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 : | 3956 | Post No. : | 15032 |
“Neelofar”(1957) was produced and directed by P N Arora for All India Pictures , Bombay. This costume drama movie had Chitra, Suresh, Nishi, Sundar, Shyam Kumar, Helen, Vimla, Amar, Vazeer Mohammad Khan etc in it.
The movie had five songs which were composed by two different music directors and two different lyricists. All five songs were female solos sung by three singers.
Three songs from the movie have been covered in the past.
Here is the fourth song from “Neelofar”(1957) to appear in the blog. This song is sung by Asha Bhonsle and chorus. Hasrat Jaipuri is the lyricist. Music is composed by Basant Prakash.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Song-Naazuk bahaar hoon dil ka karaar hoon (Neelofar)(1957) Singer-Asha Bhonsle, Lyrics-Hasrat Jaipuri, MD-Basant Prakash
Female chorus
Lyrics
naazuk bahaar hoon
dil ka karaar hoon
duniya hai mujhpar nisaar
haay main to laayi hoon aankhon mein pyaar
haay main to laayi hoon aankhon mein pyaar
naazuk bahaar hoon
dil ka karaar hoon
duniya hai mujhpar nisaar
haay main to laayi hoon aankhon mein pyaar
haay main to laayi hoon aankhon mein pyaar
zulfen ghataayen aankhen paimaana
ye aankhen paimaana
meri adaa par mausam deewaana
ye mausam deewaana
zulfen ghataayen aankhen paimaana
meri adaa par mausam deewaana
saaj o singaar hoon
saaqi ka pyaar hoon
duniya hai mujhpar nisaar
haay main to laayi hoon aankhon mein pyaar
haay main to laayi hoon aankhon mein pyaar
jaadoogaron ki jaadoogari hoon
main jaadoogari hoon
jannat se aayi neelam pari hoon
main neelam pari hoon
jaadoogaron ki jaadoogari hoon
jannat se aayi neelam pari hoon
chalti kataar hoon
teer o talwaar hoon
duniya hai mujhpar nisaar
haay main to laayi hoon aankhon mein pyaar
haay main to laayi hoon aankhon mein pyaar
behki nazar se dil ka payaam lo
lo dil ka payaam lo
aankhen milaa kar mera salaam lo
lo mera salaam lo
behki nazar se dil ka payaam lo
aankhen milaa kar mera salaam lo
dil ka khumaar hoon
husn mazedaar hoon
duniya hai mujhpar nisaar
haay main to laayi hoon aankhon mein pyaar
haay main to laayi hoon aankhon mein pyaar
Wo nazron mein samaate jaa rahe hain
Posted on: May 5, 2019
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 : |
3943 | Post No. : | 15019 | Movie Count : |
4116 |
Today’s song is from film “Saathi”(1946).
This title seems to be quite popular because, films with the same title were made in 1938, 1946, 1968, 1991 and 2005 as Saathi.Moreover one film called Saathiya was also made in 2002.
The first film Saathi-38 was a bilingual film, in Hindi and Marathi. This film was made by Mubarak Merchant. He was the Hero and the Heroine was Durga Khote. The Marathi version was titled “Savangadi” mening Partner or Saathi.
The 1946 film was made by Central Studios- partly owned by Mehtab, the film’s Heroine. While the film was in the making, Mehtab got married to Sohrab Modi on 28th April-1946, which happened to be her own Birthday also. She already had a son from her first marriage to actor Ashraf Khan ( who later on became a Soofi Saint). Her son Ismail, stayed with her and Modi, after her second marriage as per the understanding between the couple. Mehtab got one more son from Modi-Mehelli. He was raised as a Parsee. He settled in USA later on.
In this film, the Hero was Sadiq Ali, who was called ” Prince of Minerva ” and was Modi’s favourite. I have written about Sadiq Ali, recently, so I am not repeating it. The other cast of the film included M.Ismail, Jyoti, Badri Parshad, Gulab, Majid, Latika etc etc.
M.Ismail was born in 1902 in a Jeweller family of Lahore. He was a very good designer and Calligrapher.
M. Ismail was a resident of the Inner Bhati Gate in Lahore. Well built and fair complexioned, Ismail had blue eyes, and was quite. attractive. Mian Abdul Rasheed Kardar (the famous A. R. Kardar), also belonged to the same area in Lahore. M. Ismail used to work as a golden calligrapher, while Kardar was involved in sketching and illustration.
They went to Bombay in 1927, and according to Ismail, he and Kardar played Kaedo and side hero respectively, in Imperial Company’s Heer Ranjha. But conditions weren’t helpful, and the two young men had to return to Lahore. Fortunately, for them, during 1928, Premier Film Company started a film called Daughters of Today. Both Kardar and Ismail were inducted into the cast, but the film remained incomplete.
Later, Kardar learned production and became well known as a brilliant technician. Kardar established his own film making firm in 1930, called United Players Corporation, and cast Ismail in his early silent movies like Mysterious Eagle a. k. a Husn Ka Daku, which also had Kardar in a central role. Others in the cast were Gulzar Begum, Ghulam Qadir, Ahmed Deen and an American actress, Aeris Crawford. Ismail also acted in Kardar’s film, Safdar Jang, and both these early silent films were very successful. This led Kardar to cast him in Shepherd King (Gadarya) and Golden Dagger (Sunehri Khanjar). In those days, every film used to have an English title and an Urdu one.
After Alam Ara opened the way for talkies, Ismail became even more popular. In Kardar’s Hoor e Punjab, an adaptation of Heer Ranjha, Ismail again played Kaedo, the intriguing ice uncle of Heer, which he repeated yet again later, in film Heer Siyal, with his characteristic style. His other films in India include Alif Laila, Dekha Jaega, Mast Faqeer, Raja Gopi Chand, Prem Pujari, Watan Parast, Sohni Mahiwal, Laila Majnoon, Zamindar and others.
In 1948, M. Ismail came to Pakistan, and immediately got offers from seniors like Nazir, whose films, Pherey, Larey, Anokhi Dastan and Shehri Babu included him in their cast. His first film here was Hichkole-49. Observing his work, another promising and experienced director, Anwar Kamal Pasha offered him some good roles. His films, Ghulam, Gumnam, Qatil, Inteqam and others were the earliest hits of Pakistan. Luqman also cast him in Patan, and Mehbooba was another one that was appreciated.
Similarly Nazeer Ajmeri’s Qismat and Paigham, Munshi Dil’s Hasrat and Ishq e Laila and S. M. Dar’s Saltanat and Dulla Bhatti were also amongst his famous movies. His other films were Darwaza, Subah Kaheen Sham Kaheen, Patey Khan, Piya Milan Kee Aas, Jameela, Bara Aadmi, Zehr e Ishq and many others. The Late M. Ismail was a charming person, with a rural simplicity and a very forgiving disposition. Endearingly called Bhaiyyajee in the industry, M. Ismail’s roles of good hearted, forgetful, careless and sometimes cynical man were the best that he did. But, in many films, he performed a perfect villainish role, including the earlier mentioned, Hoor e Punjab, which had a historic role of Kaedoo. This one was only bettered later, by that most sterling artiste, Ajmal, who made Kaedo legendary with his gestures in Khwaja Khurshid Anwar’s Heer Ranjha.
In Yamla Jat and Khazanchi, in India, he did very fine title roles, while K. Asif’s Phool portrayed him as an old hakeem from Turkey, which he did to perfection. As a villain in Indian film, Wamiq Azra, he presented an individual style, with his full facial expressions. By full facial expressions means that most artistes use the eyes and the forehead, but M. Ismail, with a tremendous mobility of his motor mouth, his sagging cheeks and his prominent and protruding jowls, used a tremendous expanse of his face, which aided him in doing old men’s roles very early in his career.
In those days, there was much importance of finding a characteristic face for films and not handsome or beautiful faces, which is the trend today. That was the reason that more such fine artistes were available to the screen. In Nazeer Ajmeri’s Qismat, he played a unique role of a man, who is too forgetful to even remember his own name. It was a most hilarious performance from a truly talented actor of his times. M. Ismail got a Presidential Award for this role in Qismat.
His last film in Pakistan was Maan jawani da-76- released after his death. He died on 22-11-1975 at Lahore.
The film was directed by M.Sadiq, who was one of the most successful Directors of Bombay who migrated to Pakistan in 1970. He was born in Lahore on 10-3-1910 and died in Lahore on 3-10-1971.
Sadiq was a Cinematographer, writer,screenplay and dialogue writer,producer and director-all in one. He started his career with Thokar-39 as writer. Around 1940, he shifted to Bombay along with his mentor A.R.Kardar, actor Suresh ( Nazim Ahmed), actor Amar and few others. While working as kardar’s assistant, slowly he developed into a Director who directed about 27 films.He directed films like- Namaste, Rattan, Anmol Ratan, Saiyan, Shabab,Musafirkhana, Chhoo mantar, Chaudhavin ka chaand, Tajmahal and Bahu Begum for which he also wrote story and dialogues.
After Khota Paisa-58 Sadiq fell on bad times. He had no films on hand.That was the period when Guru Dutt was also in problems of debts. he wanted to make a film but did not want to direct it. That time Johny Walker suggested the name of M.Sadiq, whose first movie Namastey and another movie Sanjog, both produced by A R Kardar,were released in 1943 & were big hits.His Rattan,released in 1944 ,broke the records all over, in box office sweep. Poonam, Shabab, Anmol Rattan, Pardes, Jawani Ki Hawa, Anjan, were few of his famous movies.The prolific director,how ever ,was now passing through a lean phase & of late he had made light comedies, like Chhoo Mantar, Duniya Rang Rangeeli, Khota Paisa, Musafir Khana etc.
M.Sadiq was brought in & he made the movie at break neck speed & released in 1960. Film Chaudhvin ka Chand needed a director who fully equipped with muslim background and observation of even small presentation of voice, etiquette, religious etc. It is all that M Sadiq performed but we must keep in mind Guru Dutt was behind the screen, though uncredited but he had lion share to beautify the film. The movie proved to be the biggest hit earned lot more than other movies made by Gurudutt. M.Sadiq proved to be the saviour for Gurudutt.Gurudutt,not only came out of the cesspool of debt , but earned enough money to plan his next movie.
The movie proved to be lucky for the good Samaritan M.Sadiq also who was recognized as a specialist of the movies having Muslim background.He got big movies Taj Mahal,Noor Jahan & Bahu Begum (1967),to direct.
Riding on the peak of popularity ,after Bahu Begum,Sadiq Sahab left India & migrated to Pakistan.In 1971,there under his own banner he decided to produce Baharo Phool Barsao & for the music and songs he signed Nashad & Shewan Rizvi,respectively.Both had already migrated to Pakistan from India.He started shooting at Lahore Studio.but a calamity struck & Sadiq Sahab passed away after a brief illness on 03-10-1971. The movie was completed by Hasan Tariq & was released in 1972. The movie opened to full houses and celebrated Golden Jubilee at many places in Pakistan. Even in the re-run the movie was a jubilee hit. M.Sadiq was destined to die at his birth place Lahore.
There were two more uncommon names in the cast- Majid and Gulab. Majid’s name was Abdul Majid Syed. He was born at Farrukhabad in U.P. in 1915. His father was an Overseer. After Matric in 1929, he started his business of Leather in Akola, Maharashtra. in 1935, actor, director and producer Nazeer of Hind pictures, introduced him to S.K.Daryani and he got a small role in Sher ka Panja-36 and Sangdil samaj-36. However, from film Bulldog-37, he got side roles and lead roles in films like Gentleman daku-37, insaaf-37, Rajkumari-38, Masterman-38, Zamana-38, Mud-40, Saubhagya-40, Swami-41, Swaminath-42, he also acted in more films like Najma-43, Babar-44 and Zeenat-45.
In all he did over 100 films till 1947. After Partition, he migrated to Pakistan with Nazeer and Swarnalata. In Pakistan he did just 7 films. He died on 24-9-1959.
The First actress from Kashmir to work as a Heroine in Hindi films was GULAB. Her real name was Saraswati Devi. She was born on 10-6-1908 at Jammu. She joined Krishna Film Company in 1924. Her first silent film’Krishna kumar’ came in 1925. She worked in 60 silent films. Her last silent film was ‘Dagabaz Dushman’-32, made by east India Film co.Bombay.
Her first Talkie film was Suryakumari-33, made by Vishnu Cinetone. It was directed by Dhirubhai Desai. She sang one song ‘more preetam jab ghar aaye’ composed bu Kikubhai Yagnik. Then came Baburao Patel’s ‘Bala Joban’-34, Sewa Sadan-34 and Nai Duniya-34 ( Debut film of Rajkumari and Jayant). In this film Gulab sang 2 songs.
Gulab was very beautiful and quite popular in film industry. Some of her films were Bambai ki sethani-35, Challenge-37, Bharosa-40, Pyas-41, Ek Raat-42, Station master-42, Gaali-44, Rattan-44, Mann ki jeet-44, Mirza Sahibaan-47, Lahore-49, Badi Behan-49, stage-51, Post Box 999-58, Chhabili-60 etc etc. She acted in 160 films. Her last film seems to be Haqeeqat-64. She also sang 22 songs in 11 films.
The lyrics were by Wali Sahab and the music was by Gulshan Soofi, about whom I have written recently. The song is sung by one of my favourite singers- G M Durani ( Ghulam MUstafa Durani). He was one singer who would make gold of a good melodious song anytime. I like almost all of his songs. I was very sad that his end came in very pathetic condition. Once an artiste is out of circulation in the film industry, he is quickly forgotten. I have not seen a more selfish and ungrateful industry in my life where no one even attends the last journey of a forgotten artiste.
This is a very good song, sung in even a better way. With this song, film Saathi-46 makes its Debut on the Blog.
( Thanks to cineplot, pakmag.com, wiki, cinerang, Filmdom-46 and my notes for information used herein.)
Song-Wo nazron mein samaate ja rahe hain ja rahe hain (Saathi)(1946) Singer-G M Durraani, Lyricist- Wali Sahab, MD- Gulshan Soofi
Lyrics
Wo nazron mein samaate ja rahe hain
ja rahe hain
hamen apna banaate jaa rahe hain
ja rahe hain
Wo nazron mein samaate ja rahe hain
ja rahe hain
ye dil pehloo se nikla jaa raha hai ae
ye dil pehloo se nikla jaa raha hai ae
jaa raha hai
wo shaayad a a
paas aate ja rahe hain
hamen apna banaate jaa rahe hain
ja rahe hain
main jitna aa
bhool jaana chaahta hoon oon oon
oon oon
wo utna aa
aa aa aa
aa aa
yaad aate jaa rahe hain
jabaan par haan
ishaaron mein meri
hai ae ae ae
jabaan par haan ishaaron mein meri
hai ae ae
wo deewaana banaate
jaa rahe hain
jaa rahe hain
hamen apna banaate jaa rahe hain
jaa rahe hain
Wo nazron mein samaate ja rahe hain
jaa rahe hain
Nain mohan prem bhare jaadoo najariya
Posted on: May 4, 2019
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 : |
3942 | Post No. : | 15018 | Movie Count : |
4115 |
Today’s song is from a very old film Meetha Zahar-1938.
The title of the film is funny. Normally, we equate Poison taste with Bitterness, though, no one actually knows how poisons taste. There is a story about it, which I read in my childhood. Long time ago, a King was curious to know how the poison tasted. He asked many people but no one was able to give a satisfactory answer. His Prime Minister suggested a plan. He would give poison to a convict of death and ask him to write the taste of poison on a paper. If he writes it, he would be pardoned and a poison antidote will be given to him immediately.
Accordingly, a death convict was provided poison, paper and a pen. After drinking the poison, the convict started writing, but the strong poison killed him instantly and all that he could write was the letter ‘ S ‘ only. Now the question remained if the taste was Sweet, Sour or Salted ? However, Minerva Movietone had decided that the taste was sweet and hence the title of the film was Meetha Zahar !
After suffering initial failures with his first few films like Hamlet-35, Saeed E Hawas-36 and Atma Tarang-37, Sohrab Modi decided to make films on the social evils prevalent for a long time. Other big studios like Prabhat, Bombay Talkies and New Theatres were doing this already and they were making money. Modi decided to make films on separation in Marriage (Divorce aka Talaq-38), Alcoholism (Meetha Zahar-38), Illicit passion (Jailor-38) and Incest (Bharosa-40).
This stance changed the picture. His Historical film ” Pukar’-39 was a grand success, which brought him not only name and fame but also lot of money. Along with him, the Heroine of the film-Naseem Bano also benefitted greatly. After pukar-39, Naseem bano left Minerva. Naseem was launched by Sohrab Modi as a Heroine way back in Hamlet-35.
Naseem was born on July 4, 1916 in Delhi as Roshan Ara Begum, to courtesan-singer Shamshad Begum, better known as ‘Chhamiya’ and rich Nawab, Abdul Waheed Khan. She did her schooling at Queen Mary’s High School there with her mother harboring ambitions to make her a doctor. However, being a big fan of the movies and actress Sulochana in particular, after a family visit to Bombay, now Mumbai, in the 1930s, Naseem decided to make the movies her career. It was not easy. She had to fight hard with her mother to get her way, including it is said staging a successful hunger strike along with many tears!
Much of Naseem’s early work came at Minerva Movietone, owned by the great Sohrab Modi. He introduced Naseem in his adaptation of Hamlet, Khoon Ka Khoon (1935). Sadly for Naseem, the film flopped at the box-office. She then appeared in a series of films, mostly socials for Minerva including Divorce (1938), Meetha Zahar (1938) and Vasanti (1938)before hitting the big time with Modi’s epic historical drama, Pukar (1939). Pukar was a landmark film for Modi and its lead cast that included Chandramohan, Sardar Akhtar, besides Naseem. The film, in particular, makes splendid use of Naseem’s regal bearing casting her as Jehangir’s wife, the Empress Noor Jehan. It remains her most most well-known performance and one where she sang her own songs as well.
Following the success of Pukar, Naseem and Modi parted ways, and based on her strong impact as the Mughal Empress, Naseem signed two films with a rival studio to again play famous queens Cleopatra and Mumtaz Mahal respectively. Both films, however, failed to take off. But by now she had several well-known admirers including the son of the Nizam of Hyderabad. In this period Naseem also met childhood acquaintance Mohammed Ehsan who had returned from abroad armed with a agree in Industrial Chemistry. He launched a production house, Taj Mahal Pictures with the film Ujala (1942)starring Naseem and Prithviraj Kapoor. Through the course of the film and thereafter, Ehsan and Naseem fell in love and got married. Naseem then moved to Delhi along with Ehsan. The couple had two children, daughter Saira Banu, who also went on to become an actress and a son, Sultan Ahmed. For a while it looked like Naseem had bid adieu to films.
However, S Mukherji, who worked at Filmistan, convinced Naseem to come back and star opposite Ashok Kumar for Filmistan’s maiden production, Chal Chal Re Naujavan (1944). Though the build up for the film was huge, it only did moderate business at the box-office. More importantly though, Naseem was now back in the film industry for good. Ehsan and Naseem restarted Taj Mahal Pictures which would produce films starring Naseem. Some films produced by the banner include Begum (1945), Mulaqat (1947), and Chandni Raat (1949), the last also directed by Ehsan. Two of Naseem’s best performances came in Mehboob’s Anokhi Ada (1948) and Sohrab Modi’s Sheesh Mahal (1950), re-uniting her with Modi after more than a decade.
Naseem’s last lot of films include the swashbuckler Shabistan (1951), during whose filming leading man Shyam lost his life, Ajeeb Ladki (1952), Betaab (1952), which was her last film of note as a leading lady, and the stunt films, Sinbad The Sailor (1952) and Baghi (1953). Thereafter, she was seen in Sohrab Modi’sNausherwan-e-Adil (1957), where she impressively played the Empress of Iran.
By the time she completed Ajeeb Ladki, Naseem’s marriage to him was on its last legs. Ehsan migrated to Pakistan on his own taking with him all the negatives and prints of the films produced by Taj Mahal Pictures. He had these films screened there, making her an extremely popular actress across the border as well. Naseem then moved to England for a while as she sent her children to a day school there to give them the best of education. But finding England cold and aloof, the family finally returned to India.
Once her daughter, Saira Banu, entered films, Naseem, who ironically was dead against her joining the movie industry, designed clothes for her including some trendsetting beautiful embroidered saris in Aayi Milan Ki Bela (1964). And though well in her 40s by now, Naseem continued to get acting offers but refused them all. Naseem Banu passed away in Mumbai on June 18, 2002.
Like Naseem Bano, Modi was instrumental in helping and promoting the careers of many others like, Kamaal Amrohi, Chandramohan, Prithviraj Kapoor, Mehtab and many other smaller artistes like Sadiq Ali, Zillo bai, Eruch Tarapore, Sheela, Meena (Shorey), Al Nasir etc . Sadiq Ali was not only a regular, but was Modi’s favourite actor.
Sadiq Ali, was born on 6-10-1911 at Jullundhar, Punjab. His 2 cousins- Wazir Ali and Nazir Ali were famous Indian cricketers. Sadiq Ali completed his Engineering degree and worked in M.E.S. at Kanpur (Military Engg. Services). Due to strong desire to work in films and dramas, he resigned from his job after 5 years and joined Agha Hashr’s Drama company. When the company was closed, he joined The Burma Imperial film company at Rangoon. After few small roles, he came down to Bombay.
After working in some smaller companies, he joined Minerva Movietone. Starting with khan Bahadur-37, he worked in Minerva’s Pukar-39, Sikandar-41, Phir Milenge-42, Prithwiraj Sanyogita-43, Parakh-44 (only directed by Modi) and Ek din ka sultan-45, also in Sandesa-39,Black out, Duniya tumhari hai, Phir milenge, Ulti Ganga, Patharon ke saudagar,Jagbeeti,Nishana, Do Naina, Manjhdar, Mitti etc. In all he acted in 23 films. His last film was Ever Ready-46. After partition, he migrated to Pakistan.
First film in Pakistan Judai (1950 Shaheena,Nazar and Zeenat). Other film Shola (1952).
Sadiq Ali was a very successful and famous actor before partition and got the title of Prince of Minerva. He acted in many films in India, but in Pakistan,
Sadiq Ali could not be successful as he was in India. He was paralyzed in 60’s and could be seen sitting with Pan shop in Capitol Cinema lane, Karachi. Died on 12-7-1977 in Karachi. In his last days, he was seen begging on road.
Film Meetha Zahar was directed by Sohrab Modi. Screen play was by Gajanan Jagirdar. Munshi Irshad Ahmed wrote all the 9 songs of the film, which were composed by B.S.Hoogan, the MD.
When I first came across this name B.S.Hoogan, in the list of Hindi composers,my first reaction was,what is this foreigner doing in Hindi Films ?
Further when I saw his name as MD in 10-15 films of the 30s,I became very curious and wanted to know more about him.As per my experience so far,I usually got information for any -or almost any-Film personality from my notes,Old cuttings,books,magazines,old articles etc ,or even from an obscure,less known Internet site,but in Hoogan’s case I always found myself at a dead end. There was simply NO information about him anywhere ! It was as if no one in India knew about him or as if he was from some alien planet.
I was perplexed.How can anybody from Film industry,with so many films to his credit,be such an unknown person ? This was a challenge and I decided ,come what may,to find out about this elusive,dodging and unreachable B.S.Hoogan,at any cost.
Almost one year passed and I found a ray of Hope.
I visited the Blog of Mr.Kamalakar Pasupuleti ji. He is a writer on old films,music and an avid collector of old songs,besides having been an active RMIM worker.He is also a mine of information. Incidentally,he too is from Hyderabad-just like me,and being in the same age group,we enjoy discussing matters relating to people and places in old Hyderabad of the 40s and 50s,when we were youngsters.Later on, he has migrated to USA.
On his Blog, he had written about Hoogan. He had located the nephew of Hoogan, in India and contacted him.He got some information from him about Hoogan. Although the info was not exhaustive, it was a great find. Plus Kamalakarji himself had also written about Hoogan,from his interaction with people who had met Hoogan in Hyderabad. I wrote to kamalakar ji in USA and he very graciously gave me permission to use all that material for this article.
At this juncture, my luck suddenly decided to cooperate and I found some info about Hoogan in a book.I even found out that the same nephew of Hoogan had uploaded 4 songs of Hoogan,(2 from Parakh-37 and 2 from Meetha Zahar-38) on Hamara Forum.
B.S.Hoogan was not a foreigner,he was very much an Indian.His name was BALWANT SINGH HOOGAN. He was tall,wheat comlexioned and of medium build. He was born in 1901 at Firozpur, Punjab, where his family was settled. He was a Kashmiri Brahmin. According to C.Ramchandra also,he was originally from Kashmir.
Before becoming a music director he seems to have learnt classical music and western music.He played many western instruments.
In the days of silent films,orchestras used to play in the Theatres ,in front of or behind the screen.During the film also they played appropriate music pieces.It would add live pleasure with moving images. Hoogan learnt giving this music and conducting orchestra from his teacher,Mr.Victor Aimes,an Englishman,from the Albert Music Company. He learnt writing music in notations and conducting orchestra with a baton. He played his orchestra of 12 musicians.
Hoogan looked impressive with a Black Tailcoat,Bow-Tie and Grey Trousers,as described by a Hyderabad Nawab,who had been personally introduced to Hoogan in Hyderabad in 1930.
B.S.Hoogan started his career as MD with Ajanta Cinetone of Mohan Bhavnani.He gave music to Afzal,Maya jaal,Rangeela Rajput(all 1933)Dard e dil,Dukhtar e Hind,Mazdoor,Sair e Paristan,Vasavdatta(all1934),Pyar ki maar,Registan ki Rani,Sone ka shahar,sherdil Aurat(all 1935), Begunah,khan Bahadur,Parakh(all1937),Meetha Zahar,Vijay marg(all 1938) and Sansar Sagar-1939.
Total films-18. Songs composed- 231.
Music Director C.Ramchandra,in his Marathi autobiography, wrote about Hoogan. When CR was working in Minerva, Hoogan joined the company, in place of Habib Khan, the composer. He showed CR how the Desi Raag can be played on foreign musical instruments. He brought in many Goanese orchestra players into the company. CR knew writing notations, Hoogan improved this. Hoogan liked CR very much. Hoogan would take CR with him to all big hotels of Bombay. Orchestras would be playing there. CR learned how those tunes could be indianised in his music here only.
Hoogan would make tunes and ask CR to write the notations. CR would hum those tunes and then improve the tunes. Hoogan would not know. Thus many of his tunes were used by Hoogan without knowing it.In the film Meetha Zahar-1938,Naushad was Hoogan’s assistant. Actors like Nissar,Bibbo,Sheila and Naseem Bano sang for him.
B.S.Hoogan died in Ferozpore in September 1938, at the age of 37 only.
Today’s song is sung by one Shanta Dutt. This name is new to me and despite my efforts, I could not get any information about her. As per HFGK she seems to have acted in Divorce-38, Vaasanti-38 and Juari-39 and she sang one song each in film Divorce-38 and film Meetha Zahar-38. To this extent this is a rare song. With this song, film Meetha Zahar-38 and singer Shanta Dutt make their Debut on this Blog.
(I sincerely thank Shri kamalakar ji and shri Sukesh Hoogan ji (the nephew), for providing the above information about B.S.Hoogan. Some information is adapted from Upperstall.com and pakmag.com )
Song-Nain Mohan prem bhare jaadu najariya(Meethha Zahar)(1938) Singer- Shanta Dutt, Lyrics- Munshi Irshad Ahmed, MD- B S Hoogan
Lyrics
Nain Mohan prem bhare
Nain Mohan prem bhare
jaadu najariya
jaadu najariya
Nain Mohan prem bhare
Nain Mohan prem bhare
jaadu najariya
jaadu najariya
din mein aaj nain baandh chale
jigar pe aane lagi
prem ka dariya(?)
prem ka dariya(?)
Nain Mohan prem bhare
Nain Mohan prem bhare
jaadu najariya
jaadu najariya
mujhe jo aap charan haath lage
jigar jigar se mile
najar najar se mile
??ar ?? ar se mile
Go??har go??ar se mile
main aur aap hon ek dor bandhe
main aur aap hon ek dor bandhe
gale ka haar banen
aao sanwariya
aao sanwariya
Nain Mohan prem bhare
Nain Mohan prem bhare
jaadu najariya
jaadu najariya
mil ke saath sajan aao chalen
mil ke saath sajan aao chalen
prem ke oar chalen
prem ke chhor chalen
prem ke daur chalen
prem ke shor chalen
na koi ??air rahe
chain karen
na koi ??air rahe
chain karen
main aur aap hon
prem dagariya
prem dagariya
Nain Mohan prem bhare
Nain Mohan prem bhare
jaadu najariya
jaadu najariya
- In: "Aankh" song | Asha Bhonsle solo | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Drunkard song | Female drunkard song | Guest posts | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1969 | Yearwise breakup of songs
- 1 Comment
This article is written by Sudhir, 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 : |
3915 | Post No. : | 14978 | Movie Count : |
4094 |
Missing Films of 1960s – 105
– – – – – – – – – – – – – – –
Slowly moving towards closure, we now have less than 10 more films to go for this series, for which songs are available. Then there is a whole batch of about 80 films from this decade, which seem to have disappeared without a trace (so far). I will give the statistics and other details when we come down to the closing post.
The film I present today is ‘Mujhe Seene Se Laga Lo’ from 1969. As the name suggests, this film is most probably about a child seeking acknowledgement and love from one (or both) parents. My surmise is based on checking out the list of songs for this film. Geet Kosh lists 6 songs for this film, and four of these songs are very clearly child related songs – one is a lullaby, then one is a duet with a female voice and a child’s voice, the third is a child’s entreaty requesting for parent’s love, and the fourth is a duet, about a mother searching for a lost child. And incidentally, another film comes to mind – a similar sounding name ‘Aa Galey Lag Jaa’ (1973), which is also a film about a child seeking his father – a very famous and popular song – “Tera Mujhse Hai Pehle Ka Naata Koi“.
The other two songs are non-child related. One is a sad/philosophical song in male voice – about departing with a load of sorrows. And the sixth song, which is the song presented today, is a song in female voice – a drunkard song that could well be a club or a bar dance song, or a song of enticement / seduction. Since the video clips are not available, I request our knowledgeable readers who may have seen this film, to please add more information about the song and the film.
The film is produced under the banner of Hari Darshan Chitra, Bombay and is directed by Dutta Dharmadhikari. The cast of actors as per Geet Kosh listings is Bunty, Kumar Sen, Meena Rai, Paresh Kumar, Dharmesh, Akhil Kumar, Ved Bhushan, Santosh Virdi, Gopal Dutt, KS Pawar, Vinod Verma, Ang Pal, Uma Khosla, Gold Flake, Tuntun, and Sarita. You will notice that the list is topped by a child actor – Bunty, supporting the surmise about this being a child centric film. An interesting side note here – the name Bunty rang a faint bell and I checked. My hunch turned out to be correct. Bunty is the same child artist who starred in Chetan Anand’s ‘Aakhri Khat’ (1966) – another film about an infant child lost in a big city, searching for its parents
The six songs in this film are shared amongst three songwriters – Prem Dhawan, Qamar Jalaalabaadi and Mahendra Dehlvi. The song we present today is from the pen of Qamar Jalaalabaadi. Music is by Hansraj Behl.
The singing voice is of Asha Bhosle. As with many other such songs, her rendition is superb – a lady who is so much in stupor, is requesting that the glass of wine be taken from hands, as she may not be able to hold it. One of the best songs in the female drunkard category – my opinion. 🙂
Lyrics for this song have been sent in by Prakash ji.
Song – Makhmoor Nigaahon Mein Teri Doob Gaye Hum (Mujhe Seene Se Laga Lo) (1969) Singer – Asha Bhosle, Lyrics – Qamar Jalaalabaadi, MD – Hansraj Behl
Lyrics (Provided by Prakashchandra)
makhmoor nigaahon mein teri
doob gaye hum
saagar ko zara haath se lena
ke chale hum
makhmoor nigaahon mein teri
doob gaye hum
hum ko bana ke sharaabi
chhoti suraahi mein gulaabi
hum ko bana ke sharaabi
chhoti suraahi mein gulaabi
parde mein hain
dulhan kai
parde mein hain
dulhan kai
aao milaayen tujhe hum
saagar ko zara haath se lena
ke chale hum
saagar ko zara haath se lena
ke chale hum
gir na jaaun ladkhadaa ke
dena sahaara aage aa ke
gir na jaaun ladkhadaa ke
dena sahaara aage aa ke
jaao na door
mere huzoor
jaao na door
mere huzoor
behke mere qadam
saagar ko zara haath se lena
ke chale hum
haaye
saagar ko zara haath se lena
ke chale hum
aankhon se tujhko pila doon
saagar ke saagar chhalka doon
aankhon se tujhko pila doon
saagar ke saagar chhalka doon
kuchh tum badho
kuchh hum badhen
kuchh tum badho
kuchh hum badhen
bhool jaayen saare gham
saagar ko zara haath se lena
ke chale hum
haaye
makhmoor nigaahon mein teri
doob gaye hum
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
मख़मूर निगाहों में तेरी
डूब गए हम
सागर को ज़रा हाथ से लेना
के चले हम
मख़मूर निगाहों में तेरी
डूब गए हम
हमको बना के शराबी
छोटी सुराही में गुलाबी
हमको बना के शराबी
छोटी सुराही में गुलाबी
पर्दे में हैं
दुल्हन कई
पर्दे में हैं
दुल्हन कई
आओ मिलाएँ तुझे हम
सागर को ज़रा हाथ से लेना
के चले हम
सागर को ज़रा हाथ से लेना
के चले हम
गिर ना जाऊँ लड़खड़ा के
देना सहारा आगे आ के
गिर ना जाऊँ लड़खड़ा के
देना सहारा आगे आ के
जाओ ना दूर
मेरे हुज़ूर
जाओ ना दूर
मेरे हुज़ूर
बहके मेरे कदम
सागर को ज़रा हाथ से लेना
के चले हम
हाए
सागर को ज़रा हाथ से लेना
के चले हम
आँखों से तुझको पिला दूँ
सागर के सागर छलका दूँ
आँखों से तुझको पिला दूँ
सागर के सागर छलका दूँ
कुछ तुम बढ़ो
कुछ हम बढ़ें
कुछ तुम बढ़ो
कुछ हम बढ़ें
भूल जाएँ सारे ग़म
सागर को ज़रा हाथ से लेना
के चले हम
हाए
मख़मूर निगाहों में तेरी
डूब गए हम
Wo ankhiyaan milaa kar chale gaye
Posted on: March 5, 2019
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3882 | Post No. : | 14906 |
“Roomaal”(1949) was directed by Ramchandra Thakur for Varuna Films, Bombay. This “social”movie had Nargis, Rahman, Jeewan, Indu, Jairaj, Badri Prasad, Majnoo, Jillobai, Cuckkoo, Ramesh Thakur, Urwashi, Jankidas, Deepak, Pitu, Boy Ratan, Azim, Shamu, Mukesh, Sohanlal, Ahmad etc in it.
The movie had ten songs in it. Five songs have been covered in the past.
Here is the sixth song from “Roomaal”(1949) to appear in the blog. This song is sung by Meena Kapoor. Nazim Panipati is the lyricist. The movie had two music directors in it, viz Hansraj Bahl and Aziz Khan, but the distribution of songs among them is not known. There have been indirect ways to verify thouh that some songs were composed by Hansraj Bahl. Seeing that another Hansraj Bahl song (thus indirectly identified) had lyics by Nazim Panipati, my guess is that this song with lyrics by Nazm Panipati could be a Hansraj Bahl composition as well.
Only the audio of this rare song is available. I request our knowledeable readers to throw light on the picturiusation of this song.
Song-Wo ankhiyaan mila kar chale gaye (Roomaal)(1949) Singer-Meena Kapoor, Lyrics-Nazim Panipati, MD-Hansraj Bahl
Lyrics
wo ankhiyaan milaa kar
wo ankhiyaan milaa kar chale gaye
main rah gayi ankhiyaan malti re
main rah gayi ankhiyaan malti re
wo ankhiyaan milaa kar chale gaye
main rah gayi ankhiyaan malti re
main rah gayi ankhiyaan malti re
kyun dukhiyaa dil ko tod gaye
hamen kiske sahaare chhod gaye
hamen kiske sahaare chhod gaye
kyun dukhiyaa dil ko tod gaye
hamen kiske sahaare chhod gaye
hamen kiske sahaare chhod gaye
wo aag lagaa kar
wo aag lagaa kar chale gaye
main rah gayi aag mein jalti re
main rah gayi aag mein jalti re
wo ankhiyaan milaa kar chale gaye
main rah gayi ankhiyaan malti re
main rah gayi ankhiyaan malti re
wo chale gaye
wo chale gaye aur wahin hoon main
hoon aise jaisi nahin hoon main
hoon aise jaisi nahin hoon main
wo chale gaye aur wahin hun main
hoon aise jaisi nahin hoon main
wo paas bulaa kar
wo paas bulaa kar chale gaye
kyaa ho gayi mose galti re
kyaa ho gayi mose galti re
wo ankhiyaan milaa kar
wo ankhiyaan milaa kar chale gaye
main rah gayi ankhiyaan malti re
main rah gayi ankhiyaan malti re
- In: "Aankh" song | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Post by Sudhir | Rafi songs | Rafi-Asha Bhonsle duet | Romantic song | Songs of 1960s (1961 to 1970) | Songs of 1962 | Yearwise breakup of songs
- 4 Comments
This article is written by Sudhir, 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 : | 3880 | Post No. : | 14904 |
Mohammed Rafi – Duets – ‘अ’ से ‘ह’ तक (From ‘अ’ to ‘ह’) – 34
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
‘ह’ – हमने भी प्यार किया, नज़रों को चार किया ॰ ॰ ॰
– – – –
॰ ॰ ॰दिल का सूना साज़ तराना ढूंढेगा
तीर ए निगाह ए नाज़ निशाना ढूंढेगा॰ ॰ ॰
It is your words that tell of this predicament. Seasons come and go, as they have, year on year on year. . . but the one who this heart wants to listen to again, has not returned after going away. . .
– – – –
With today’s song, we come to the end of this series of duets of Rafi Sb. This series got initiated on Rafi Sb’s birth anniversary (24th Dec) in 2017. Having gone through 33 episodes, we come to the closure with the Hindi alphabet letter ‘ह’. On the way, over the past almost 15 months, we have touched upon many a wonderful duet songs that simply perpetuate the legend of this divine voice. A blessing that we shared the same time and the planet with him for a certain period of time. The association, and its lasting awareness, has been such a lovely enchanting experience, that has left in the mind two opposing emotions – happiness and regret. Happiness that we have a wonderful legacy treasure bequeathed to us by this voice. And regret that there could have been more, but alas not destined to be. God works in his own mysterious ways, and we are but mortals subject to his method and his directions.
So much has been said – about Rafi Sb, in this series, and by other contributors on this blog. And by many others, writing about him on various platforms and publications. Satish Shenoy ji, in a comment earlier today, has written – “Any number of posts on Rafisaab are welcome, even at the cost of repetition”. Yes, eventually there is a limit to words, and to the expressions. But even after reaching that limit, the heart feels that enough has not been said. What more could be said, I don’t know. But I know that “कल और आएंगे॰॰॰ हमसे बेहतर कहने वाले” – and more will be said and written about Rafi Sb, in ways that has not found an expression as yet. Such is the magic of this wondrous voice, I believe.
Today’s song is from the 1962 film ‘Mall Road’. The singing accompaniment is Asha Bhosle. Words are from the pen of Prem Warburtani and the music is from the mind of Sudarshan.
For the record, the complete list of previous songs in this series is given below,
| अ | Ab Jeene Ka Mausam Aaya | Dillagi | 1966 | 24-Dec-17 | Asha Bhosle | |
| आ | Aa Tujhko Bulaayen Ye Pyaasi Nigaahen | Pyaara Dushman | 1955 | 28-Dec-17 | Asha Bhosle | |
| इ | Is Jag Mein Kahin Bhi Rahiyo | Pyaar Ki Jeet | 1962 | 16-Jan-18 | Asha Bhosle | |
| ई | x | |||||
| उ | Utho Bulbulo Tod Do Teeliyaan | Khaamosh Sipaahi | 1950 | 9-Feb-18 | Geeta Dutt | |
| ऊ | x | |||||
| ए | Ek Dil Hai Ek Jaan Hai Ek Jaan e Jaan | Shaque | 1976 | 12-Feb-18 | Asha Bhosle | |
| ऐ | Ae Chanda Tu Dena Gawaahi | Holiday In Bombay | 1963 | 15-Feb-18 | Asha Bhosle | |
| ओ | O Tera Chhup Chhup Ke Chale Aana | Sangraam | 1965 | 23-Feb-18 | Kamal Barot | |
| औ | x | |||||
| ऋ | x | |||||
| क | Kahiye Kaisa Mizaaj Hai Aapka | Salaam Memsaab | 1961 | 11-Mar-18 | Asha Bhosle | |
| ख | Khush Kar Diya Tu Ne Mere Rama | Jeet | 1972 | 22-May-18 | Lata Mangeshkar | |
| ग | Gori Naagan Ban Ke Na Chala Karo | Naache Naagin Baaje Been | 1960 | 23-May-18 | Suman Kalyanpur | |
| घ | Ghar Waale Ghar Nahin | Pyaar Ki Raahein | 1959 | 2-Jun-18 | Geeta Dutt | |
| ङ | ||||||
| च | Chaandni Chhitki Hui Hai Muskuraati Raat Hai | Hamaara Ghar | 1950 | 4-Jun-18 | Geeta Roy | |
| छ | Chhail Chhabeela Rang Rangeela Kaun Nagar Se Aaya | Madan Manjari | 1961 | 11-Jun-18 | Kamal Barot | |
| ज | Jab Ghadi Bole Chaar Gori Kar Ke Singaar | Gambler | 1960 | 12-Jun-18 | Suman Kalyanpur | |
| झ | Jhuk Ke Zameen Choom Raha Aasmaan | Dhoop Chhaaon | 1954 | 15-Jun-18 | Asha Bhosle | |
| x | ||||||
| त | Tumhen Kaise Kahoon O Ji O O O | Naach Ghar | 1959 | 17-Jun-18 | Lata Mangeshkar | |
| थ | Thodi Si Zindgani Raja Beete Na Jawaani | Lakshmi Pooja | 1957 | 18-Jun-18 | Shamshad Begum | |
| द | Dilli Waale Saahb Ghajab Kar Daala Re | Bhikhaari | 1949 | 28-Jun-18 | Binapani Mukherji | |
| ध | Dheere Dheere Mohabbat Jawaan Ho Gai | Bhai Bahen | 1969 | 3-Jul-18 | Asha Bhosle | |
| न | Nazar Ne Loota Hai, Ada Ne Maara Hai | Police Detective | 1960 | 9-Jul-18 | Lata Mangeshkar | |
| ट | Toote To Toote Koi Dil Ka Sahaara | Lagan | 1971 | 25-Aug-18 | Asha Bhosle | |
| ठ | Thehar Zara O Jaan e Mann | Ladki Bholi Bhaali | 1976 | 20-Sep-18 | Usha Khanna | |
| ड | Daal Bhi De Zulfon Ki Chhaon | Ramu Dada | 1961 | 21-Sep-18 | Lata Mangeshkar | |
| ढ | x | |||||
| ण | x | |||||
| प | Pyaar Ki Baaten Koi Na Jaane Yaad Teri Phir Aaye | Magic Carpet | 1964 | 3-Oct-18 | Asha Bhosle | |
| फ | x | |||||
| ब | Baanke Teerandaaz Jaan Le Le Na Ho Naraaz | Sun To Le Haseena | 1958 | 4-Oct-18 | Asha Bhosle | |
| भ | Bhaiya Re Bhaiya Re Bhaiya Naiya Chhuaao Na | Bharat Milaap | 1965 | 11-Oct-18 | Kamal Barot | |
| म | Mehfil Mein Tere Husn Ka Deewaana Kaun Hai | Rooplekha | 1962 | 29-Oct-18 | Suman Kalyanpur | |
| य | Ye Bheegi Bheegi Raat Gagan Par Taaron Ki Baraat | Dr Z | 1959 | 31-Oct-18 | Mohammed Rafi | |
| र | Raat Andheri Gayi Gayi Gayi | Rangeela Raja | 1960 | 16-Nov-18 | Asha Bhosle | |
| ल | Lijiye Dil Ka Nazraana, Lijiye Aankh Ka Shukraana | Naya Kaanoon | 1965 | 29-Nov-18 | Asha Bhosle | |
| व | Wo To Chutki Mein Dil Le Ke Chalte Huye | Shaadi Ki Raat | 1950 | 12-Jan-19 | Raja Gul | |
| श | Shamma Pe Parwaana Jalne Se Darta Nahin | Shola Jo Bhadke | 1961 | 20-Jan-19 | Suman Kalyanpur | |
| ष | x | |||||
| स | Sun Gori Khol Zara Ghunghat Ka Door | Phool Bane Angaarey | 1963 | 21-Jan-19 | Kamal Barot | |
| ह | Hamne Bhi Pyaar Kiya, Nazron Ko Chaar Kiya | Mall Road | 1962 | 3-Mar-19 | Asha Bhosle | |
| क्ष | x | |||||
| त्र | x | |||||
| ज्ञ | x |
So much more seems to be still wound up inside that needs to be said. And all that needs to be said, is probably already present in the words that Rafi Sb has sung in his life. Just to say that he is incomparable, comes to mind the lines he has already uttered,
ना तुम सा कोई जमाने भर में
तुम्हीं को चाहा मेरी नज़र ने॰ ॰ ॰
Maybe some more needs to be said. Maybe another series of Rafi Sb songs will come about. Nahm ji has also restarted one of her pending series just last week. Still a good number of his songs are waiting to be posted here – about a couple of thousands more to go. A lot of opportunity still – to write more about him. So yes, maybe another series of his songs, who knows.For now, let us listen to this song today – and the words that will come to mind are
“हो गया दिल पे मेरे तेरी आवाज़ का जादू”.
Aameen.
Song – Hamne Bhi Pyaar Kiya, Nazron Ko Chaar Kiya (Mall Road) (1962) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Prem Warburtani, MD – Sudarshan
Mohammed Rafi + Asha Bhosle
Lyrics
hum ne bhi pyaar kiya
nazron ko chaar kiya
sau sau bahaane kar ke
tera deedaar kiya
hum ne bhi pyaar kiya..aa
kaisa ye pyaar kiya
dil beqaraar kiya
kar ke ishaare hamen
haaye re maar diya
kaisa ye pyaar kiya..aa
dekha jo tu ne hamen
nazren chura ke
hum bhi rahenge tere
dil mein samaa ke
mujh se na poochho
mere dil ki kahaani
dil bhi deewaana tere
main bhi deewaani
dekha jo tu ne hamen
nazren chura ke
hum bhi rahenge tere
dil mein samaa ke
mujh se na poochho
mere dil ki kahaani
dil bhi deewaana tere
main bhi deewaani
hum ne bhi pyaar kiya
nazron ko chaar kiya
sau sau bahaane kar ke
tera deedaar kiya
hum ne bhi pyaar kiya..aa
chaahe mita do
chaahe kuchh bhi sazaa do
hum hain tumhaare
hamen dil mein basa lo
lehron ka paas rahe
jaise kinaara
aise hi rahe jag mein
saath hamaara
chaahe mita do
chaahe kuchh bhi sazaa do
hum hain tumhaare
hamen dil mein basa lo
lehron ka paas rahe
jaise kinaara
aise hi rahe jag mein
saath hamaara
hum ne bhi pyaar kiya
nazron ko chaar kiya
sau sau bahaane kar ke
tera deedaar kiya
hum ne bhi pyaar kiya..aa
———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————
हमने भी प्यार किया
नज़रों को चार किया
सौ सौ बहाने कर के
तेरा दीदार किया
हमने भी प्यार किया॰॰आ
कैसा ये प्यार किया
दिल बेक़रार किया
कर के इशारे हमें
हाए रे मार दिया
कैसा ये प्यार किया॰॰आ
देखा जो तूने हमें
नज़रें चुरा के
हम भी रहेंगे तेरे
दिल में समा के
मुझ से ना पूछो मेरे
दिल की कहानी
दिल भी दीवाना तेरा
मैं भी दीवानी
देखा जो तूने हमें
नज़रें चुरा के
हम भी रहेंगे तेरे
दिल में समा के
मुझ से ना पूछो मेरे
दिल की कहानी
दिल भी दीवाना तेरा
मैं भी दीवानी
हमने भी प्यार किया
नज़रों को चार किया
सौ सौ बहाने कर के
तेरा दीदार किया
हमने भी प्यार किया॰॰आ
चाहे मिटा दो
चाहे कुछ भी सज़ा दो
हम हैं तुम्हारे हमें
दिल में बसा लो
लहरों के पास रहे
जैसे किनारा
ऐसे ही रहे जग में
साथ हमारा
चाहे मिटा दो
चाहे कुछ भी सज़ा दो
हम हैं तुम्हारे हमें
दिल में बसा लो
लहरों के पास रहे
जैसे किनारा
ऐसे ही रहे जग में
साथ हमारा
हमने भी प्यार किया
नज़रों को चार किया
सौ सौ बहाने कर के
तेरा दीदार किया
हमने भी प्यार किया॰॰आ
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 : | 3874 | Post No. : | 14894 |
The New Theatres Ltd.(NT) has given some outstanding and famous directors to the Hindi film industry who got fame on an all-India level. A couple of them got recognition in the international level also. I list below a few of them:
Debaki Bose was known for his films like ‘Chandidas’ (Bengali, 1932), ‘Puran Bhagat’ (1933), ‘Seeta’ (1934), ‘Vidyapati’ (1937). ‘Nartaki’ (1940) etc. Kidar Sharma called him the ‘Dronacharya of film making’. He was the first director who used background music. Probably, he was also the first Indian film director who was honoured with a Certificate of Merit for his direction of the film ‘Seeta’ (1933) at Cannes Film Festival.
Nitin Bose was known for the use of his magical camera angle in the films he directed. His camera angles spoke more than the dialogues. Some of the notable films he directed was ‘Chandidas’ (Hindi, 1934), ‘Dhoop Chhaaon’ (1935), ‘President’ (1937), ‘Dharti Mata’ (1938), ‘Milan’ (1946), ‘Deedar’ (1951), ‘Waaris’ (1954), ‘Ganga Jamuna’ (1961) etc. He was the first to experiment with playback singing in his film ‘Dhoop Chhaaon’ (1935). He got the idea when he saw Pankaj Mullick singing in tandem with a song which he was playing on his gramophone record player.
P C Barua, though not originally from NT, got name and fame when he joined NT and directed ‘Devdas’ (1935). He directed some other films like ‘Manzil’ (1936), ‘Mukti’ (1937), ‘Zindagi’ (1940), ‘Jawaab’ (1942), ‘Subah-Shaam’ (1944) etc. He was the first director who used ‘flash back’ technique in ‘Roop Lekha’ (1934).
Bimal Roy started his filmy career as Assistant to P C Barua in cinematography, editing and direction. He was the Cinematographer for films like ‘Devdas’ (1935), Mukti’ (1937), ‘Haar Jeet’ (1940), ‘Meenakshi’ (1942) etc. He got his first assignment as director in NT when he directed ‘Hamraahi’ (1945). Other well-known films which he directed include ‘Parineeta’ (1953), ‘Do Bigha Zameen’ (1953), ‘Devdas’ (1955), ‘Madhumati’ (1958), ‘Sujata’ (1959), “Bandini’ (1963). ‘Do Bigha Zameen’ (1953)’ was critically acclaimed and won a prize at Cannes Film Festival. ‘Madhumati’ (1958) got a total of 9 ‘Filmfare’ awards.
Name of a well-known director from NT is missing from the above list. I have chosen him in this article for his detailed profile. And he is Phani Majumdar.
Phani Majumdar (28/12/1911-16/05/1994) was born in Faridkot in Bengal Presidency (now in Bangla Desh). After his graduation in 1930, Phani Majumdar worked as a typist in a company. His connection with films started when he joined as Stenographer to P C Barua in Barua Studio sometime in 1932. Later he became his Assistant Director in ‘Devdas’ (1935) and ‘Mukti’ (1937). He was a script-writer for ‘Abhagin’ (1938).
Phani Majumdar got his opportunity to debut as director in ‘Street Singer’ (1938) with K L Saigal and Kanan Devi in lead roles. This film is regarded as classical musical melodrama like ‘Devdas’ (1935). His debut film was highly successful at the box office. With this film, K L Saigal and Kanan Devi reached the pinnacle of their filmy career as actor-singer.
After successfully directing ‘Kapal Kundala’ (1939) for NT, Phani Majumdar shifted his base to Bombay (Mumbai) sometime in 1941. But working as a free-lance director was not a cakewalk for him especially at a time when there was scarcity of raw films, getting actors for the films who were mostly studio attached and the studio time for shooting. But due to his fame as a director of ‘Street Singer’ (1938) and also his friendly nature, he could overcome the initial obstacles.
Luck favoured Phani Majumdar. Chimanlal Trivedi had closed down his film production company, CIRCO Productions and had set up a new banner, Laxmi Productions. He engaged Phani Majumdar for directing his first film ‘Tamanna’ (1942) under the new banner. From the cast and crew of the film, it would appear that Phani Majumdar had a free hand in selecting them. Apart from actors for the film like Leela Desai, Jagdish Sethi, K C Dey who were earlier attached to NT, he had engaged 7 technicians from Bengal for the film. This was the first film in Mumbai for Leela Desai.
‘Filmindia’, in its review of ‘Tamanna’ (1942) while lauding the performances of Jairaj, Leela Desai, Jagdish Sethi and K C Dey, was critical of the direction by Phani Majumdar. However, some of the film producers seemed to have a different views. The result was that Phani Majumdar was flooded with new assignments as director for ‘Mohabbat’ (1943), ‘Rajkumar’ (1944) and ‘Meena’ (1944). Thereafter, he produced and directed ‘Devdasi’ (1945), Insaaf’ (1946) and ‘Door Chalen’ (1946). He also directed an off-beat film ‘Hum Bhi Insaan Hain’ (1948) starring Dev Anand and Ramola.
In the early 1950s, Phani Majumdar directed ‘Andolan’ (1951) which was virtually a documentary type film depicting the history of the Indian National Congress since its inception in 1885 until 1947 and India’s freedom struggle. Thereafter, he directed Bombay Talkies’ ‘Tamasha’ (1952) and ‘Baadbaan’ (1954), the latter being actually produced by the Bombay Talkies Workers Cooperatives. Both these films were critically acclaimed though they were not successful in terms of box office receipts. Shakti Samanta assisted Phani Majumdar in both these films in direction as also in dialogues/script writing.
During 1955-59, Phani Majumdar joined Shaws’ Malay Films Productions, Singapore. During this period, he directed 11 films in Malay, Chinese and English languages. He directed the first Eastman Colour film in Malay language, ‘Hang Tuah’ (1956). The film won awards in the Asian Film Festival held in Hong Kong in 1957 and was nominated for the Golden Berlin Bear in Berlin International Film Festival, 1957. The prominent Malaysian film maker, Jamir Sulong assisted Phani Majumdar in his 6 out of 8 films he directed in Singapore.
After returning to India in 1959, he directed successful films like ‘Aarti’ (1962), ‘Oonche Log’ (1965) and ‘Aakashdeep’ (1965). In all, he directed 26 feature films in Hindi during 1938-1989. He wrote the scripts for most of his films which he directed. In addition, he also directed a few Children’s films and films in other languages like Bengali, Punjabi, Magadhi, Maithili, Malay, Chinese, English etc. Towards the end of his filmy career, he directed a few TV serials in Kolkata.
Phani Majumdar left for heavenly abode on May 16, 1994 at the age of 83. He was married to actress Monica Desai, the younger sister of actress Leela Desai.
Phani Majumdar mostly directed films which were acclaimed as creator of social consciousness. One of such films he directed was ‘‘Dhobi Doctor’ (1954). The film was produced under the banner of Ranjit Movietone. The star cast included Kishore Kumar and Usha Kiran in the lead role supported by Kanhaiyalal, Gautam, Krishnakant, Nazira Begum, Shivraj, Usha Rani, Master Jagdeep, Baby Asha Parekh etc
The gist of the story of the film based on the film’s review in January 24, 1954 issue of ‘Filmfare’ and the song book of the film is as under:
Ramu (childhood roe played by Jagdeep) is the son of a poor Dhobi, Mahadeo. Ramu is smart and intelligent. His elder sister, Lakshmi is very proud of her younger brother. Every evening, Lakshmi walks through the fields to pick him up from the school for back home.
One day, Lakshmi falls ill. Mahadeo has no money to bring doctor to the village. Having ranked top in his class in the school examination, Ramu has to attend to a prize distribution ceremony. But Lakshmi cannot accompany him as she is ill. After the prize distribution ceremony, Ramu returns home quickly to show his Didi the books he received as the prize. He finds that his Didi is dead. Choked with grief, he asks his father as to why Didi died. Mahadeo has no answer except that he was so poor that he could not afford to call a doctor. The broken-hearted Ramu vows that he would become a doctor and treat free the poor in the village.
Mahadeo works hard to earn more money for the fulfillment of Ramu’s dream. In the school, Ramu is taunted by some of his rich classmates for a dream of a poor Ramu of becoming a doctor but he is indifferent to the taunts. Ramu’s hard work and his father’s struggle bring fruits. He finishes his school with good performance and gets admitted to the medical college.
Ramu’s aptitude for medical studies attracts attention of the Vice- Principal, Professor Tripathi. He takes a greater interest in Ramu’s studies. Ramu becomes a doctor. Professor Tripathi helps him further in his practice by placing his laboratory at Ramu’s disposal. He also allows Ramu to study in his residence since his house in the village is far-off. Professor Tripathi has a young daughter, Uma (Usha Kiran) who plays pranks with Ramu. Gradually, Uma falls in love with Ramu. However, he is shy to reciprocate the love. Moreover, he is aware that he is the son of a poor Dhobi and Uma is the daughter of a rich father. There is struggle between his heart and realities of the situation. However, at the end, they unite after overcoming the stumbling block of the society.
‘Dhobi Doctor’ (1954) had 7 songs of which one song has been covered in the Blog. Interestingly, out of the 7 songs as many as 6 songs are solo songs of Asha Bhonsle. The remaining one song is sung by Kishore Kumar. All the songs were written jointly by Ali Sardar Jafri and Majrooh Sutanpuri and were composed by Khayyam.
I am presenting one of the remaining six songs from the film which is a rare one. The song is ‘taaron se akhiyaan milaaun main’ sung by Asha Bhonsle. When I first heard this song, I was surprised to note that the composition as well as the orchestrations of the song sounded like that of O P Nayyar. The fact is that when Khayyam composed the music for this song, O P Nayyar had not established himself as the music director of repute to copy his style of music. He came into prominence only after a runaway success of ‘Aar Paar’ (1954) and its songs. But the film ‘Dhobi Doctor’ (1954) was released on January 19, 1954, about 4 months before the release of ‘Aar Paar’ (1954).
Enjoy this song of Khayyam in the style of O P Nayyar.
Note: The information on Phani Majumdar is mainly from indiancine.ma, ‘Filmindia’ magazines, ‘Film Pictorial’- April 1945 issue and inputs from newspapers.
Audio Clip :
Song-Taaron se ankhiyaan milaaun main (Dhobi Doctor)(1954) Singer-Asha Bhonsle, Lyrics-Majrooh Sultanpuri, MD-Khayyam
Lyrics
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
taaron se
taaron se ankhiyaan milaaun main
chanda ko sajna banaaun main
taaron se
taaron se ankhiyaan milaaun main
chanda ko sajna banaaun main
taaron se
shaam ki bahaaron mein
jhoomte nazaaron mein
naachoongi titliyaan ban ke
shaam ki bahaaron mein
jhoomte nazaaron mein
nachoongi titliyaan ban ke
chaandni ki chhaanv mein
dolti hawaaon mein
gaaungi koyaliyaa ban ke
dil na kisi se lagaaun main
chanda ko sajna banaaun main
taaron se
taaron se ankhiyaan milaaun main
chanda ko sajna banaaun main
taaron se
ankhiyon ko mal ke gaaungi machal ke
birha ke geet jhoothh moothh ke
ankhiyon ko mal ke gaaungi machal ke
birha ke geet jhoothh moothh ke
kahin bhi na jaaungi
abhi roothh jaaungi
aa ke man jaaungi roothh ke
dil na kisi se lagaaun main
chanda ko sajna banaaun main
taaron se
taaron se ankhiyaan milaaun main
chanda ko sajna banaaun main
taaron se
hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm
Baadal roya naina roye
Posted on: February 16, 2019
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 : | 3865 | Post No. : | 14882 |
“Mere Laal”(1966) was directed by Satyen Bose for S S Chitramandir, Bombay. This “social” movie had Dev Kumar, Indrani Mukherji, Jagdev, Shekhar Purohit, Lalit Kapoor, Prakash Mishra, Abhi Bhattacharya, Jamaal, Samson, Rajkumar, Siddiqui, Ghulam Sabir, Master Anwar, Master Satyajeet, Madhuraj, Juthika devi, Darshan, Moolchand, Meenakshi, Mahesh, Ratan etc in it.
The movie had eight songs in it. Four of these songs have been covered in the past.
Here is the fifth song from “Mere Laal”(1966) to appear in the blog. The song is sung by Lata. Majrooh Sultanpuri is the lyricist. Music is composed by Laxmikant Pyarelal.
The song is picturised on Indrani Mukherji.
Song-Baadal roya naina roye (Mere Laal)(1966) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Laxmikant Pyarelal
Lyrics
hmm mm mm
hmm mm mm
hmm hm m hmm
hahaha
baadal roya naina roye
kaajal roya wo na mila haaye
baadal roya naina roye
kaajal roya wo na mila
tan ka ujaala rain laton ki
tan ka ujaala rain laton ki
sab kuchh khoya
wo na mila ha
baadal roya naina roye
kaajal roya wo na mila
haaye
baadal roya naina roye
dhoondhte usko o o
maine ganwaayi
kya jaane kitni hi nigaahen
uske nagar mein maine bichha di
raste raste pyaar ki baahen
saagar saagar roz kisi armaan ko duboya wo na mila aa
baadal roya naina roye
kaajal roya wo na mila
baadal roya naina roye
hmm hmm
honthon pe lekar r r
khoon ki laali
gaati rahi main dard ki maari
phool ke jaise ghaav badan par
leke phiri main ban phulwaari
des vides ka kaanta pag mein
maine chubhoyaa wo na mila
baadal roya naina roye
kaajal roye wo na mila
tan ka ujaala rain laton ki
sab kuchh khoya wo na mila
baadal roya naina roye
kaajal roya wo na mila aa
baadal roya naina roye
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 : | 3860 | Post No. : | 14875 |
“Gomti Ke Kinaare”(1972) was directed by Sawan Kumar for Mercury Productions, Bombay. This “social” movie had Meena Kumari, Mumtaz, Sameer, Rehman, Agha, Helen, Paintal, Asit Sen, Shyama, Chandrima Bhaduri, Tuntun, Daisy Irani, Master Alankar, Randheer, Sultan Mazhar, Manorama, Rajan Haksar, Nasreen, Lalita Kumari, Madhu, Aarti, Kamal, I S Johar etc in it, with special appearances by Jalal Agha and Mukri.
The movie had five songs in it. Four of these songs have been covered in the past. First and fourth song from the movie were covered on 8 february 2009 and 8 february 2019 respectively, viz at an interval of exactly ten years, which thus became a part of the ongoing blog ten year challenge series.
Here are the details of the songs from the movie that have been covered so far:-
|
Song Title |
Post No. |
Post Date |
| Aao aao jaane jahaan | 701 | 8-Feb-2009 |
| Aaj to meri hansi udaayi | 13377 | 20-November-2011 |
| Jeene ka din mar jaane ka mausam | 6764 | 27-June-2017 |
| Arre lag gaya re lag gaya…pyaar ki race mein jackpot lag gaya | 14870 | 8-Feb-2019 |
Here is the fifth and final song from “Gomti Ke Kinaare”(1972). This song is sung by Manhar Udhas. Majroo Sultanpuri is the lyricist. Music is composed by R D Burman.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
With this song, the movie gets YIPPEED and so “Gomti Ke Kinaare”(1972) joined the list of movies that have all their songs covered in the blog.
Song-Khwaab ki tasweer aankhen lab khanakte jaam se(Gomti Ke Kinaare)(1972) Singer-Manhar, Lyrics-Majrooh Sultanpuri, MD-R D Burman
Lyrics
khwaab ki tasweer aankhen
lab khanakte jaam se
aap hi kahiye
pukaaroon aapko kis naam se
o o
khwaab ki tasweeir aankhen
lab khanakte jaam se
aap hi kahiye
pukaaroon aapko kis naam se
lab kahoon chehra kahoon sab pyaar ke kaabil
sar se tum ho paanv tak jaise ke mera dil
o ho
lab kahoon chehra kahoon sab pyaar ke kaabil
sar se tum ho paanv tak jaise ke mera dil
ye kiska tum naseeb ho
baithhi aanchal thhaam ke
khwaab ki tasweer aankhen
lab khanakte jaam se
aap hi kahiye
pukaaroon aapko kis naam se
aapke ik pyaar ki daulat jise mil jaaye
reshmi rangeen badan
jis baanh mein dhal jaaye
o oh o
aapke pyaar ke ek daulat jise mil jaaye
reshmi rangeen badan
jis baanh mein dhal jaaye
sanam
usi ki zindagi
ho basar aaraam se
khwaab ki tasweer aankhen
lab khanakte jaam se
aap hi kahiye
paukaaroon aapko kis naam se
ho o
khwaab ki tasweer aankhen
lab khanakte jaam se
aap hi kahiye
pukaaroon aapko kis naam se
Recent comments