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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 : 4016 Post No. : 15123

“Naag Mohini”(1963) was directed by Shantilal Soni for Dimple Films Bombay. This “pauraaanik” movie had Vijaya Chadhary, Mahipal, Sundar, Rajan Haksar, Bablu, Uma Dutt, Indira Bansal, Rajrani, Sood, Khursheed etc in it.

The movie had six songs in it. Two of these songs have been covered in the past.

Here is the third song from “Naag Mohini”(1963) to appear in the blog. the song is sung by Suman Kalyanpur and Rafi. Bharat Vyas is the lyricist. Music is composed by Sardar Malik.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song. It is almost certain though that the song must have been picturised on the lead pair of Vijaya Chaudhary and Mahipal.


Song-Neeli neeli ankhiyon mein doobi doobi jaaun(Naag Mohini)(1963) Singers-Suman Kalyanpur, Rafi, Lyrics-Bharat Vyas, MD-Sardar Malik
Both

Lyrics

ho o o
neeli neeli ankhiyon mein doobi doobi jaaun
main doobi doobi jaaun
kahaan hai kinaara
kachchu samajh na paaun
kahaan hai kinaara
kachchu samajh na paaun
kaali kaali zulfon mein khoya khoya jaaun
main khoya khoya jaaun
kahaan hai kinaara
kachchu samajh na paaun
kahaan hai kinaara
kachchu samajh na paaun

gore gore mukhde pe kaali lat latke
ho ho o o
gore gore mukhde pe kaali lat latke
jaise koi naaganiya soyi ho simat ke

piya mori zulfon mein jiya tora atke
ho ho ho
haaye haaye

piya mori zulfon mein jiya tora atke
aisa uljhaaya kaise jaaoge palat ke
aisa uljhaaya kaise jaaoge palat ke
pyaar ka ye bandhan main kaahe ko
chhudaaun
main kaahe ko chhudaaun
tu jo mili swarg mila
kaise thhukraaun
tu jo mili swarg mila
kaise thhukraaun

dekh tera mukhda
rang uda darpan ka

ho o o o
dekh tera mukhda
rang uda darpan ka
toot pada dharti pe
chanda gagan ka

chaand gira charnon mein
pyaasa milan ka
ho ho ho
haaye haaye

chaand gira charnon mein
pyaasa milan ka
kab se deewaana thha
piya ki lagan ka
kab se deewaana thha
piya ki lagan ka
pyaare pyaare sapnon ki duniya sajaaun
main duniya sajaaun
bhaag mere jaagen jo tumsa ratan paaun
bhaag mere jaagen jo tumsa ratan paaun

neeli neeli ankhiyon mein doobi doobi jaaun
main doobi doobi jaaun
kahaan hai kinaara
kachchu samajh na paaun
kahaan hai kinaara
kachchu samajh na paaun

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This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4009 Post No. : 15115

“Pyaar Ki Baazi”(1967) was directed by K Malik and Shaukat for Salim Productions, Bombay. This “social” movie had Jagdeep, Vijaya Chaudhary, Anuradha, Paro, Anant Kumar etc in it.

This forgotten B grade movie had five songs in it. One song ws covered in the blog as far back as in 2011.

After the passage of nearly eight years, here is the second song from “Pyaar Ki Baazi”(1967) to appear in the blog. This song is sung by Suman Kalyanpur and Kamal Barot. Akhtar Romani is the lyricist. Music is composed by Jimmy.

The song is picturised as a synchronised dance song. I am unable to identify the two dancers. I request our knowledgeable readers to help identify the actors seen in the picturisation.


Song-Dilbar nazar mila le (Pyaar Ki Baazi)(1967) Singers-Suman Kalyanpur, Kamal Barot, Lyrics-Akhtar Romani, MD-Jimmy
Both

Lyrics

dilbar nazar mila le
dam bhar to muskura le ae
dilbar nazar mila le
dam bhar to muskura le
pyaar ki mehfil aur jawaan dil
roz kahaan milte hain
dilbar nazar mila le
dam bhar to muskura le
dilbar nazar mila le
dambhar to muskura le
hoye pyaar ki mehfil aur jawaan dil
roj kahan milte hain
dilbar nazar mila le

tujhse meri saansen jaane kya daastaan kah gayin
haaye aankhen meri aankhen
jo jhuki to rah gayin

o aankhon mein aankh daale
aankhon mein aankh daale
koi mujhe sambhaale hoye
aankhon mein aankh daale koi mujhe sambhaale
oye pyaar ki mehfil aur jawaan dil
roz kahaan milte hain
dilbar nazar mila le

aanchal mera aanchal
dheere dheere dhalakne laga
haaye kaajal mera kaajal pyaar ban ke chhalkne laga
o jeene ka gham mita le
jeene ka gham mita le
?? mein hans hansaa le hoye
jeene ka gham mita le
?? mein hans hansaa le hoye
pyaar ki mehfil aur jawaan dil
roz kahaan milte hain
dilbar nazar mila le

humdum mere humdum
tu agar saaz e dil chhed de
mausam yahi mausam jhoom kar gungunaane lage
o o aa tu bhi aaj gaa le
aa tu bhi aaj gaa le
kuchh sun le kuchh sunaa le hoye
aa tu bhi aaj gaa le
kuchh sun le kuchh sunaa le
pyaar ki mehfil aur jawaan dil
roz kahaan milte hain
dilbar nazar mila le
dambhar to muskura le
dilbar nazar mila le
dambhar to muskura le
hoy pyaar ki mehfil aur jawaan dil
roz kahaan milte hain
dilbar nazar mila le


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 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 : 4007 Post No. : 15111

tum samay ki ret par chhodte chalo nishaan
dekhti tumhen zameen
dekhta hai aasmaan

These uplifiting lines are from the pen of Saraswati Kumar Deepak. The poetry composed sometimes in the early 1950s, was presented as a song in the 1953 film ‘Naya Raasta’. Saraswati Kumar Deepak is a song writer who has been confined to mythological and religious fare for most of his career. Active in the Hindi cinema since 1943, his songs can be heard in films all the way to the end of 1970s.

Remembering Saraswati Kumar Deepak today (8th July) on the anniversary of his passing away. And incidentally, yesterday (7th July) was his birth anniversary also.

He was born on 7th July 1918, at Navsthala Hasanpur in district Bulanshehar in Uttar Pradesh. His original name was Ram Gopal Sharma. Not much information is available about his early years. His education was in Hindi and Sanskrit. He did his BA from Meerut College. As a young man, he had begun writing poetry and prose.

In early forties he came to Bombay, and in 1942 he joined the production house of Fazli Brothers. His first assignment was as the writer of advertisements and promotional material in Hindi, for the films produced by Fazli Brothers. His first song appeared in the film ‘Zabaan’ of 1943 – “Dheere Se Kadam Badhaata Chal, Bigdi Taqdeer Banaata Chal”, which was composed by C Ramchandra and sung by Ishwarlal and Kaushalya. His next song – “Soti Hun Ab Chanda Mujhe Jagaa Dena”, appeared 1944, in the film ‘Badi Baat’. The song was rendered by Amirbai under the direction of Feroze Nizami. This song became very popular in its time, and the name of its writer started getting known somewhat in the industry.

In 1945, his songs appeared in ‘Piya Milan’ and ’Swarn Bhoomi’. However, 1946 became a defining year for him. Four films were released that carried songs written by him – ‘Bhakt Prahlad’, ‘Dev Kanya’, ‘Maansarovar’ and ‘Uttra Abhimanyu’. As the names of these films suggest, yes, they had an effect to have Saraswati Kumar typecast as a writer for religious and mythological films. This categorization he was never able to shake off for the rest of his career.

That is not to say that he did not write other type of songs for other genres of films. The songs “Kahin Ka Deepak Kahin Ki Baati” (‘Aag’, 1948), “Raat Gayi Phir Din Aata Hai” (‘Boot Polish’, 1953, and “Nigaahon Se Dil Mein Chale Aayiega” (‘Hameer Hath’, 1964) are a sampler that represents that wide portfolio of genres he could handle. He has written close to 350 songs for about 100 Hindi films. Besides that, he translated and dubbed the songs and the dialogues for about 25 regional language films.

Saraswati Kumar was not just a song writer. He was also a screenplay writer, a dubbing specialist and a renowned author of literature for children. Books like ‘Haathi Ghoda Paalki’ and ‘Jai Janani, Jai Bharati’ became quite popular and famous. He used to write a lot for All India Radio – plays, songs, sponsored programs etc. for two years, he anchored the program ‘Apni Kahaani, Apni Zubaani’ – sponsored by Bank of Baroda. And above all, as a journalist, he continuously contributed stories and articles for newspapers and magazines.

He passed away in 1986, just after completing his 68 year.

The film ‘Bansari Bala’ is produced by Moghabhai Deasi under the banner of Desai Productions, Bombay, and is directed by Nanubhai Vakil. The cast of actors listed for this film is Chitra, Daljeet, Maruti, Niranjan Sharma, Krishna Kumari, Ram Singh, Tiwari, Mishra, Kamal, Meenu Mumtaz, Wazir Muhammad Khan, Susheel Kumar, Nadir Mota, Razia, Rafiq, Munshi Munakka, Jugnu, Shashimala, Savitri, Jagdish Kamal, Heera Sawant, Sheela Waaz, Suresh Nigam, Master Rajesh, and Al Nasir.

Geet Kosh lists 9 songs for this film. Six songs are written by Pandit Faani and the remaining three are by Saraswati Kumar Deepak. Music direction is by Kamal Mitra. All the three songs which are written by Saraswati Kumar Deepak have been sung by Sudha Malhotra. One of these three is already showcased here on our blog – “Main To Chanda Ki Nagri Se Aayi Re”.

 Today’s lilting song is in the sweet singing voice is of Sudha Malhotra. Words are from the pen of Saraswati Kumar Deepak, and the signature melody is by Chitragupt. On screen, the song is performed by Chitra, who tells about her heart after someone came to her dreams and cast a captivating spell on her. The song is filmed in a garden. And we can see the subject of her aspirations (Daljeet) also present there, although she is not aware as she continues with the song.

The lyrics of this song have been sent in by Nitin Shah.

Listen and enjoy.

 


Song – Mere Nainon Mein, O Mere Sapnon Mein Chupke Se Aa (Bansari Bala) (1957) Singers – Sudha Malhotra, Lyrics – Saraswati Kumari Deepak, MD – Kamal Mitra

Lyrics (Provided by Nitin Shah)

aaaa aaaa
aaaa aaaaa

mere nainon mein
o mere sapnon mein chupke se aaaaaa
aaj kis ne ye jaadu kiya
meri duniya mein
o dil ki bagiya mein chhup chhup ke aa aaaa
aaj kis ne ye jaadu kiya
mere nainon mein
o mere sapnon mein chupke se aaaa
aaj kis ne ye jaadu kiya…..

aaaaa aaaaa aaaa
aaaaa aaaaa aaaa

teer jaane ye kaise laga
mera doley re doley jiya
teer jane ye kaise laga
mera doley re doley jiya
boley man ka papiha piya
boley man ka papiha piya
dard kaisa mujhe de diya aa aa
aaj kis ne ye jaadu kiya
mere nainon me in
o mere sapnon mein chupke se aa aaa
aaj kis ne ye jaadu kiya….

aaaaa aaaaa aaaa
aaaaa aaaaa aaaa

apne mann ki main kaise kahoon
sakhi chup bhi main kaise rahoon
apne mann ki main kaise kahoon
sakhi chup bhi main kaise rahoon
dil ki maujon pe kaise bahoon
dil ki maujon pe kaise bahoon
sakhi dhadke hai mora jiya aa aa
aaj kis ne ye jaadu kiya
mere nainon mein
o mere sapnon me chupke se aa
aaj kis ne ye jaadu kiya

aaaaa aaaaa aaaa
aaaaa aaaaa aaaa

raah mujh ko dikha di nayi
main to hirni si ghayal hui
raah mujh ko dikha di nayi
main to hirni si ghayal hui
aaj kis ki main paagal hui
aaj kis ki main paagal hui ee ee
diya kis ne ye damka diya
aaj kis ne ye jaadu kiya
mere nainon mein
o mere sapnon mein  chup ke se aa
aaj kis ne ye jaadu kiya. . .

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

आss आsss
आss आssss

मेरे नैनों में
ओ मेरे सपनों में चुपके से आ॰॰आ
आज किसने ये जादू किया
मेरी दुनिया में
ओ दिल की बगिया में छुप छुप के आ॰॰आ
आज किसने ये जादू किया
मेरे नैनों में
ओ मेरे सपनों में चुपके से आ॰॰आ
आज किसने ये जादू किया

आssss आssss आsss
आssss आssss आsss

तीर जाने ये कैसे लगा
मेरा डोले रे डोले जिया
तीर जाने ये कैसे लगा
मेरा डोले रे डोले जिया
बोले मन का पपीहा पिया
बोले मन का पपीहा पिया
दर्द कैसा मुझे दे दिया॰॰आ॰॰आ
आज किसने ये जादू किया
मेरे नैनों में
ओ मेरे सपनों में चुपके से आ॰॰आ
आज किसने ये जादू किया

आssss आssss आsss
आssss आssss आsss

अपने मन की मैं कैसे कहूँ
सखी चुप भी मैं कैसे रहूँ
अपने मन की मैं कैसे कहूँ
सखी चुप भी मैं कैसे रहूँ
दिल की मौजों पे कैसे बहूँ
दिल की मौजों पे कैसे बहूँ
सखी धड़के है मोरा जिया॰॰आ॰॰आ
आज किसने ये जादू किया
मेरे नैनों में
ओ मेरे सपनों में चुपके से आ॰॰आ
आज किसने ये जादू किया

आssss आssss आsss
आssss आssss आsss

राह मुझको दिखा दी नई
मैं तो हिरणी सी घायल हुई
राह मुझको दिखा दी नई
मैं तो हिरणी सी घायल हुई
आज किसकी मैं पागल हुई
आज किसकी मैं पागल हुई॰॰ई॰॰ई
दिया किसने ये दमका दिया
आज किसने ये जादू किया
मेरे नैनों में
ओ मेरे सपनों में चुपके से आ॰॰आ
आज किसने ये जादू किया

 


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 : 3986 Post No. : 15075

“Shankar Shambhu”(1976) was directed by Chaand for A K Movies Bombay. The movie had Feroz Khan, Vinod Khanna, Sulakshana Pandit, Bindu, Jagdeep, Ajeet, Anwar Hussain, Suhir, Sulochana, Jayshree T, Shantanu, Jankidas, Viju Khote, Kishore Sinha etc with guest appearances by Pradeep Kumar and Lalita Pawar.

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

Here is the third song from “Shankar Shambhu”(1976) to appear in the blog. This song is sung by Suman Kalyanpur. Sahir Ludhianvi is the lyricist. Music is composed by Kalyanji Anandji.

The song is picturised as a mujra song on Bindu and Vinod Khanna.

It appears to be a rare song in the sense that it is one of rare occasions when Sahir Ludhianvi must have penned lyrics for Kalyanji Anandji.

This song appears to be a forerunner of the “Muqaddar Ka Sikandar”(1978) mujra song “Salaam e ishq meri jaan zara kubool kar le”.


Song-Mera dil churaa kar na aankhen chura (Shankar Shambhu)(1976) Singer-Suman Kalyanpur, Lyrics-Sahir Ludhianvi, MD-Kalyanji Anandji

Lyrics

mera dil chura kar na aankhen chura
mera dil chura kar na aankhen chura
sab kahenge tujhe bewafa bewafa
bewafa bewafa
dekh dil ko laga kar na dena daga
dekh dil ko laga kar na dena daga
sab kahenge tujhe bewafa bewafa
bewafa bewafa
mera dil chura kar na aankhen chura

hamne de di hai tujhko jubaan
ho hamne de di hai tujhko jubaan
tere kadmon mein niklegi jaan aan
tere kadmon mein niklegi jaan
dil ka naazuk sa hai ye aayina
dil ka naazuk sa hai ye aayina
tod dena na ae meharbaan aan
tod dena na ae meharbaan
ban ke toota agar silsila silsila
ban ke toota agar silsila silsila
sab kahenge tujhe bewafa bewafa
bewafa bewafa
mera dil chura kar na aankhen chura

gair ke ghar na rakhna kadam
ho gair ke ghar na rakhna kadam
ye sitam sah na paayenge hum m
ye sitam sah na paayenge hum
toone gar hamko dhokha diya
toone gar hamko dhokha diya
zahar kha lenge teri kasam m
zahar kha lenge teri kasam
jab janaaza uthha pyaar ka pyaar ka
jab janaaza uthha pyaar ka pyaar ka
sab kahenge tujhe bewafa bewafa
bewafa bewafa
mera dil chura kar na aankhen chura


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 :

3979 Post No. : 15065

Today’s song is from film ‘Aaj Ki Baat’ (1955).

In one of his earliest posts, Atul ji had said that the Indian people like to talk about 3 things – politics, films and cricket. How true it was. . . till Whatsapp and Facebook became an obsession for most people in India. Now you see different, sometimes even strange topics being discussed with taste. Additionally, there are wise people to give you free doses of a variety of knowledge. In all this crowd, sometimes one finds even a few intelligent posts too !

Recently, I saw a video by National Geographic. It showed how a mother bear saves her wayward baby bear, from almost certain clutches of a hungry lion. Motherly love or love for children is a common factor among animals and humans. While animals try to protect their babies from enemies, starvation and life threatening situations, human parents try to provide the goodies of life and a paying career line to their children.

Film people are no different in this. Almost every successful star wishes that his children join this line and be famous and successful. However, they forget that in their own case they had struggled hard to earn their place in the life and more importantly they forget that talents are not necessarily hereditary !

When I chose today’s Talat song from film ‘Aaj Ki Baat’, I realised that this was the launching film for Ajit Chitnis – son of ace actress Leela Chitnis. Unfortunately, the film career of Ajit Chitnis never took off beyond his first and the only film. Actually, Ajit was a qualified commercial pilot, but he could not get a job in any air line. Consequently, he became a victim of alcoholism and was spoiled further. To help him settle in life, his mother-Leela Chitnis tried to bring him in film line. When she noticed her contemporary, Shobhana Samarth produced a film ‘Hamari Beti’ (1950), to launch her daughter Nutan, Leela too decided to produce a film to launch one of her two sons as an actor. She chose Ajit as he was elder and needed help. Manvendra (Leela used to call him as ‘Meena’) was not launched ceremoniously, but later he acted in 4 films in side roles. In his last film,’Ramu To Deewana Hai’ (1980) he even shared the credits with his mother. The history of most star sons in films is not very encouraging. In fact, success and failure ratio may be 10 to 90 percent in success and failures.

It is said that ‘No tree can grow under a Banyan tree’. This is absolutely true and applicable in film industry. Except in cases like the Kapoor family, i.e. Raj, Shammi and Shashi,who made their bright careers despite the shadow of their father and other brothers, we find that many of the sons, daughters, brothers or sisters of many popular and famous film stars were failures and never made it big in Hindi cinema.

We know cases like Suneil Anand, Nasir Khan, Tony Walker, Naina Sahu, Meera Joglekar, Ajit Chitnis, Rajendranath, Narendranath, Anoop Kumar, Mallika, Khursheed Jr., Simple Kapadiya, Shivangi Kolhapure,  Preeti Ganguly and many more. In spite of having all the backing of the famous family member, these and such many others just did not make it, because Talents are not always hereditary !

They all were given a fair opportunity to display their talent on the screen , but unfortunately despite their honest effort  their skill could not come out  & the viewers were left unimpressed . They were selected by big banners and well experienced directors were there to guide them. But  their talent remained hidden inside them and with their nonexistent artistry they disappointed their mentors. Non-actor Sohan Kapila was in the romantic lead of Filmistan’s ‘Babar’, which was released in 1960. This film was directed by Hemen Gupta, the distinguished director, who earlier had directed ‘Anand Matth’ (1952) for Filmistan. The film, also had the winning combination of Sahir and Roshan.  Dependable character actor Gajanan Jagirdar played the role of the great Mughal Emperor Babar . But the movie flopped, as the new hero failed pathetically to register  any emotion on his face. A big jolt for Seth Tola Ram Jalaan, who was already facing financial problems. Mr. Kapila appeared in 2-3 movies in inconsequential roles and disappeared from scene for ever. His daughter Padmini Kapila also pursued a career in films, but could not achieve much success .

There were many other actors like him, who got a chance to appear opposite illustrious heroines, unfortunately their effort did not make any impact on the cine loving public. Watching their miserable performance on the screen, no film maker came forward to sign them.  Out of sight is out of mind, it was matter of time when public as well as film industry forgot them.

‘Malhaar’, as the name suggests, is a musical film produced by the great singer Mukesh in 1951 . It had story by veteran actor SK Prem and its evergreen music was composed by Roshan. The movie had new comers Arjun and Shammi (Nargis Rabaadi). Arjun did get another chance in ‘Daku Ki Ladki’ (1954) to please the viewers with his emoting before the camera, but could not succeed and it was end of his career.

Rattan Chopra, the lucky boy was selected for films, among hundreds of aspirants. Mohan Kumar had suffered a huge set back when ‘Aman’ flopped. He  took the newcomer for ‘Mom Ki Gudia’ (1972) opposite Tanuja, with great hopes.  Unfortunately, the film failed to dispel the gloom and sank to the rock bottom. Acting was not his cup of tea, Rattan Chopra understood and wisely opted out of the race of stardom.

Director Amarnath introduced new comer Vijay Kumar in his 1954 offering ‘Alif Laila’ opposite Nimmi and Asha Mathur.  Sohan Kapila and Vijay Kumar had impressive physique, but had no clue about acting. The movie had lilting music by Shyam Sunder, which was his last contribution towards film industry. Helen for the first time got a chance to perform solo in the movie and for many decades she remained on top. But for Vijay Kumar it was his first & last chance.

Another non actor Premendra was introduced by old timer Vijay Bhatt in ‘Holi Aayee Re’ (1970), which was directed by his younger sibling Harsukh Bhatt.  It was pathetic to watch Premendra unsuccessfully trying to show case his imaginary ability in the field of acting .The movie flopped phenomenally and a huge investment made by Bhatt Brothers went up in a cloud of smoke.

There were some more like Pratibha Sinha, Archan Gupta, Jayant Gupta, Ashok Sharma,  Nusrat Kardar, Rajeev Kapoor, Manish Kumar, Navin Chandra, Aroop Kumar, Prashant, Shalini, Kaycee Mehra, Vikram, Shekhar Suman, Deepak Kumar, Ajay, Som Dutt and many more. Among them, some film names which I remember off hand are Deepak Kumar in ‘Aabroo’ (1968), ‘Ajay’ in ‘Wapas’ (1969), Som Dutt in ‘Mann Ka Meet’ (1968), Vikram in ‘Julie’ (1975), Rajeev Kapoor in ‘Raam Teri Ganga Maili (1985), Shekhar Suman in ‘Utsav’ (1984), Kaycee Mehra in ‘Chhabilee’ (1960) and Mem Didi (1961), Prashant in ‘Sehra’ (1963), Ashok Sharma in ‘Hamari Yaad Aayegi’ (1961), Ajit Chitnis in ‘Aaj Ki Baat’ (1955), Nusrat Kardar in ‘Dard’ (1947), Manish in ‘Saraswati Chandra’ (1968), Rajiv in ‘Nayi Umar Ki Nayi Fasal’ (1965), Aroop Kumar in ‘Bezubaan’ (1962) etc. There could be more such examples. Readers can give their comments.

According to what Leela Chitnis wrote in her autobiography, ‘Chanderi Duniyet’ (‘चंदेरी दुनियेत’), during the period 1952-53 she was in a very bad financial position. Her health had worsened due to a wrong operation and then a corrective surgery. Valuable time and all money was lost in this. To come out of this situation, she planned to produce a film launching Ajit. As the luck would have it, the film started in 1953, but took 2 years to complete. The rights were sold to a distribution company. They released the film first in Punjab, where it flopped miserably. Then it was not released anywhere at all and went into the cans forever. This was a great shock to Chitnis family.

The film had 8 songs. 2 songs are already discussed here. This is the 3rd song, sung by Talat Mehmood. Written by Raj Baldev Raj, it was composed by the ‘Gentleman Maestro’ – Snehal Bhatkar.

White full shirt, ironed white Pyjama, spectacles with big powerful lenses and the trademark white Gandhi Topi. He could easily be mistaken for a ‘Pandharpur Warkari‘ (a regular pilgrim to Pandharpur) or a member of a ‘Bhajani Mandali’ or simply a middle class ‘Marathi Manoos’. Such was the appearance of one of Hindi filmdom’s talented yet not so famous, music maestro VASUDEV GANGARAM BHATKAR or Snehal Bhatkar as we all love to know him.

In Hindi film music field, there were some talented composers like Ghulam Mohd, Mohd Shafi, Iqbal Qureshi, Daan Singh, C Arjun, Ramlal, Sardar Malik, Ajit Merchant, Jamaal Sen, Dattaram, Ganesh, Snehal Bhatkar etc., who could never reach the peaks of their careers. They really deserved this, but luck did not favour them. Big Banners never approached them and the losers were the lovers of music in India. They did not know, perhaps, how to sell their art. May be, they never wanted to enslave the music to gain name and fame, instead they preferred to settle for service to the music!

Bhatkar was one such composer. ‘Simple living and high thinking’ – never worked in this mayanagari, but he had no regrets. Till the end he was contented with whatever God gave him, whatever name and success he achieved. He was born into a family and grew in such atmosphere which was surrounded by traditional devotional music all around. In the lower middle class, the people had their entertainments in singing bhajans and doing keertans in temples en masse.

He was born on 17-7-1919. Vasudev G. Bhatkar knew at least 100 Bhajans by heart by the time he was in his 10th class. He was invited to sing in Ganesh Melas and other celebrations and soon became a well known name in the locality. Because of his singing and skills in playing harmonium and other instruments, he got a job in HMV in Bombay. Here he used to give accompaniment on harmonium to renowned classical singers. At the same time, taking cognizance of his singing skills, many Marathi bhavgeets and bhajans were recorded by HMV in those days. Some of them are popular in Maharashtra even today.

All the while, Bhatkar was looking for opportunity to compose in films. Sudhir Phadke, who too served in HMV and recorded some songs from 1943 to 1945, joined hands with Bhatkar and made a pair – Vasudev-Sudhir. They got a film of Baburao Painter ‘Rukmini Swayamvar’ in 1946 for music direction. The problem was due to his service in HMV, he could not openly work outside, hence he only gave his name as Vasudev. After this film the pair separated and Phadke went to give music to films like ‘Gokul’, ‘Aagey Badho’ etc. Due to financial constraints Bhatkar was unable to leave the job also.

In 1941, Bhatkar had come to know Kidar Sharma while recording songs for his film ‘Chitralekha’, which he was making for Ranjit Studios. Sharma had just come from Calcutta, to establish himself in Bombay. He had a knack of identifying talents. He gave chance to Bhatkar first to sing some songs with Leela Sawant in his film ‘Kaliyan’ (1944). After ‘Rukmini Swayamvar’, Kidar Sharma gave him his first break as independent composer in his ‘Neel Kamal’ in 1947. For this film, Bhatkar used the name  B Vasudev. Kidar Sharma had launched Raj Kapoor and Madhubala in adult roles as the lead pari in this film. It also launched Bhatkar, albeit in a pseudo-name. In the subsequent years Bhatkar used different names for different films-

  • ‘Suhaag Raat’ (1948) – as Snehal
  • ‘Sant Tukaram’ (1948) – as VG Bhatkar (he sang 6 songs also)
  • ‘Thes’ (1949) – as Snehal
  • ‘Sati Ahilya’ (1949) – as VG Bhatkar
  • ‘Pagle’ (1950) – as VG Bhatkar

After completing ‘Thes’ and ‘Sati Ahilya’, Bhatkar resigned from HMV.

He and Kidar Sharma were very good friends. Kidar gave him ‘Neki Aur Badi’ in 1949. He started the work. Meanwhile, Kidar Sharma met Roshan Nagrath in some musical event. Sharma was terribly impressed with Roshan and wanted to give him a break in his film. At that point of time, Kidar had just started work on ‘Neki Aur Badi’. He had a heart to heart talk with Bhatkar and Bhatkar gladly left the film for Roshan. Thus Roshan got his break with this film. Roshan never forgot Bhatkar’s magnanimity in his life and always respected Bhatkar.

In return Kidar Sharma gave ‘Hamari Beti’ (1950) to Bhatkar.  As he was a free bird now, Bhatkar started using the name Snehal Bhatkar from this film onward. Snehal was the short form of Snehalata, his daughter. Snehal Bhatkar did many Marathi films and recorded many bhajans in Marathi, which are ever popular. He did 27 films in Hindi and 12 films in Marathi. Out of 27 Hindi films, 9 were made by Kidar Sharma.

The song which made Mubarak Begum and Bhatkar famous in India was “Kabhi Tanhayion Mein, Hamari Yaad Aayegi” from the film ‘Hamari Yaad Aayegi’ (1961). (This film was was originally named ‘Jawaan Muhabbat’). Actually this song was to be done by Lata Mangeshkar. Lata had already recorded two songs for this film. Due to her extremely busy schedule she was unable to do this song, so she suggested the name of Asha Bhosle. However, already upset over Lata’s refusal, Kidar Sharma opted for Mubarak Begum and the rest is history-as they say. She made a gold of this song with her special voice.

After 1960, the musical scene in India was undergoing drastic changes and there was no space for composers like Bhatkar, who used minimum orchestra and dwelt upon melody. His films came after long intervals. Even Kidar Sharma left him after ‘Fariyad’ (1964) (only to return in ‘Pehla Kadam’ in 1980). Finally Bhatkar did his last film ‘Sehme Huye Sitaare’ in 1994, which featured his son Ramesh Bhatkar-who was already a popular hero in Marathi film, stage and TV. This obscure film did nothing good to Bhatkar.

After retirement Bhatkar devoted his time for children’s welfare and his original love – bhajan mandali singing.

Snehal or Vasudev Gangaram Bhatkar, together with cousin Devji Bhatkar and Panchambuwa Pandurang Shivalkar, was the founder member of ‘Vishwambhar Prasadik Bhajan Mandal’ in Dadar. It is still in operation after 50 years, with new set of singers. Bhatkar was very kind hearted. Every year, during Ganapati festival he used to visit his ancestral village ‘Bhate’ in Ratnagiri district and participate in singing bhajans.

Lata, Talat and Mukesh were his favourite singers. Talat, though has not sung many songs for him, his song “Zindagi Kis Mod Pe Laayee Hamein” from ‘Diwali Ki Raat’ (1956) was very popular. When rehearsals for this song were being done, Bhatkar had used only tabla and sitar for the practice session. The producer who chanced upon this rehearsal was so much impressed with this that he insisted recording the song only with minimum instruments. So, this song has only tabla, Sitar and another instrument for accompaniment.

Though there were many melodious songs composed by Bhatkar like, Khusro’s “Lakhi Baabul More Kaahe Ko Deeni Bides” sung soulfully by Mukesh in ‘Suhag Raat’ (1948); “Ro’oge Pachhtaoge” by Mukesh and Rajkumari in ‘Thes’ (1949); Lata’s “Chanda Tumko Laaj Na Ayee” from ‘Bhola Shankar’ (1951); Suman Kalyanpur’s “Haal e Dil Un Ko Sunaana Tha” from ‘Fariyaad’ (1964), except Kidar sharma no other big banner producer opted for Snehal Bhatkar. May be, his compositions were not so simple for common man to hum or sing, although they were quality songs.

Inspite of several melodious songs Bhatkar was never counted among the 1st line composers. Kidar Sharma also returned to him in 1980, but by that time Snehal Bhatkar was already on a descending track.

Snehal Bhatkar, a talented but not much applauded music director died peacefully on 29-5-2007 at his Dadar home.

Here is the song by Talat Mehmood from film Aaj ki baat-1955.

(My thanks to Shri MN Sardana ji for his post in ‘Voh Din Yaad Karo’ on Facebook, from which some information has been used herein.)

Song – Pyaar Ki Nazron Se Un Ko Dekhta Jaata Hai Dil (Aaj Ki Baat) (1955) Singer – Talat Mehmood, Lyrics – Raj Baldev Raj, MD – Snehal Bhatkar

Lyrics

aaaaaa aaaaaa
aaaa aaaaa aaaaaa
aaaaaa aaaaaa aaaaaaa
aaaa aaaa aaaa aaaaaa

pyaar ki nazron se un ko
dekhta jaata hai dil
pyaar ki nazron ki nazron se un ko
dekhta jaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

kya hua mujhko
hai mere dil ki dhadkan tez tez
kya hua mujhko
hai mere dil ki dhadkan tez tez
thaamna mujhko ke seene se
uda jaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

aaye hain wo zindagi
aaye hain wo zindagi
kadmon mein un ke daal de
kadmon mein un ke daal de
dil ko samjhaati hain nazren
mujhko samjhaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

ho gai shaayad mohabbat
ho gayi un se mujhe
ho gai shaayad mohabbat
ho gayi un se mujhe
jab khayaal aata hai un ka
khud behal jaata hai dil
baat un ke saamne kehne se
ghabraata hai dil

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

आsssss आsssss
आsss आssss आsssss
आsssss आsssss आssssss
आsss आsss आsss आsssss

प्यार की नज़रों से उनको
देखता जाता है दिल
प्यार की नज़रों से उनको
देखता जाता है दिल
बात उनके सामने कहने से
घबराता है दिल

क्या हुआ मुझको
है मेरे दिल की धड़कन तेज़ तेज़
क्या हुआ मुझको
है मेरे दिल की धड़कन तेज़ तेज़
थामना मुझको के सीने से
उड़ा जाता है दिल
बात उनके सामने कहने से
घबराता है दिल

आए हैं वो ज़िंदगी
आए हैं वो ज़िंदगी
कदमों में उनके डाल दे
कदमों में उनके डाल दे
दिल को समझाती हैं नज़रें
मुझको समझाता है दिल
बात उनके सामने कहने से
घबराता है दिल

हो गई शायद मोहब्बत
हो गई उनसे मुझे
हो गई शायद मोहब्बत
हो गई उनसे मुझे
जब खयाल आता है उनका
खुद बहल जाता है दिल
बात उनके सामने कहने से
घबराता है दिल


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 : 3977 Post No. : 15064

Today (8 june 2019) is the birthday of Dimple Khanna nee Kapadia (Dob 8 june 1957). She was 16 years old when her debut movie “Bobby”(1973) took Hindi movie world by storm. This dubut movie was goin to be her first and only movie for next decade. After “Bobby”(1973) came the surprise announcement of her marriage to the reigning superstar Rajesh Khanna in 1973. Rajesh Khanna at that time was 31, viz twice in age to her.

Two daughters, viz Twinkle and Rinke were born to her. She separated from Rajesh Khanna in 1982 and resumed her acting career in 1984.

In her second innings as an actress, she got “mature” roles, though she was only in her early 30s at that time.

One of her well acclaimed films of that era was “Aitbaar”(1985). This suspense movie was produced by Romesh Sharma and directed by Mukul Anand. The movie had Dimple Kapadia,Raj Babbar, Suresh Oberoi, Danny Denzongpa, Leena Das, Huma Khan, Sharat Saxena, Anupam Kher, Ghanshyam Roherra, Pradeep Singh, Shivraj, Pankaj Kapur etc in it.

The movie had five songs in it. Two of these songs have been covered in the past.

Today, on the occasion of the birthday of Dimple Kapadia, here is this song from “Aitbaar”(1985). This song is sung by Bhupinder Singh and Asha Bhonsle. Hasan Kamaal is the lyricist. Music is composed by Bappi Lahiri.

The song is picturised as a piano cum get together song. Suresh Oberoi is seated at the piano, whereas the song is lip synced by him and Dimple Kapadia, as Raj Babbar dances with Dimple.

The lyrics of this song were sent in by Prakashchandra ji.


Song-Aawaaz di hai aaj ik nazar ne(Aitbaar)(1985) Singers-Bhupinder Singh, Asha Bhonsle, Lyrics-Hasan Kamal, MD-Bappi Lahiri

Lyrics (provided by Prakashchandra ji)

aa aa aa aa
aa aa aa
aa aa aa
aa aa aa

aawaaz di hai aaj ik nazar ne
ya hai ye dil ko gumaan
dohra rahi hai jaise fazaayen
bhooli hui daastaan
aawaaz di hai aaj ik nazar ne
ya hai ye dil ko gumaan
dohra rahi hai jaise fazaayen
bhooli hui daastaan
aa aa aa aa
aa aa aa aa
aa aa aa aa
laut aai hai phir roothi bahaaren
kitna haseen hai samaa
duniya se keh do
na hamko pukaren
hum kho gaye hai yahaan
laut aai hai phir roothi bahaaren
kitna haseen hai samaa
duniya se keh do
na hamko pukaren
hum kho gaye hai yahaan

jeewan mein kitni viraniyan thin
chhaayi thi kaisi udaasi
sun kar kisi ke kadmon ki aahat
halchal hui hai zara si
ho
jeewan mein kitni viraniyan thin
chhaayi thi kaisi udaasi
sun kar kisi ke kadmon ki aahat
halchal hui hai zara si
saagar mein jaise lahren uthhi hain
tooti hain khaamoshiyaan
dohra rahi hain jaise fazaayen
bhooli hui daastaan

aa aa
aa aa aa
aa aa aa
toofaan mein khoyi kashti ko aakhir
mil hi gaya phir kinaara
ham chhod aaye khwaabon ki duniya
dil ne tere jab pukaara
toofaan mein khoyi kashti ko aakhir
mil hi gaya phir kinaara
ham chhod aaye khwaabon ki duniya
dil ne tere jab pukaara
kabse khadi thhin baahen pasaare
is dil ki tanhaaiyaan
duniya se keh do
na ham ko pukaaren
ham kho gaye hain yahaan

ab yaad aaya
kitna adhoora
ab tak thha dil ka fasaana aa
yoon paas aake
dil mein samaa ke
daamaan na hamse chhudaana

ab yaad aaya
kitna adhoora
ab tak thha dil ka fasaana aa
yoon paas aake
dil mein samaa ke
daamaan na hamse chhudaana
jin raaston par tere kadam hon
manzil hai meri wahaan
duniya se kah do
na ham ko pukare
ham kho gaye hain yahaan


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 : 3972 Post No. : 15058

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 34
——————————————————————————————

Ten years back, 3rd June, 2009, five songs and five films. The films are,

Shart 1954
Return of Mr Superman 1960
Ganga Jamuna 1961
Khoj 1971
Ek Baar Muskura Do 1972

The film ‘Shart’ from 1954 made its debut on the blog with the iconic “Naa Ye Chaand Hogaa Na Taare Rahenge”. In terms of completion, the films ‘Shart’ and ‘Ganga Jamuna’ have been yippeee’d already. The remaining songs of the rest of the three films are waiting in the wings.

Coming of 1960s also saw the waning of the career of music director Anil Biswas. Active in the industry since 1935, Anil Biswas has made a very significant and a lasting contribution to the music of Hindi cinema. A trendsetter in many ways, Anil Da has also been responsible to introduce and groom some of the finest singing voices in the industry.

After two and half decades, in the beginning of 1960s, his body of work was reduced to just a trickle. In 1961, he directs the music for ‘Lucky Number’; in 1962, it is ‘Sautela Bhai’; and after many delays, ‘Chhoti Chhoti Baaten’ finally got released in 1965.  And it turns out to be his last film in the industry. He had actually moved to Delhi already, during this time frame (March of 1963) and was working at the All India Radio as the director of the National Orchestra and Chief Producer of the program ‘Sugam Sangeet’.

Today, we revisit one of his lesser known films – ‘Return of Mr Superman’ from 1960. The song is a mujra performance, presented on screen by Heera Sawant. I hope I am correctly identifying the main dancer in this clip. I request other knowledgeable readers and friends to please confirm or correct me. There are other actors in the audience that can be identified. We can clearly make out David and Rajan Haksar. There is another gentleman with ruffled hair and a large round eyes. I request the readers and friends to please help put a name to this face. Also, there is a trio of supporting singers on screen, who lip sync the chorus lines. Again, the request is to help identify these ladies.
[Ed Note: Prakash ji has identified the “. . .gentleman with ruffled hair and a large round eyes.” as Jagdish Kanwal. Thanks Prakash ji.]

The film is produced and directed by Manmohan Sabir, for his home banner – Manmohan Pictures, Bombay. The film has seven songs listed in the Geet Kosh, written by four songwriters – Anand Bakshi, Kaif Irfani, Manmohan Sabir, and PL Santoshi. This song is written by Manmohan Sabir. The music, of course, is by Anil Biswas.

The cast of the film is listed as Jairaj, Sheela Ramani, Helen, David, Naazi, Majnu, Shammi, Ram Mohan, Rajan Haksar, Jagdish Kanwal, Heera Sawant, Nazeer Kashmiri, Mohinder, Saleem Raza, Robert, Gulab, Ramesh, Arvind, Harun, Master Naveen, Krishna, and Funny Walker.

There is one interesting discussion that we have had earlier on this blog, relating to one song purportedly from this film. The song is “Stella O Stella O Stella”. The curiosity about this song is that it has also appeared earlier in the film ‘Chaar Dil Chaar Raahen’ from 1959. This earlier film also has music directed by Anil Biswas. On our blog, it so happens that this song, as it appears in ‘Return of Mr Superman’ is already posted; and the same song as it appears in ‘Chaar Dil Chaar Raahen’ has not yet been posted.

I would like to bring to the notice of interested readers, the fact that this song does NOT appear in the list of songs given in Geet Kosh for the film ‘Return of Mr Superman’. The original song, as appearing in ‘Chaar Dil Chaar Raahen’, written by Sahir Sb, is the correct attribution of this song. The appearance in the later film ‘Return of Mr Superman’ is simply a repeat use, probably inserted at a short notice to fill a certain scenario. The song certainly does not belong to this later film.

Coming back to the song for today – as one listens carefully, one realizes that this is actually a ghazal that has been presented as a mujra. An interesting variation. I am sure we will find more such instances, if we start looking carefully. Earlier, we have identified a couple of ghazals that has been presented as qawwaalis (and I am sure there are more of such instances also). So now we have another variation – I am sure we will find more cases of a ghazal presented as a mujra. As one listens to the wordings, it is really a very endearing expression –

dil to tujh ko de diya, ab jaan bhi de denge hum
jaan lene se na ab, ae jaan e mann ghabraaiye

So, remembering Anil Biswas – his rememberance day was 31st May, just three days ago. Getting on to another 10 year connect. And getting to listen to this wonderful mujra. . .

Editor note-With this song, Meena Kapoor completes 100th song as a singer in the blog.

Song – Dil Milaate Jaaiye Nazren Milaate Jaaiye (Return of Mr Superman) (1960) Singer – Meena Kapoor, Lyrics – Manmohan Sabir, MD – Anil Biswas
Chorus

Lyrics

dil milaate jaaiye..ae..ae
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye

haaye na tarsaaiye
ab aur na tarsaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

aap ka parda rahe aur
hum ko ho deedaar e yaar
aaaa aaaa aaaa aaaa
bach ke duniya ki nazar se
ae ji khwaab mein aa jaaiye
bach ke duniya ki nazar se
khwaab mein aa jaaiye
khwaab mein aa jaaiye
khwaab mein aa jaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

gair ki mehfil mein hum se
parda-daari kis liye
haaan aaaa aaaa aaaa
hum tumhaare hain
tumhaare
tumhaa..are
ae ji hum se na sharmaaiye
hum tumhaare hain
tumhaare
hum se na sharmaaiye
hum se na sharmaaiye ji 
hum se na sharmaaiye
dil milaate jaaiye
nazren milaate jaaiye
dil milaate jaaiye
nazren milaate jaaiye

dil to tujh ko de diya
ho oo oo oo oo
dil to tujh ko de diya
ab jaan bhi de denge hum
haaan aaa aaa aaa aaaa
jaan lene se na ab
ae jaan e mann ghabraaiye
jaan lene se na ab
ae jaan e mann ghabraaiye
jaan e mann ghabraaiye
ji jaan e mann ghabraaiye
dil milaate jaaiye
nazren milaate jaaiye
ik nazar ae meharbaan
ab aur na tarsaaiye
dil milaate jaaiye
nazren milaate jaaiye

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

दिल मिलाते जाइए॰॰ए॰॰ए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए

हाए ना तरसाइए
अब और ना तरसाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

आप का पर्दा रहे और
हमको हो दीदार ए यार
आ आ आ आ
बच के दुनिया की नज़र से
ए जी ख्वाब में आ जाइए
बच के दुनिया की नज़र से
ख्वाब में आ जाइए
ख्वाब में आ जाइए
ख्वाब में आ जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

गैर की महफिल में हमसे
पर्दादारी किस लिए
हाँ आ आ आ आ
हम तुम्हारे हैं
तुम्हारे
तुम्हा॰॰आरे
ए जी हम से ना शर्माइए
हम तुम्हारे हैं
तुम्हारे
हम से ना शर्माइए
हम से ना शर्माइए
जी हम से ना शर्माइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए

दिल तो तुझको दे दिया
हो ओ ओ ओ ओ
दिल तो तुझको दे दिया
अब जान भी दे देंगे हम
जान लेने से ना अब
ए जान ए मन घबराइए
जान लेने से ना अब
ए जान ए मन घबराइए
जान ए मन घबराइए
जी जान ए मन घबराइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए
इक नज़र ए मेहरबान
अब और ना तरसाइए
दिल मिलाते जाइए
नज़रें मिलाते जाइए


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


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


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


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

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