rang ho dil mein umang ho (Khota Paisa)(1958) Singer-Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Madan Mohan
Chorus

Lyrics(Provided by Prakashchandra)

araaraaraaara/sararara raa saraa rara
holi hai ae
holi hai holi sakhi holi hai holi
holi hai holi sakhi holi hai holi

nainon mein rang ho
dil mein umang ho
sainyyan bhi sang ho to holi hai holi
holi hai holi sakhi holi hai holi
nainon mein rang ho
dil mein umang ho
saiyyan bhi sang ho to holi hai holi

ambar gulaal udey
resham se baal udey
lehraake gaalon pe chhaaye ae ae
lehraake gaalon pe chhaaye sakhi ri
lehraake gaalon pe chhaaye

ho o bheegi chunariya pe
teekhi nazariya jo
phisley to hum sharmaaye ae
jo phisley to hum sharmaaye
dil mein na zor ho
seene mein shor ho
saath chitchor ho to holi hai holi
nainon mein rang ho
dil mein umang ho
saiyyan bhi sang ho to holi hai holi

haa aaa aaaa aaa aaa aaa
aaaa aaaa aaaa aaa aaaaa
nainon ke baan chalein
duniya ke dil bhi jaley
aati hai kab roz holi..eee
aati hai kab roz holi sakhi ri
aati hai kab roz holi

ho o nikley sawaari ye
ghar se hamaari
udhar se sajanwa ki toli ee
udhar se sajanwa ki toli
bajti mridang ho
rangon ki jung ho
bheega bheega ang ho to holi hai holi
nainon mein rang ho
dil mein umang ho
saiyyan bhi sang ho to holi hai holi

aaa aaa aaaaa aaaa
aaa aaa aaaaa aaaaa
aaa aaa aaaaa aaaaa
aaa aaa aaaaa aaaaa

aaa aaa aaaaa aaaaa
aaa aaa aaaaa aaaaa
aaa aaa aaaaa aaaa
aaa aaa aaaaa aaaaa
aaa aaa aaaaa aaaaa
aaa aaa aaaaa aaaaa

aaa aaa aaaaa aaaaa
aaa aaa aaaaa aaaaa


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 : 4252 Post No. : 15472

“Bhanwra”(1944) was a comedy movie that was well received during its time.

Mr Arunkumar Deshmukh, our in-house encyclopaedia on HFM related information has this to say about this movie:-

Bhanwara-44 was a story of two friends- Pancham (Saigal) and Rikhab (Arunkumar Ahuja), who come to Bombay in search of employment. The chawl where they stay,in single room tenements, has a pair of sisters, Indu(Monica) and Bindu(Kamla Chaterji). Indu happens to work as a teacher in the same place where Pancham is working as a Music and singing teacher. They fall in love. His friend Rikhab loves Bindu but is too shy to express his love. In this, he is assisted by his neighbour friend Pehelwan (Lala Yaqub). With his help, Rikhab develops a great body and finally wooes his ladylove. At the end, both the couples unite happily. The film was full of comic sequences, particularly with Arun Ahuja and Bindu. All in all, it was a hilarious movie.

Here is a rare song from “Bhanwra”(1944). The song is sung by Amir bai Karnataki. Swami Ramanand is the lyricist. Music is composed by Khemchand Prakash.

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


Song-Duniya ki aankhon se sharmaane waale (Bhanwra)(1944) Singer-Amirbai Karnataki, Lyrics-Swami Ramanand, MD-Khemchand Prakash

Lyrics

Duniya ki aankhon se sharmaane waale
chhaaon ki badli mein chhup chhup ke aa
chhup chhup ke aa
chhaaon ki badli mein chhup chhup ke aa
chhup chhup ke aa
sooni hai tujh bin man ki nagariya
sooni hai tujh bin man ki nagariya
aa ke ise tu basa aa aa
aa ke ise tu basa
aa ke ise tu basa aa aa
aa ke ise tu basa
Duniya ki aankhon se sharmaane waale
chhaaon ki badli mein chhup chhup ke aa
chhup chhup ke aa

badli ke aanchal mein jaise hon taare
badli ke aanchal mein jaise hon taare
taare
palkon mein aise jo rehna ho pyaare
palkon mein aise jo rehna ho pyaare
aankhon mein loongi chhupaaye
aankhon mein loongi chhupaaye
aankhon mein loongi chhupaaye
aankhon mein loongi chhupaaye
Duniya ki aankhon se sharmaane waale
chhaaon ki badli mein chhup chhup ke aa
chhup chhup ke aa

do pal ke din hain
rut hai suhaani
do pal ke din hain
rut hai suhaani suhaani
yaad se aaye hain aankhon mein paani
yaad se aaye hain aankhon mein paani
itna na hamko rula aa
itna na hamko rula
itna na hamko rula aa
itna na hamko rula
itna na hamko rula
itna na hamko rula


This article is written by Arunkumar Deshmukh, a fellow enthusaist 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 :

4245 Post No. : 15464 Movie Count :

4261

Today’s song is from an obscure film – Namak-47. Not only the film title was obscure but even the production House, the Director and even most of the cast too was practically unknown.

And no wonder. 1947 was an year which saw India’s Partition on religion basis. Pakistan was created and there was a stream of film people wanting to migrate. By the beginning of 1947 itself it was clear that there would be a Partition and those of the film industry who wanted to migrate, were in a great hurry to finish off their projects on hand at any cost before the D Day. Investors and artistes of various fields in film making tried their best to complete their films somehow. In this melee, quality of films became the casualty in most such cases, where migration hungry people were involved. This resulted in an unusually high number of films being completed and censored. The year 1947 recorded the maximum number of films – 181, since films were made. This record remained till 1988 when 185 Hindi films were made. So this record stood for 57 years !

This also reflected in the cast of several films, where to fill up vacancies, actors were recruited thoughtlessly. Most such excess people never appeared in films again ever. Film Namak was an example . The film was directed by Balwant B. Dave. He was actually a Cameraman. With the help of an investor S H Torani, he floated a Production company, Azad Pictures to produce film Namak. He also became a director of this film. It is another matter that this Production Company got dissolved after this one film, but Balwant Dave directed 3 more films – White face-48, Shahi Bazar-57 and Gogola-66. This Azad Pictures had even announced 2 more films, namely Kasturba and Voice of India. These ofcourse remained only on paper.

Similarly, the Music Directors were Shyam Babu Pathak and one Naresh Chandra. Though Pathak was an established composer, who remained active many years thereafter, Naresh Chandra was never heard again. Naresh Chandra even sang a song in this film. I have heard his song in this film and wondered who taught him singing. Looks like he went for recording straight from his bathroom !

The cast of film Namak-47 consisted of Dulari, Bhim, Dilawar, Habib, Neelam, Sharda, Chandrashekhar, and Sugandha. The names of Bhim, Sharada, Chandrashekhar and Sugandha were never heard by me after this film. The lead actress Dulari was a comparatively new one. having worked in small roles hetherto, this film was her first film as a Heroine. Earlier in film Adab Arz-43, she had played a side Heroine and the love interest of Mukesh. The Lyricist was Indivar and there were 5 songs in this film- 4 of them composed by Pathak and 1 by Naresh Chandra, the song being sung by him only. For 5 songs a total of 7 singers were used, out of which 4 were New names. These were, Anika Rizvi,Shabnam Hussaini, Naresh Chandra and R P Sharma. These four singers’ names were not heard by me earlier and never later also. They proved to be One time performers only, as far as I know.

In the cast there were two names, which were a part of “Same name Confusion” list. Those names are Heroine Dulari and singer Leela Mehta. Many times, I wondered why same names were used in the film industry at all ? Names like Nalini and Leela could be counted in as many as 5 to 6 artistes. My observation is , whenever the artistes used their Surnames along with own names, there was no confusion. A case in point is name ‘Leela’.

There were following Leelas in film industry…
Leela Chitnis
Leela Chandragiri or Pendharkar,
Leela Mishra
Leela Sawant and
Leela Mehta.

Similarly, there were Shanta Patel, Shanta Mujumdar, Shanta Apte, Shanta Hublikar and many such examples. Since Maharashtriyan actresses were keen on using their Surnames, they were hardly a part of SNC, with the exception of Leelas. Leela Desai and Leela Chandragiri were actresses who operated in same periods in films. Generally, their names were credited full. However some films listed their names as simply, Leela or Miss Leela. In case of Leela Chandragiri , she was listed variously as Leela, Miss Leela, Leela Chandragiri or Leela Pendharkar. This caused lot of confusion in updating their filmographies.

In film Namak-47, the singer was Leela Mehta. Luckily she was essentially a singer, except for one Hindi film-Shri Ram Avatar-50, in which she had acted also.Since she was almost always credited as Leela Mehta, she was not a part of any SNC. Thank God !

Daughter of Kanhaiyalal Mehta and Indumati, Leela was born on 10-12-1935 at Borivali in Bombay. She was elder of the two sisters. Due to loss in business, her family shifted first to Ahmedabad and later to Baroda, where they settled. Leela studied in Marathi medium school- New Era Vidyalay in Baroda. Leela participated in all functions of the school and acted in dramas, much to the annoyance of their social circle. She developed interest in singing after listening to songs by Khursheed and Kananbala. She started learning music despite the resistance from home and others in their society.

V.M.Vyas, the famous Director and a family friend knew about her interest and offered her main role in film Ranak Devi-46. She was just 11 year old and did not suit the role, but she was given another role in it. Kokila Balsara aka Nirupa Roy too acted in it as a Debut film.

Due to her father’s death, the family shifted to Bombay and Leela took the responsibility of being the bread earner by acting and singing in dramas and Radio plays. Meanwhile she learnt further music from Prof. Surendra Rao. She started acting and singing in Gujarati films. Ranjit Movietone offered her a big role in film Gunsundari-48, but since the role needed her to put on a Sleeveless Blouse, she refused that role. Finally, it went to Dulari. She, however sang songs in that film and they became quite popular in Gujarat.

Leela Mehta had grown up in Marathi atmosphere and also was educated in Marathi Medium, so her Marathi was very good. She was invited to work in Marathi dramas. She did roles in famous and popular Marathi dramas and also sang songs. From 1950 onwards, she started acting in Gujarati dramas. Meanwhile she used to sing in Hindi films occasionally. In early 50s, she mad very successful foreign trips with her troupe, to do Gujarati dramas and singing concerts.

Inspite of being successful and acting and singing in Marathi, Hindi and Gujarati films and dramas, her father did not see even one show of hers. This pained her till end. leela stayed in a Bungalow in Versova in Bombay. Once it was rumoured that there was a Ghost in it, she immediately left that house and shifted to Dadar. Inadvertently, she forgot to inform the industry about her change of address, and this diminished her demand drastically.

Her mother died in 1972. In 1982, she toured USA. In 1985, the Marathi Natya Parishad honoured her with a cash award. Till 1992, she acted in Marathi and Gujarati TV serials. In all, Leela acted in 300 Gujarati/Marathi dramas, films and serials. Leela was bedridden and unable to speak also.Her house was demolished. She was under the care of a close relative, Nitin Dahisariya. Finally, the news came that Leela Mehta expired in September 2019.

Leela Mehta acted in only one Hindi film- Shri Ram Avatar-50. She sang 17 songs in 9 Hindi films, including 2 Unreleased films.
Her Films are Nai Kahani-43 ( 2 songs), Gaurav-47 (1), Namak-47 (1), Pehli Pehchan-47 (2), Gunsundari-48(2), Satyawan Savitri-48..No information, Chocolate-50..No information, Shri Ram Avatar-50 (4) and Hanste Rehna-50 (1). Her unreleased films were, Apradh-48 (3) and Bidhata-48 (1).

The other Same name was that of Dulari. There was one more Dulari, since the silent days into the Talkie, but luckily the Sr. Dulari stopped working much before this Dulari entered films, hence there was no SNC.

The Senior Dulari was in silent films starting with film “Poona Raided”-1924, made by Deccan pictures Corpn,Bombay. She acted opposite Vishnupant Pagnis ( who became famous in the Prabhat Talkie film “Sant Tukaram”-1936 and won award in Venice Festival). The silent films were made till 1934. She continued acting in the silent films and when Talkie films started she did act in few Talkie films too. There is a record that she acted in 11 Talkie films. Her last film was Laylo Nihar-1936. Then there is no trace of her.

The Junior Dulari was born as Ambika Vithalrao Gautam, on 18-4-1928 at Nagpur. Her father was in P and T dept. She was called first as Rajdulari and later only Dulari remained. She had 2 younger brothers. Father left P and T job,and joined “Alfred – Khatau” drama company. They shifted to Bombay in 1939.

She started films with Jhoola in 1941. In “Adab Arz”-43, she was the love interest of Mukesh. In film Paapi-53, she was Raj kapoor’s second heroine. In film Namak-47, she first became a Heroine.
Lee
She got married to Sound Recordist Jagannath Jagtap in 1951. They had one daughter. He died in 1972.
She acted in 171 Hindi, 35 Gujarati and 3 Marathi and 1 Rajasthani film till last film Ziddi-1997.

She died on 19-1-2013 at Pune.

I have not seen this film. I saw few advertisements of this film in some old issues of Film India magazine. According to the ads, the film was a social thriller and Dulari played a Christian Convert in this film. The dialogues were by Pt. Anuj.

With today’s song, film Namak-47 makes its Debut on this Blog.


Song-Do hain naina hon chaar kaise (Namak)(1947) Singers- Leela Mehta, Yeshwant Bhatt, Lyricist-Indeevar, MD- Shyam Babu Pathak
Both

Lyrics

Do hain naina
Do hain naina
hon chaar kaise
Do hain naina
Do hain naina
hon chaar kaise
Do hain naina

koi kahe hamko pyaar hai
koi kahe hamko pyaar hai
Do hain naina
Do hain naina
hon chaar kaise
Do hain naina

kisi ka saath nahin
haathhon mein haath nahin
kisi ka saath nahin
haathhon mein haath nahin
?? sharmaaye aur intzaar kaise
?? sharmaaye aur intzaar kaise
Do hain naina
Do hain naina
hon chaar kaise
Do hain naina

karaar kiya nahin
karaar kiya nahin
karaar kiya nahin
dil bhi diya nahin
dil bhi diya nahin
dil koi(?) ho jaaye taiyyaar(?) kaise
dil koi(?) ho jaaye taiyyaar kaise

Do hain naina
Do hain naina
hon chaar kaise
Do hain naina

ek nazar
ek nazar ?? unko ghoorti(?)
ek nazar ?? unko ghoorti(?)
ek nazar man mein bana leti hoor ki
ek nazar man mein bana leti hoor ki

salaam (?)kar le ab kaise kaise
salaam (?) kar le ab kaise kaise
pranaam ka miley adhikaar kaise
pranaam ka miley adhikaar kaise

Do hain naina
Do hain naina
hon chaar kaise
Do hain naina


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 : 4231 Post No. : 15440

“Baazi”(1968), not as well known as “Baazi”(1951) was directed by Moni Bhattacharya for Golden Films Production, Bombay. The movie had Dharmendra, Waheeda Rehman, Johnny Walker, Mehmood, Helen, Ansari, Nazir Hussain, Ullhas, Chans Usmani, Amar, Manmohan, Keshto Mukherjee, Pinchoo Kapoor etc in it.

The movie had five songs in it. Three songs have been covered in the past.

Here is the fourth song from “Baazi”(1968) to appear in the blog. it is sung by Asha Bhonsle. Shakeel Badayuni is the lyritcist. Music is composed by Kalyanji Anandji.

This “dil toota” genre of song is picturised on Waheeda Rehman.


Song-Dil toota roye naina(Baazi)(1968) Singer-Asha Bhonsle, Lyrics-Shakeel Badayuni, MD-Kalyanji Anandji

Lyrics

dil toota aa
roye naina
dil toota aa
roye naina
ab pyaar samajh mein aa gaya
jab dekhi ee bewafaai
dildaar samajh mein aa gaya
dil toota aa
roye naina

kyun na mera dil jaley
dard ke angaaron mein aen
kyun na mera dil jaley
dard ke angaaron mein aen
be-khata hoke bhi
shaamil hoon khatawaaron mein
huye dil par sitam
to mohabbat ka gham
sarkaar samajh mein aa gaya
dil toota aa
roye naina
ab pyaar samajh mein aa gaya
dil toota aa
roye naina

mujhko ye badla mila
pyaar ke ehsaanon ka aa
mujhko ye badla mila
pyaar ke ehsaanon ka aa
rah gaya kissa adhoora
ab mere armaanon ka
na wo sapne rahe
na wo apne rahe
sansaar samajh mein aa gaya
dil toota aa
roye naina
ab pyaar samajh mein aa gaya
jab dekhi ee bewafaai
dildaar samajh mein aa gaya
dil toota aa
roye naina


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.

Blog Day :

4211 Post No. : 14410 Movie Count :

4246

Hindi Songs in Bangla Films: 15
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Recently, while browsing through the internet, I came across an old article, Gems that never got their due, published in the ‘Times of India’. The article lists 8 critically acclaimed Bangla films which have been forgotten mainly due to their commercial failures. Of the 8 such films, one film to which I got interested because of its unusual title was ‘Antariksha’ (1957) directed by Rajen Tarafdar. Luckily, the film was available for viewing on a video sharing platform with English sub-titles. Probably, after restoration, this film may have been shown in one or more of some international film festivals.

My awareness about the Bangla film personalities have been limited to those who had also been associated with Hindi films. Ranjen Tarafdar, the director of ‘Antariksha’ (1957) was a new name for me. A statement by the writer of the article referred to above that “Rajen Tarafdar was of the same school of thought as Satyajit Ray. He was a painter himself and would sketch each shot division before starting to shoot. ….” prompted me to know more about him. This took me to another article, Tale of a forgotten director which appeared in ‘The Statesman’ on the occasion of his birth centenary in July 2017.

Like Satyajit Ray, Rajan Tarafdar (07/06/1917 – 23/11/1987) got associated with the Bangla films with the background of working in an advertising company in Calcutta (Kolkata). A graduate from Government College of Arts and Crafts, Kolkata, Tarafdar joined an advertising company as a Graphic designer where he worked up to 1958. His debut film which he directed apart from writing dialogues and screen play was ‘Antariksha’ (1957). It is said that his style of working and uncompromising nature did not suit the Bangla film producers. Hence, during his 3 decades of association with Bangla films, he directed only 7 Bangla films – 6 between 1957-75 and the last one in 1987. He also acted in 4 films of which 2 were Hindi films – ‘Arohan’ (1983) by Shyam Benegal and ‘Khandhar’ (1984) by Mrinal Sen.

‘Ganga’ (1960) was Rajen Tarafdar’s second Bangla film which won a Certificate of Merit in National Film Awards, 1960. ‘Palanka’ (1975), his 6th film won the Best Feature Film in Bengali at National Film Awards, 1975. The reason as to why Rajen Tarafdar has been forgotten is that most of his films were not available for viewing. It is mainly during the last couple of years, his films were restored and now available for viewing on the video sharing platforms.

As mentioned earlier, ‘Antariksha’ (Space, 1957) was Rajen Tarafdar’s debut film which he made mostly with new actors except some character actors. The star cast included Chhabi Biswas, Kajal Gupta, Prabir Kumar, Dinen Gupta, Premangshu Bose, Padma Devi, Kalipada Chakraborty, Kamala Adhikari, Sandhya Roy etc.

The film’s story is weaved around Raja Babu (Chhabi Biswas), a landlord in a rural Bengal who is stubborn, dictatorial and egoist as expected in a feudal system that was prevalent in those days. As against this, one of his employees, Jayanta is honest and a sincere worker who has been brought up by the landlord as his own son. Hence, he has the liberty to discuss with the landlord without any hesitation. For instance, he suggests to landlord to give donation to a rural school. But the landlord disagrees. Jayanta tells him that as a landlord, he has also a duty to safeguard the interest of his subjects.

Jayanta likes Bani (Kajal Gupta), the daughter of a priest of a local temple and has the intention to marry her. He conveys his wish to the priest who agrees after some hesitation. The landlord after his wife convinces him, agrees to the proposal. The landlord takes care of all the marriage expenses. He even arranges for a courtesan to sing for his guests during the marriage functions.

However, soon after the marriage, a mystery breaks out when an unknown person visits his house and tells him that he is Gagan Ganguly, the husband of Bani. He also says that as a proof, he is in possession of a letter which mentions that Bani was married to him when she was 7 years of age. The fact is that Bani was indeed married to one Gagan Ganguly in her childhood. But he went missing immediately after the marriage with the dowry amount and jewelries. Since he was never found, he was presumed dead. Now the unknown person impersonating as Gagan Ganguly wants to blackmail Jayanta by making the letter public if he does not pay him Rs.25000/-. He had gotten hold of the crucial letter written by the Priest while pick-pocketing Jayanta’s his purse. The letter was to be handed over to Priest’s spiritual guru while on his visit to Varanasi for purchase of saris for the wedding.

Jayanta loves his wife who is pregnant. She is not aware of the mental agony Jayanta is going through. He cannot afford to pay Rs.25000/- to the blackmailer nor he can let the matter becomes public that he has married a girl who was already married in her childhood. Because of the agony, he starts reaching home very late. Bani starts questioning him as to why he so much immersed in thoughts. But he evades answer.

To come out of the blackmailer’s clutches, Jayanta decides to run away from the village in a bullock cart with his pregnant wife with cash taken from his landlord’s treasury without his knowledge. The blackmailer comes to know when he visits Jayanta’s house to collect the money. He chases and confronts Jayanta on the way to handover the money. In the shuffle, the blackmailer gets killed. Jayanta is arrested and is put behind bar for fraud and murder.

While all of the landlord’s staff and family members think that Jayanta is innocent, the landlord is not convinced. Jayanta’s well-wisher tried to get him bail so that he can look after his pregnant wife whose health has deteriorated. The only person who can arrange bail for Jayanta is the landlord who is not willing to pursue his bail application. It is now the Priest who tell the landlord true facts from the letter written by Bani’s grand mother requesting him to adopt Bani as his own daughter when Gagan Ganguly, Bani’s husband had deserted her. Though, this leads to soften his stand against Jayanta, still he is not convinced as to why Jayanta had fraudulently taken money from his treasury to run away from the village. Since all his family members including his wife, real son and daughter-in-law, all his staff has gone to be with Jayanta’s wife who is seriously ill, he feels isolated and has a change of heart. The film ends with landlord visiting Jayanta’s house to enquire about Bani’s health and then proceeding to the police station on his horse carriage to wriggle Jayanta out of the piquant situation.

The director has presented this film in a very realistic way. Even though at some points, the story moves slowly, the film was not boring. Much of the story has been told by way of expressions and gestures of the artists supplemented by an excellent background music by Sarod maestro Ustad Ali Akbar Khan. He has prominently made use of the combination of Sarod, Sitar and Flute for the background music. Dialogues are minimal and that too mostly short – one or two sentences. The romantic scenes are shown in a subtle manner in keeping with the rural setting. There are some poignant scenes in the latter part of the film without much melodrama.

The film has only one song, that too a mujra song in Hindi which a courtesan sings on the occasion of the marriage of Jayanta with Bani. The song is ‘taras taras gaye nain bichaare’ sung by Pratima Banerjee and Swarooplata. The song is written by Pandit Bhushan which is set to music by Ustad Ali Akbar Khan.

Video Clip:

Audio Clip:

Song-Taras taras gaye nain (Antariksha)(Bangla)(1957) Singers-Pratima Banerjee, Pratima Banerjee+ Swarooplata, Lyrics-Pt Bhushan, MD-Ustad Ali Akbar Khan

Lyrics (Based on video clip)

taras taras gaye…ae nain
o o o o o o
o o o o o nain
haay
taras taras gaye nain bichaare
taras taras gaye nain bichaare
taras taras gaye nain bichaare
piya ke daras ko ye matwaare
piya ke daras ko ye matwaare
taras taras gaye nain

kabhoon tu aahiyen mukh dikhalainhen
kabhoon tu aahiyen mukh dikhalainhen
haan mukh dikhalainhen
dukh se kati hain din rain
haan more raam
dukh se kati hain din rain
o more raama
taras taras gaye nain bichaare
taras taras gaye nain

more piya jab angna milaihain
more piya jab angna milaihain
phulwa ki aankhen chhil chhil jaihain
haan chhil chhil jaihain
ho chhil chhil jaihain
mann mein basi hain sukh chain
haan more raam
mann mein basi hain sukh chain
o more raama
taras taras gaye nain bichaare
taras taras gaye nain

more piya aa aa aaa aa aa jab
more piya…..aaaa aa jab
gharwa mein..aen hain
more piya jab gharwa mein aaihain
more piya jab gharwa mein aaihain
roothhi hoon main piya moko manaihen
moko manaihen
haan moko manaihen
bole hain meethhe meethhe bain
o more ram
bole hain meethhe meethhe bain
o more rama
taras taras o o
piya ke daras ko
taras taras gaye nain bichaare
taras taras gaye nain


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 :

4211 Post No. : 14409 Movie Count :

4245

Today’s song is from the film Nav Jeevan-1939. It was a film made by Bombay Talkies, one of the heavyweight film making companies of those times. Bombay Talkies and Prabhat Film company of Poona were the companies that tackled offbeat and social reform issues through their films. They generally, combined social work with entertainment successfully and therefore their films became popular.

The owners of Bombay Talkies, Himanshu Roy and Devika Rani were Bengali. The company, no doubt, helped and gave opportunities to many capable Bangla artistes in different fields of film making, like cinematography, direction, acting etc. However, they were also known to recognise talents and offered opportunities to right persons irrespective of language, caste or religion – Bangla or non Bangla. Both the owners were foreign educated and Himanshu Roy had been in Germany to make films. Very few people know that his first wife was a German lady !

The couple had a soft corner for Germans because of their personal experiences. This was evident from the fact that Bombay Talkies had employed a team of German Technicians and other specialists like Director, Cinematographer etc. In the early stages of Bombay Talkies, from 1935 to 1939, almost all their films were directed by Franz Osten – a German.

Germany had a very good name in India during the olden days i.e. during the early part of the last century. I remember, my Grandfather ( who expired in 1975 at the age of 91 years) always praising Germany for so many things. In India, all things German were considered the Best- even better than the Vilayati or the British things !

Very few people know that Indian Cinema had a little known connection with the rise of Hitler in Germany in 1932-33. A group of men engaged in Cinema in Germany, flocked to India in the 30’s and played a vital role in Indian Cinema and the arts of that times. After Hitler took over Germany in 1933, the German Cine Studio’s glory days were over and they were turned into Nazi Propaganda Machines !

It was at this time that several of its men ( mostly persecuted Jews) left the studio and some arrived in India, and contributed to Indian cinema’s formative years.

The foremost among them is Frantz Osten, a German whom Himanshu Rai and Devika Rani met at the USA when they went to train there (they worked with Lang and Marlene Dietrich). Osten had already been directing films for the couple since 1925, when he made Light of Asia for them from Germany.

In 1934, he came to India and the next year, after Rai founded Bombay Talkies ‘the legendary film studio in Malad that now lies in ruins,’ Osten directed its first film.

He went on to direct the famous Devika Rani-Ashok Kumar starrer, Achhyut Kanya, without much knowledge of Hindi. The film, which featured the song “Main ban ke chiriya”, was shot by Cinematographer Joseph Wirsching; the sets were designed by Karl von Spreti, the laboratory was headed by Zolle, and the sound recordist was Len Heartley. This was Osten’s team of USA ex-members who worked for Rai’s state-of-the-art studio.

Osten and his fellow Germans directed 16 films for Rai. It was a remarkable feat for people who knew little Hindi mistaking the word “bulbul” once, for a pair of bulls.

“It’s not clear if they had anything to do with the Nazi ideology, either way,” said film historian Amrit Gangar.

“If they did, it did not show in their films. But there were two other people who almost certainly migrated to India because of the persecution of Jews.”

Franz Osten(23-12-1876 to 2-12-1956) Hindi director, was born in Munich as Franz Ostermayer, the elder brother of successful producer Peter Ostermayer. They set up a travelling cinema, Original Physograph (1907) and founded Munchner Kunstfilm (1909) after Osten had been making shorts for Pathé, Gaumont and Eclair. Their first feature: Die Wahrheit (1910). Osten’s début as director: Erna Valeska (1911). War correspondent in 1915. Joined Peter’s company Emelka (later Bavaria Film) in 1918. Made Der Ochsenkrieg (1920) with young cameraman Frank Planer of later Hollywood fame, one of Osten’s several contributions to a budding genre that after WW2 became known as the Heimatfilm. In fact, the Ostermayr/Osten brothers claimed to be the originators of the genre.

When Himanshu Rai and Emelka made a deal to produce Prem Sanyas aka Light of Asia, Osten was assigned to direct. Continued directing Rai’s productions, often shooting in India as well as in Europe, in addition to directing for numerous companies in Berlin. Moved with cameraman Josef Wirsching and set designer Karl von Spreti to India to work at Himansu Rai’s Bombay Talkies (1934).

While in Bombay, became a member of the Nazi Party (1936). He was interned by the British at the outbreak of WW2 while shooting his last film there, Kangan. Released and allowed to return to Germany (1940). Employed by Bavaria Film until 1945, for casting and setting up its film archive. In addition to Indian films, directed 33 silent features and 10 sound films.

After WW2 became manager of a Bavarian spa. His Indian films, following UFA tradition, were huge Orientalist spectacles with elephants, camels and expansive vistas often shot in deep focus. Effective authorship shared by producer Rai and scenarist Niranjan Pal. Adopted European conventions to introduce main actors, e.g. backlit mid-shots in soft focus gradually becoming more contrasted; also used mobile outdoor shots as in the railway-crossing sequence of Achhut Kanya. Strongly influenced younger Bombay Talkies film-makers Amiya Chakrabarty and Gyan Mukherjee, though they used his techniques for very different purposes.

Filmography-1925: Prem Sanyas, 1928: Shiraz, 1929: Prapancha Pash, 1935: Jawani Ki Hawa, 1936: Achhut Kanya, Janmabhoomi, Jeevan Naiya, Mamata, Miya Bibi, 1937: Izzat, Jeevan Prabhat, Prem Kahani, Savitri, 1938: Bhabhi, Nirmala, Vachan, 1939: Durga, Kangan, Navjeevan

In addition to the German team in Bombay Talkies, there were three more Germans who also came to India and worked in Hindi films. One was Walter Kauffman (1-4-1907 to 9-9-1984). The other was Wilhelm Haas (18-6-1915 to 30-3-1979), who was a writer. Both were Jews and friends. Kauffman, Haas and Bhavnani worked together in Premnagar (1940), Naushad’s first film as music director. Kauffman composed the background score; Haas wrote the screenplay.

“It is debatable, but Kauffman is probably also the person behind the All India Radio signature tune. Haas was a member of the Indian chapter of PEN,” Gangar said. Haas also wrote the script for Bhavnani’s Jhooti Sharam (1939).

The third German was Paul Zils ( 1-6-1915 to 30-3-1979 ). Zils, believed to be a Nazi sympathizer, turned up in India under strange circumstances: he was bound for Indonesia in a steamer that got torpedoed by an Indian naval ship during World War II and he was taken prisoner.

After his release, because of his film experiences, the leadership of the sales department in Ezra Mir led government documentary production company called him to join Information films of India. End of October 1945, he came to Bombay and started his work. Following the closure of the Information Films of India, Zils was freelancing and in 1948 founded his own company Documentary Films of India; in 1949 India created new state production company Films Division. To popularize the documentary he was supported in 1949 among others by Mulk Raj Anand , B.K.Karanjia , Vikram Sarabhai , Frene Talyarkhan and Jagmohan.

1950-1952 is Zils tried as a feature film director, turning three films with Dev Anand. Paul Zils directed 3 Dev Anand films, according to the documents. Hindustan Hamara-50 and Zalzala-52 are found in HFGK, but the third film called ‘ Shabash”, though listed in 1949, gives no details, except the film name.

Paul Zils was also active in organizations of filmmakers. From 1957 to 1959 he was president of the Indian Documentary Producers Association (IDPA). In March 1959 he returned to Germany.

As the studio system came to an end and individual producers took over, the days of the Germans in Indian cinema were over. Many, including Osten, went back to Germany. Set designer Spreti was appointed German ambassador to Guatemala and was later shot dead by terrorists.

Most of the others remained associated with the film world abroad.

Film Nav Jeevan-39 had music by Saraswati Devi (a Parsee). Amongst the first 3 women Music Directors of India – the first being Ishrat Sultana aka Bibbo, the second was Jaddanbai and then came Saraswati Devi (1912-10.8.1980) – she was the most consistent and prolific composer. She gave music to 31 films, composing 262 songs. She also sang 10 songs in 6 films.

The cast of the film was Hansa Wadkar, Rama Shukul, V H Desai, Mumtaz Ali, P F Peethawala, Lalita Deulkar and many others. Today’s song is written by J.S. Kashyap and this duet is sung by Lalita Deulkar and Balwant Singh.

LALITA was born in Bombay in 1924.She was not interested in acting or singing, but poor family conditions and father’s T.B. forced her to earn a living by singing and acting. During 1940-45, she recorded many songs. One Mr. Dulerai Pandya, a Gujarati, owned “The National Recording Co.Ltd.” in Bombay’s fort area. There was a Tricolour shown on the labels of the records,hence this company was known as Jhandewali record co.. V.Shantaram was also on its Board of Directors. Initially Prabhat and later Rajkamal film songs were issued on this Jhanda Chhap records only. The company had hired Datta Davjekar for Marathi and Avinash vyas and Lallubhai Bhojak for Hindi and Gujarati songs. She recorded many Darya songs and Bhavgeets in this company.Along with her, Gajanan Watwe, Jyotsna Bhole also recorded songs here. Some records named her as Lalita Devi. Once Saraswati Devi heard her and gave her chance to do small roles and sing in chorus of songs of Bombay Talkies films. Her Debut was made with the song ” Raja hamen na niharo”. It was a duet with Balwant Singh, in film Navjeevan-39.

After singing songs in films like Parbat pe apna dera-44,Valmiki-46 and Eight Days-46,she got a good break in film Saajan-1947. Her duet with Rafi, ” Humko tumhara hi aasra” is remembered even today. Film Nadiya ke paar-48 also had a duet with Rafi,”More raja ho,le chal nadiya ke paar” which was very popular. C.Ramchandra was MD for both these films. She sang in several other films like Bhakta Dhruv,Khidki,Jalan,Shaheed,Shakti,Vidya,Bedard,Daulat,Girls school,Jai Bheem,Roshni,Sanwariya,Shabnam,Apni Chhaya,Malti Madhav,Pahli Tarikh,Sajni etc.

In all she acted in 5 films and sang 79 songs in 36 films.

She got married to Composer Sudhir Phadke (25-7-1919 to 29-7-2002),on 29-5-1949 at Poona. Their common friend Mohd. Rafi sang a specially prepared and meticulously rehearsed ” Mangalashtak ” ( an eight stanza marriage song in Marathi), in their marriage. After marriage she sang only in films of Sudhir Phadke. After Sajni-56, she stopped singing completely and became a devoted housewife. She died on 25-5-2010. Their son Shridhar Phadke is a well known Marathi singer and composer.

The male voice in this duet belongs to Balwant Singh. BALWANT SINGH was born in Pandoga village of Hoshiyarpur on 9-12-1918 in a Jahagirdar’s family. He was quite rich.

After a training from Pt.Bhishmadev in classical music, he came to Bombay and joined Bombay Talkies at the age of 18 years. He first gave Playback in Jeevan Prabhat-37. In Nirmala-38 he acted and also sang a song. Then came Durga-39 where also he acted and sang.

V.Shantaram cast him in Padosi-41 and his songs in this film were hits.

He was Hero in Darpan, Swapna, Malan, Naukar, Paraya Dhan, Ashirwaad, Collegian, Dr.Kumar, Bhanwar, Hip hip hurray and Apni chhaya-50 etc. As a hero he sang less songs. His songs with Shanta Hublikar(Malan) and Parul Ghosh and Khan Mastana(Bhanwar) were very popular. He also acted in Nirmala,Vachan and Kangan.

In all, he acted in 18 films, sang 20 songs in 10 films and also wrote 6 songs in film Sumitra-1949.

He married a girl from the royal family of Palanpur, Gujarat. After leaving films, he worked in All India Radio for 4 years. The signature tune played just before the morning broadcast was composed by Balwant Singh, for A.I.R.

Then he settled in Ahmadabad, directing Dramas and Teaching music. Finally, he shifted to Ludhiana where, after a long illness, he died on 4-12-1985.

With today’s song, film Nav Jeevan-1939, makes its Debut here.

( Some information used herein is from the book ” The music that rings every dawn ” by Historian Amrit Gangar ji, The Record news Bulletins of S.I.R.C , Prof. Yogesh yadav ji’s book ” Hindi film singers ” and Encyclopedia of Indian Cinema. My thanks to these sources.)

Audio

Video

Song-Raja hamen na nihaaro (Navjeevan)(1939) Singers-Lalita Deulkar, Balwant Singh, Lyricist- Jamuna Swarup Kashyap ‘Natwan’, MD-Saraswati Devi
Both

Lyrics

Raja hamen na nihaaro
o raja hamen na nihaaro
hamen to lag jaayegi najariya
ho raam
hamen to lag jaayegi najariya re

tirchhi najariya patri kamariya
tirchhi najariya patri kamariya

chhedo hamen na sanwariya
haan haan
chhedo hamen na sanwariya
haan haan
chhedo hamen na sanwariya
hamaari baali umariya
ho raam
hamen to lag jaayegi najariya
ho raam
hamen to lag jaayegi najariya re

kaun des se aayi gujariya
kaun des se aayi gujariya
ka matki bhar laayi gujariya
ka matki bhar laayi gujariya

brindawan ?? aayi gujariya
prem preet ras aagi gujariya
brindawan ?? aayi gujariya
prem preet ras aagi gujariya
daasi tihaari rasiyaa
haan haan
daasi tihaari rasiyaa
haan
daasi tihaari rasiyaa
sang sang beete umariya
ho raam
hamaari beete umariya
ho raam
hamaari beete umariya re


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.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 :

4204 Post No. : 15393 Movie Count :

4243

Today’s song is from an obscure film ‘Angoori’ (1943).

The film was produced by The Indian Art Pictures, Bombay. This was a new company formed and this film was their first venture. They did not have their own studio, like many other producers. Due to the second world war, many new financiers turned to film making, using their black money earned during the rationing of many essential commodities. Even the raw film stock, used to make a movie, was controlled and naturally was available in black market freely at a premium price. Such producers got their films shot in some established studios by renting a shooting floor. The prolific film company, Ranjit, had reserved 2 floors out of their 8 shooting floors, only to be given on rent to such producers. Film ‘Angoori’ was shot in the studios of Circo Production company.

The film was based on a novel by writer LK Shukla. For the director, Mahesh Kaul, this was his debut film as a Director. So far he had been only a writer and a sundry actor in films.

Mahesh Kaul (10-4-1911 to 2-7-1972) was born in Lahore and educated in Moni College, Nagpur. After graduation, he worked as a journalist and a bank manager. He then entered films as a lyricist and dialogue writer. He debuted as an actor in KA Abbas scripted film ‘Naya Sansar’ (1941) and played Dronacharya’s role in film ‘Mahatma Vidur’ (1943). His other films as an actor were ‘Apna Ghar’ (1942), ‘Gopinath’ (1948), ‘Kaaghaz Ke Phool’ (1959) and ‘Tere Mere Sapne’ (1971). His first film as a director was ‘Angoori’, then came ‘Paristan’ in 1944. He produced and directed film ‘Gopinath’, with Raj Kapoor and IPTA actress Tripti Mitra. Some of his major films as a director are ‘Naujawaan’ (1951), ‘Aakhri Dao’ (1958), ‘Talaaq’ (1958), ‘Sautela Bhai’ (1962), ‘Palki’ (1967), ‘Sapnon Ka Saudagar’ (1968) etc. In all he directed 15 Hindi films. His last film ‘Agni Rekha’ came after his death, in 1973.

The music director for this film was GM Durrani and the lyricist was Rammurty Chaturvedi. Earlier, when the film was planned and an advertisement was published in ‘Film India’ magazine, the film had given the name of Pt. Indra as the lyricist, but later on probably he was replaced by Rammurty. The cast of the film was Ulhas, Kaushalya, Dar Kashmiri, Mukul, Chandrahas, Sunetra, PR Joshi, Angre, Ranjan, Peer Muhammad, Mukul etc. This was Durrani’s first film as an MD.

Ghulam Mustafa Durrani, often abbreviated as GM Durrani (1919 – 8 September 1988) was a popular and legendary Indian radio drama artist, playback singer, actor and music director. To his credit, he tried to make his own identity as a playback singer and not try to follow the KL Saigal type of singing. GM Durrani was notable for sad songs, romantic songs, patriotic songs, Quraan Khani, qawwalis, ghazals and bhajans. He was also one of the first Muslim singers to get to sing Hindu Devotionals. GM Durrani was also the most senior Punjabi singer-actor at that time. He was radio drama artist and full-time singer of Lahore, Delhi and Bombay stations of AIR (All India Radio, aka Akashvani (radio broadcaster)). His native language was Pashto but he had a strong command over Hindi, Urdu and Punjabi. He sang in many Indian languages including Hindi, Urdu, Punjabi and Pashto language in Indian movies in the 1930s, 1940s and 1950s. After the 50s Durrani sang very few songs. Durrani was the disciple of radio broadcaster Zulfiqar Ali Bukhari.

Ghulam Mustafa Durrani was born in Peshawar, British India in 1919. He was a Pathan (Pashtun) and belonged to the Mohammad Zai Durrani Kabila. He was from a conservative family where even tea was not taken. Milk and lassi were the drinks of choice. When he used to go to those shops and some songs used to be heard, he used to hum along with them. Everyone used to say this boy should go to Bombay, as his voice was very good. The thought of becoming an actor entered his mind as well. He soon ran out of money to make ends meet.

His mother had expired when he was very young. Father was educated and of artistic mind but very strict, and the only ally at the home was his loving grandmother. But she could also not protect him from his father’s anger.

The last job Durrani did in Peshawar was of at a painter’s shop where an artist always used to hum the tunes of the songs composed by highly respected composer and actor Rafiq Ghaznavi. He also started imitating those songs and got appreciation from the colleagues which inspired him. Durrani started practising Rafiq Ghaznavi’s songs and assumed him as his master. During this time, his father took him to another job at his uncle’s motor-part shop. But the artist within, didn’t stay long there and Durrani ran away from the home to Lahore with only 22 rupees in his pocket.

In Lahore, Durrani did odd jobs along with singing on radio. This brought him fame and passion for radio singing which took him to Delhi first, and then to Bombay. He came to Bombay on 14 April 1935. In Bombay, he got somehow a job at the Radio Station and from here he got recognition. Film wallahs started calling him to sing.

His singing career started from AIR. Durrani was discovered by film producer Sohrab Modi of Minerva Film Company (later known as Minerva Movietone). Modi gave him his first break around 1935-36 in the movie ‘Saed-e-Havas’ (1936), a historical under the music director, classical musician Bundu Khan popularly known as ‘Taan-Talwar‘ Bundu Khan.

When Durrani came to Bombay playback system was not there and one had to act on screen. He didn’t like running around trees and refused to work further. He faced a lot of difficulties and could not return as people would call him a ‘Kanjar‘. Minerva was reportedly to close down soon too. He soon joined the Delhi Radio Station of AIR (Akashvani). Durrani was working at the Delhi Radio Station where he got acquainted with poet Behzad Lakhnavi whose many ghazals had been sung by Mallika-e-Ghazal (Queen of Ghazals) Akhtari Bai Faizabadi, later to become famous as Begum Akhtar.

He later shifted to the Bombay Radio Station where he met a big personality at the time, whom he considered his ustad (master), Station Director of Bombay station of AIR (Akashvani), Baba-e-Nasharayat (Father of Broadcasting) Zulfiqar Ali Bukhari who helped the radio station come up a lot. Durrani always referred to Zulfiqar Ali Bukhari as ustad as a mark of honour. (ZA Bukhari, was the Station Director of Delhi station and then Bombay station of AIR (Akashvani). After the partition of India and creation of Pakistan, Bukhari migrated to Pakistan. He was made the first director-general of Radio Pakistan (Pakistan Broadcasting Corporation) and later, he served as general manager of PTV (Pakistan Television Corporation)).

Durrani’s salary was fixed at Rs 40 per month. Here he was working as a drama artist. He was soon counted as one of the best drama artist on the radio those days. Over a period of three years his salary had gone up to Rs 70 per month. But fate would soon call him back to films. In 1939-40, when the method of playback singing was already in use, he returned to films, to lend his voice for a film titled ‘Bahurani’ (1940) as his first playback singing assignment. The film was made by Sagar Movietone and its music director was Rafiq Ghaznavi. Durrani was then working as a full-time Singer in AIR (Akashvani). Those were British days and they were not allowed to do any private recordings. But Ghaznavi insisted. and Durrani laid down some conditions, like; the recording should be fixed on a Sunday night so that no outsiders would be allowed to enter the studio. Secondly, he said that his name shouldn’t appear in credit titles or on discs. The song was a duet with Miss Rose, an Anglo-Indian, who didn’t have much experience as a singer. He was paid Rs. 75 for the song as against his salary of Rs. 70 a month at AIR (Akashvani). He then left  his job at AIR on 31st December 1940 and decided to concentrate fully on his film career.

Thereafter he sang for, among others, noted music directors like Khawaja Khurshid Anwar, friend Naushad, Shankar Rao Vyas and AR Qureshi (also known as Alla Rakha, Pandit Ravi Shanker’s famous tabla accompanist) for films like ‘Namaste’ (1943), ‘Shama’ (1946), ‘Mirza Sahiban’ (1947), ‘Magroor’ (1950), ‘Sabak’ (1950), ‘Humlog’ (1951) and scores of others. He became very popular. Many singers started their careers with him and he inspired many others too.

He was the idol of Mohammed Rafi who imitated him in the initial days. Now what could be a better tribute to singer than that, that the symbol of divinity in the Indian Music Industry, Mohammad Rafi, followed him. In fact, in 1944 Rafi recorded what he considered his first Hindi language song for the film ‘Gaon ki Gori (1944) for Shyam Sunder, “Aji Dil Ho Kaaboo Mein To Dildaar Ki Aisi Taisi” with GM Durrani and chorus.

Geeta Dutt also started her career in her break through movie ‘Do Bhai’ (1947) with the song “Aaj Preet Ka Naata Toot Gaya“, a duet with GM Durrani for SD Burman.

Similarly, “Haaye Chhore Ki Jaat Badi Bewafa“, (in film ‘Chaandni Raat’, (1949), a duet with GM Durrani, was Lata’s first song for composer, Naushad.

Durrani has sung many songs during his career. His output later reduced. According to a story he was influenced not to sing for some time after his Hajj visit and Rafi then helped him get back to singing but by then his career was over. Music composer Khawaja Khurshid Anwar in his first film ‘Kurmai’ (Punjabi-1941) took Durrani as his assistant and later gave him the film ‘Angoori’ (1943) as music director.

In the period of KL Saigal – Surinder, Khan Mastaana and GM Durrani were also famous. GM Durrani was one of the 40s legendary playback singers. Durrani tried to make his own identity as a playback singer and not try to follow the KL Saigal type of singing. His singing style was to inspire Rafi and others in the years to come. Later GM Durrani became a model to many playback singers who followed then. The soulful renditions of Durrani were to be reminded of by Talat’s singing as well.

Mohammed Rafi was influenced most notably, by GM Durrani on whose style he based his singing. He sang with his idol in some of the songs such as “Humko Hanste Dekh Zamana Jalta Hai” (Hum Sab Chor Hain, 1956) and “Khabar Kisi Ko Nahin Wo Kidhar Ko Dekhte Hain” (Beqasoor, 1950).

Durrani considered his first famous song was “Duniya Mein Sab Jode Jode” of the film ‘Sharda’ (1942) composed by Naushad.

The song “Neend Hamaari Khwaab Tumhaare Kitne Meethe Kitne Pyaare“, that made him a real rage was however composed by Shyam Sundar for the movie ‘Nai Kahaani’ (1943). This song, sung most part by GM Durrani with some support by child-star Balakram, was playing everywhere. When he sang, this song, the listeners went crazy. This timeless melody can never be forgotten by fans of Indian Cinema. Nearly 40 years later, when Tata Oil Mills did a program Mortal Men Immortal Melodies to celebrate fifty years of talkies in India, they invited him to re-render the song. Although many had forgotten him, his voice was still great and he got a standing applause for it.

There was a time when GM Durani was the favourite and most preferred singer for most composers in the industry. From 1941 to 1951, he sang over 300 songs. He is a case of “Riches to Rags”. Once a rich and famous singer,he spent his last few years fighting with throat cancer, poverty and loneliness. His end was quite pathetic.

GM Durani was a leading singer, like Surendra. The difference was Surendra sang only in his own films and thus had limitations,but Durrani was a playback singer, without much competition. In the 40s, there were hardly any male Playback singers,because most singers were actors themselves and sang their own songs, like Asit Baran. Karan Dewan, Ashok Kumar, Prem Adeeb, Arun Ahuja, Balwant singh, CH Atma, Ishwarlal, kantilal, KL Saigal, Pahadi Sanyal etc. There were of course few playback singers like Khan Mastaana, SD Batish, AR Oza, Balbir etc., but they were no competition to Durrani at all.

Because of this ,some singers were jealous of him and there was an attempt to poison him with Mercury Chloride (sindoor) given in a paan  by another well known singer. All relevant stories point out fingers to Hafeez Khan Mastaana in this incident as the culprit. Before he could confess, which he wanted to it seems, Mastaana died in absolute poverty and in total neglect near Mahim Dargah.  Later on his only son used to be seen begging there for quite some time. One of the RMIM members had met him there.

After singing assignments dried up, he opened a provision stores in Mahim, Bombay and ran it for 3 years. Finally, when the losses mounted, he sold off the business in loss.

In his last days, Durrani had throat cancer. He was looked after well by his sons and daughters. In his last days, he was interviewed by the famous writer Shri Rajnikumar Pandya ji. After I came to know Shri Pandya ji, he kindly gifted me a CD containing this last interview of Durrani. The interview was conducted just one day prior to his death . So I have not only Durrani’s real voice, but also a song he sang from his deathbed for this interview ! Thanks to Shri Pandya ji. GM Durrani, in that last interview claimed that he had helped both financially and professionally two rising singers – Mohd. Rafi and Lata Mangeshkar, in their initial struggling period. He describes his first meetings with them in the interview.

GM Durani sang many memorable songs like, “Haath Seene Pe Jo Rakh Do To Qaraar Aa Jaaye“, with Noorjehan in ‘Mirza Sahiban’ (1947), “Laara Lappa Laara Lappa Laai Rakhda” with Lata in ‘Ek thi Ladki’ (1949), “Nazar Phero Na Ham Se” with Shamshad Begum in ‘Deedar’ (1951), “Gaaye Chala Jaa“, with Lata in ‘Hum Log’ (1951), “Humko Hanste Dekh Zamana Jalta Hai” with Rafi in ‘Hum Sab Chor Hain’ (1956. Durrani sang about 300 songs. His last song came in ‘Lal Pathar’ (1971). Co-incidentally, in this last film, he also appeared on screen, lip syncing a song by Mohd Rafi – “Unke Khayaal Aaye To Aate Chale Gaye“.

GM Durrani acted in 16 films, from 1949 to 1978. He sang 305 songs in 168 films. He gave music as MD in 8 films and also wrote lyrics in film ‘Nazaare’ (1949).

An odd name in the cast of ‘Angoori’ is Dar Kashmiri. A little information about this name. He was the eldest brother of Omkar Nath Dar aka OK Dar  aka Jeevan.

Om Prakash Dar was born into a  large family. He had 23 siblings. His grandfather was the Governor of Gilgit in Gilgit-Baltistan. He lost his father when the youngest- Jeevan – was 3 years old and his mother died at childbirth. Being the eldest, he came to Bombay in search of jobs and entered films. Instead of his original long name, he was called Dar Kashmiri.

Actually, when Jeevan came to Bombay in search of film roles, Om Prakash Dar aka Dar kashmiri, his elder brother, was already working in films. Jeevan appeared first time in ‘Fashionable India’ (1935). Since his name was Onkar Nath, he was billed as OK Dar (and not Dar Kashmiri – please note).

His elder brother Dar Kashmiri worked in many films- some of them are – ‘Noor Mahal’ (1934), ‘Watan Parast’ (1934), ‘Yaad Rahe’ (1940), ‘Abla’ (1941), ‘Saugandh’ (1942), ‘Angoori’ (1943), ‘Naya Taraana’ (1943), ‘Room No. 9’ (1946), ‘Hua Savera’ (1948′, ‘Kundan’ (1955) and ‘Ayodhyapati’ (1956). and many other films. In every film, he was billed as Dar Kashmiri only.

Jeevan was billed as  OK Dar (Jeevan) from film ‘Romantic India’ (1936) onwards and then on as Jeevan only – except still a few films where he was billed as OK Dar (Jeevan). In film ‘Patit Paavan’ (1955), both brothers acted and they were individually billed as Jeewan and Dar Kashmiri. This settles their name issue completely.

Let us now listen to this duet. With this song, film ‘Angoori’ of 1943, makes its debut on the blog.

(Information about GM Durrani here, is based partly on an article in www.peoplepill.com and from Rajani Kumar Pandya ji’s book ‘Aap ki Parchhainyan’. I acknowledge and my thanks to both. Information on Dar Kashmiri is from Filmdom-46).


Song – Nainon Mein Naina Deenho Daal. . . O. . . Baanke Naina Waale (Angoori) (1943) Singer – Kaushalya, GM Durrani, Lyricist – Ram Murty Chatruvedi, MD – GM Durrani
Kaushalya + GM Durrani

Lyrics (Provided by Sudhir)

nainon main naina deenho daal
nainon main naina deenho daa..aal
oo oo ooooo
baanke naina waale
nainon main naina deenhi daal
nainon main naina deenhi daa..aal
oo oo ooooo
baanke naina waali
nainon main naina deenho daal

jaat dagariya lad gaye sajni
jaat dagariya lad gaye sajni
chanchal nain hamaare
chanchal nain hamaare
chhail tere zulmi nainon se
chhail tere zulmi nainon se
nain hamaare haare
nain hamaare haare
oo oo ooooo
baanke naina waale
nainon main naina deenhi daal
nainon main naina deenhi daa..aal
oo oo ooooo
baanke naina waale
nainon main naina deenho daal

baney baawre pyaase naina
baney baawre pyaase naina
ab to naa tarsaao
ab to naa tarsaao
bas kar ke nainon mein pi
bas kar ke nainon mein pi
nainon ki pyaas bujhaao
nainon ki pyaas bujhaao
oo oo ooooo
baanke naina waale
nainon main naina deenho daal
nainon main naina deenho daa..aal
oo oo ooooo
baanke naina waale

nainon main naina deenho daa..aal
nainon main naina deenho daa..aal

————————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————————

नैनों में नैना दीन्हों डाल
नैनों में नैना दीन्हों डा॰॰ल
ओ ओ ओss
बाँके नैना वाले
नैनों में नैना दीन्हीं डाल
नैनों में नैना दीन्हीं डा॰॰ल
ओ ओ ओss
बाँके नैना वाली
नैनों में नैना दीन्हों डाल

जात डगरिया लड़ गए सजनी
जात डगरिया लड़ गए सजनी
चंचल नैना हमारे
चंचल नैना हमारे
छैल तेरे ज़ुल्मी ननों से
छैल तेरे ज़ुल्मी नैनों से
नैन हमारे हारे
नैन हमारे हारे
ओ ओ ओss
बाँके नैना वाले
नैनों में नैना दीन्हीं डाल
नैनों में नैना दीन्हीं डा॰॰ल
ओ ओ ओss
बाँके नैना वाली
नैनों में नैना दीन्हों डाल

बने बावरे प्यासे नैना
बने बावरे प्यासे नैना
अब तो ना तरसाओ
अब तो ना तरसाओ
बस करके नैनों में पी
बस करके नैनों में पी
नैनों की प्यास बुझाओ
नैनों की प्यास बुझाओ
ओ ओ ओss
बाँके नैना वाले
नैनों में नैना दीन्हों डाल
नैनों में नैना दीन्हों डा॰॰ल
ओ ओ ओss
बाँके नैना वाले

नैनों में नैना दीन्हों डाल
नैनों में नैना दीन्हों डा॰॰ल


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Blog Day : 4198 Post No. : 15381

“Sangdil” (1967), unlike “Sangdil”(1952) is a less known movie. It was directed by Dharam Kumar for Alamdeep Productions, Bombay. This B grade movie had Manohar Deepak, Bhagwan, Johnny Walker, Surendra, Ameeta, Dara Singh, Anwar, Indira, Satish etc in it.

“Sangdil”(1967) had five songs in it that have been forgotten with time. But these songs are forgotten gems.

One song from “Sangdil”(1967) has been covered in the blog. Here is the second song from the movie to appear in the blog.

This song is sung by Lata and Usha Mangeshkar. Naqsh Llayalpuri is the lyricist. Music is composed by G S Kohli.

The song is picturised as a synchronised dance song on a stage, watched by a house full audience in a hall.

I am unable to identify the two dancers. I request our knowledgeable readers to help identify them.


Song-Badi kaafir tumhaari nazar nikli (Sangdil)(1967) Singers-Lata, Usha Mangeshkar, Lyrics-Naqsh Llayalpuri, MD-G S Kohli
Both

Lyrics

Badi kaafir tumhaari nazar nikli
o Badi kaafir tumhaari nazar nikli
meri jaan le gayi
do jahaaan le gayi
ho ise shola kahoon ya kahoon main bijli
Badi kaafir tumhaari nazar nikli
meri jaan le gayi
do jahaaan le gayi
ho ise shola kahoon ya kahoon main bijli
Badi kaafir tumhaari nazar nikli

mehfil mein tumhaare jalwon mein
o o o
kya mujhpe qayaamat dhhaayi hai
kya mujhpe qayaamat dhhaayi hai
sau baar to dhhalka hai aanchal
sau baar ye nazar sharmaayi hai
sau baar ye nazar sharmaayi hai
ye mulaaqaat jaadoo asar nikli
kyun Badi kaafir tumhaari nazar nikli
meri jaan le gayi
do jahaaan le gayi
ho ise shola kahoon ya kahoon main bijli
Badi kaafir tumhaari nazar nikli

tum hosh mein rehna ae saaqi
o o o o o
mumkin hai rahe na hosh mujhe
mumkin hai rahe na hosh mujhe
ab mera sambhalna mushqil hai
behkoon to na dena dosh mujhe
behkoon to na dena dosh mujhe
saat rangeen pichhle pahar nikli
o Badi kaafir tumhaari nazar nikli
meri jaan le gayi
do jahaaan le gayi
ho ise shola kahoon ya kahoon main bijli
Badi kaafir tumhaari nazar nikli
meri jaan le gayi
do jahaaan le gayi
ho ise shola kahoon ya kahoon main bijli
Badi kaafir tumhaari nazar nikli


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 more than 15500 song posts by now.

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

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(© 2008 - 2020) 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.

Total number of songs posts discussed

15501

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Movies with all their songs covered =1193
Total Number of movies covered =4270

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