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

Archive for the ‘Actor-Singer song’ Category


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.

“Bhool Na Jaana”(1947) was directed by A E Charlie for Brij Prakash Productions, Bombay. The movie had Brijmala, Fazlu, Kamal Krishn, Shahida, Mehrunnisaa, Sharief, Rajkumari, Samson, Radha, Gouli Moth etc in it.

This “social” movie, unlike its name, has been totally forgotten. The movie, its details as well as its songs are etremely difficult to come across.

This movie had ten songs in it.

Here is the first song from “Bhool Na Jaana”(1947) to appear in the blog. The song is sung by Brijmala. Wahid Qureshi is the lyricist. Music is composed by Khan Mastana.

Seeing that Brijmala figures in the credits, one can assume that the song was picturised on herself.

I request our knowledgeable readers to throw light on the movie.

With this rare song, “Bhool Na Jaana”(1947) makes its debut in the blog.


Song-Ye kis ki ulfat ishaare kar kar ke aaj mujh ko bulaa rahi hai (Bhool Na Jaana)(1947) Singer-Brij Mala, Lyrics-Wahiq Qureshi, MD-Khan Mastaana

Lyrics

ha ha ha ha ha ha
ha ha ha ha ha ha
ha ha ha ha ha ha
Ye kis ki ulfat
Ye kis ki ulfat
ishaare kar kar ke
aaj mujh ko
bulaa rahi hai
hmm hmm hmm hmm hmm
Ye kis ki ulfat
ishaare kar kar ke
aaj mujh ko
bulaa rahi hai
ye kiski yaad aaj banke masti
meri jawaani pe chhaa rahi hai
ye kiski yaad aaj banke masti
meri jawaani pe chhaa rahi hai
Ye kis ki ulfat
ishaare kar kar ke
aaj mujh ko
bulaa rah hai

hai kis se milne ka
aaj waada
aaj waada
hai kis se milne ka
aaj waada
aaj waada
jo yoon mera
dil machal raha hai
jo yoon mera
dil machal raha hai
dil machal raha hai
ye kaun sapnon mein aa raha hai
ke zindagi gunguna rahi hai
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm

kise khabar thhi
ke baithhe bithhaaye
unse ho jaayegi muhabbat
kise khabar thhi
ke baithhe bithhaaye
unse ho jaayegi muhabbat
jahaan ki har cheez
aaj meri
nigaahon mein muskuraa rahi hai
jahaan ki har cheez
aaj meri
nigaahon mein muskuraa rahi hai
Ye kis ki ulfat
ishaare kar kar ke
aaj mujh ko
bulaa rahi hai
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm

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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.

Nurse (1943), also known as CHHOTI MAA, was directed by Chaturbhuj Doshi for of Ranjit Movietone, Bombay. The movie had Khursheed, Arun Ahuja, Prabha, Anil Kumar, Indira, Sheikh etc. in it.

The movie had nine songs in it. Three songs from the movie have been covered in the blog.

Here is the fourth song from “Nurse”(1943) to appear in the blog. This song is sung by Khursheed. D N Madhok is the lyricist. Music is composed by Gyan Dutt.

Only the audio of this song is available. But it is is clear that the song was picturised on Khursheed Bano herself.


Song-Aankhon ka khel khel ke (Nurse)(1943) Singer-Khursheed, Lyrics-D N Madhok, MD-Gyan Dutt

Lyrics

aankhon ka
khel khel ke ae
aankhen koi ee ee
churaaye kyun
aankhon ka khel khel ke
aankhon ka khel khel ke
aankhen koi churaaye kyun
aankhen koi churaaye kyun
dil ki lagi ho dillagi
dil ko wo dil lagaaye kyun
dil ki lagi ho dillagi
dil ko vo dil lagaaye kyun

dard se aasha na ho
aah na lab pe laaye jo
dard se aashna na ho
aah na lab pe laaye jo
dil mein kisi ke aaye kyun
dil mein kisi ke aaye kyun
aankhon mein ghar banaaye kyun
aankhon mein ghar banaaye kyun
dil ki lagi ho dillagi
dil ko wo dil lagaaye kyun

phir dard ban ke chha gaye
aankhon mein aansu aa gaye
phir dard ban ke chha gaye
aankhon mein aansu aa gaye
jisne hamen bhula diya
jisne hamen bhula diya
hamko wo yaad aaye kyun
hamko wo yaad aaye kyun
dil ki lagi ho dillagi
dil ko wo dil lagaaye kyun
aankhon ka


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.

“Jawaani”(1942) was directed by Wajahat Mirza for National Studios, Bombay. The movie had Surendra, Jyoti, Husn Banu, Kayamali, Agha, Nawab, Dulari, Gulzar, A. R. Kabul, Sankata Prasad etc in it.

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

Here is the second song from “Jawaani”(1942) to appear in the blog. This song ois sung by Surendra. Wajahat Mirza Changezi, the directed, penned this song. Music is composed by Anil Biswas.

Only the audio of this song is available, but it is clear that the song was picturised on Surendra himself.


Song-Nazaare huye hain ishaare huye hain (Jawaani)(1942) Singer-Surendra, Lyrics-Wajahat Mirza Changezi, MD-Anil Biswas

Lyrics

aa aa
aa haa
nazaare huye hain
ishaare huye hain
nazaare huye hain
ishaare huye hain
nazaare huye hain
nazaare huye hain
ishaare huye hain
o ham unke huye
ae ae ae
ham unke huye
wo hamaare huye hain
ham unke huye
wo hamaare huye hai
nazaare huye hain
ishaare huye hain
nazaare huye hain

kya jaan ke baat
kya hai hamaare
kya jaan ke baat
kya hai hamaare
ho ke dil to mohabbat mein
haare huye hai
ke dil to mohabbat mein
haare huye hain
nazaare huye hain
ishaare huye hain
nazaare huye hain

bataayen tumhen haal
apna jo samjho
o o
bataayen tumhen ae ae haal
apna jo samjho
o kisi ki adaaon ke maare huye hain
kisi ki adaaon ke maare huye hain
nazaare huye hain
ishaare huye hain
nazaare huye hain
o ho
nazaare huye hain
ishaare huye hain
ham unke huye
wo hamaare huye hain
nazaare huye hain


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Leela Chitnis (1909-2003), who was known for portraying the role of a suffering mother during 1950s through 1970s was one among the early female actresses in 1930s with an educated background. She was the first film actress from India to appear in the advertisement for the Lux soap in 1941 which she endorsed at that time.

After registering box office hits in her successive films like ‘Sant Tulsidas (1939), ‘Kangan’ (1939), ‘Azaad’ (1940) and ‘Bandhan’ (1940), Leela Chitnis decided to set up a film production company named Chitra Productions in partnership with C R Gwalani (probably he was her second husband). ‘Kanchan’ (1941) was the maiden film under the newly set up banner. However, being the new banner, Chitra Productions relied heavily on the infrastructure and resources of Ranjit Movietone where she had earlier done one of her successful film, ‘Tulsidas’ (1939).

Apart from the film’s director, Manibhai Vyas, who was a regular with Ranjit Movietone, some of the actors who were on the rolls of Ranjit Movietone at that time like Arun Kumar Ahuja, Mubarak, Kesari, Nagendra Mazumdar etc were taken. The star cast of the film included Leela Chitnis and Arun Kumar Ahuja in the lead role. The supporting cast consisted of Pramila, Mubarak, Kesari, Vimla Vashisht, Bhagwandas etc. D N Madhok, the lyricist and Gyan Dutt, the music director who were already associated with Ranjit Movietone were entrusted with their respective fields in the film.

Months before the film went to the shooting floor, Leela Chitnis did the spade work for film production. She had a couple of dances in the film apart from singing 8 songs on herself for which she did rehearsals for months. The film’s story was written by her. So she had to go through the screen-play and dialogues.

The film was released sometime in the month of August 1941. The film’s review was published in October 1941 issue of ‘Filmindia’ magazine. The gist of the story based on the ‘Filmindia’ review is as under:

A tailor (Nagendra Mazumdar) has two daughters – Kanchan (Leela Chitnis) and Kumud (Pramila). Both the daughters are in love with Kishore (Arun Ahuja), an educated young man. Kishore likes Kanchan and he reciprocates her feelings towards him whereas he avoids Kumud. Subsequently, Kumud works out a plot which forces Kishore to leave for a city job.

Now a landlord (Mubarak) enters in the scene. He has a vicked manager who, for a very minor reason, burns down the huts of the farmers. Kishore comes to know about it and he rescues the farmers from the clutches of the fire. In this process, the father of Kanchan and Kumud also comes under the monetary trap of the landlord as he lends money to reset the house.

Since the father is not able to repay the loan, the landlord gives him options of either attaching his whatever the assets or to give one of his daughters in marriage. Kumud refuses to act as a pawn to the landlord. Kanchan agrees to marry the landlord thus sacrificing her love for Kishore.

When the arrangements for the marriage are going in full swing, Kanchan’s mother who had known the landlord from her younger days when she was in love with him, gives the landlord a long lecture of self-consciousness on the issue. The landlord has a change of heart and he withdraws himself as the bridegroom. Kanchan gets married to Kishore.

It is evident that there was nothing new in the story to keep the audiences’ interest in the film. The Review has criticised the way the screen-play has been written which makes the story disjointed. Then there is a couple of dances of Leela Chitnis which were said to have created obstacles in the smooth flow of the story.

The review has also criticised the acting of all the major actors except Nagendra Mazumdar in the role of the father of two daughters. About the acting of Arun Kumar Ahuja, the hero, the reviewer writes:

‘He is clumsy most of the time and has a gait hardly suitable for a hero. He seems to have been taken for his slender figure and a long nose. And that is hardly enough equipment for a hero.’

It was reported in a subsequent issue of ‘Filmindia’ that Arun Ahuja was annoyed with the adverse remarks made about him in the review. He was reported to have conveyed through a person to tell Baburao Patel that he was a Sikh and he would break every bone of his if he keeps on writing like this. Baburao Patel’s repartee was that Arun was a kid. Let him put his own bones in order and moves them a bit when asked to.

The film failed at the box office and Leela Chitnis had to return to Bombay Talkies to work for ‘Jhoola’ (1941) which became a box office hit. After about 14 years, Leela Chitnis produced and directed ‘Aaj Ki Baat’ (1955) under the banner of L C Productions. This was her last film as a producer as well as a director.

‘ KANCHAN (1941) had 11 songs of which 3 songs have already been covered in the Blog. One of the 11 songs was set to music by Naushad.

I am presenting one of the two rare songs which was uploaded by me on YT a few months back. The song is ‘mori gali aa re sajan mori gali aa’ sung by Leela Chitnis. The song is written by D N Madhok and is set to music by Gyan Dutt.

The song has about 1:10 minutes of prelude music which gives me an impression that it may be a dance song.


Song-Mori gali aa re sajan (Kanchan)(1941) Singer-Leela Chitnis, Lyrics-D N Madhok, MD-Gyan Dutt

Lyrics

mori gali aa re sajan
mori gali aa
mori gali aa re sajan
mori gali aa
mori gali aa re sajan
mori gali aa
kook raha mero mann
kook raha mero mann
meri gali aa aaa
kook raha mero mann
mori gali aa
mori gali aa re sajan
mori gali aa
mori gali aa re sajan
mori gali aa

ambuwaa ke jhaad taley
chori chori aan miley
ambuwaa ke jhaad taley
chori chori aan miley
o jise mann khoj raha
mero piya aa
jise mann khoj raha
mero piya
mori gali aa re sajan
mori gali aa
mori gali aa re sajan
mori gali aa
kook raha mero mann
kook raha mero mann
mori gali aa aaa
kook raha mero mann
mori gali aa
mori gali aa re sajan
mori gali aa
mori gali aa re sajan
mori gali aa


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.

“Pratima”(1945) was directed by P Jairaj for Bombay Talkies, Bombay. The movie had Swarnlata, dilip Kumar, Jyoti, Mumtaz Ali, Pithawala, Mukri, Zebunnissa, Shahnawaz etc in it.

This movie had seven songs in it. One song from the movie has been covered in the blog.

Here is the second song from “Pratima”(1945) to appear in the blog. HFGK initially described Parul Ghosh as the singer, but in the corrigendum, the singer name is corrected as Jyoti, who had also acted in the movie. So this song is a singer-actor song, picturised on Jyoti herself.

Pt Narendra Sharma is the lyricist. Music is composed by Arun Kumar Mukherji


Song-Bhool gaye bhool gaye tum pyaas bujhaana bhool gaye (Pratima)(1945) Singer-Jyoti, Lyrics-Pt Narendra Sharma, MD-Arun Kumar Mukherji

Lyrics

bhool gaye ae
bhool gaye
tum pyaas bujhaana bhool gaye ae
tum pyaas bujhaana bhool gaye
jeewan mein pyaas jagaa kar bhi
jeewan mein pyaas jagaa kar bhi
tum pyaas bujhaana bhool gaye ae
tum pyaas bujhaana bhool gaye

dil mein ghar karna seekh liya
dil mein ghar karna seekh liya
mere ghar
haan
mere ghar aana bhool gaye
mere ghar aana bhool gaye
bhool gaye ae
bhool gaye
tum pyaas bujhaana bhool gaye ae
tum pyaas bujhaana bhool gaye

tum dil mein chhup kar baithhe ho
tum dil mein chhup kar baithhe ho
nazron ke saamne bhi aao
aao o o
ik baar hamaari palkon mein
ik baar
ik baar hamaari palkon mein
tum raah bhool kar aa jaao
tum raah bhool kar aa jaao
kyun pyaar ke meethhe sapnon mein
kyun pyaar ke meethhe sapnon mein
tum dil bahlaana bhool gaye
tum dil bahlaana bhool gaye
bhool gaye ae
bhool gaye
tum pyaas bujhaana bhool gaye
tum pyaas bujhaana bhool gaye

dil mein ghar karna seekh liya
dil mein ghar karna seekh liya
mere ghar
haan
mere ghar aana bhool gaye
mere ghar aana bhool gaye
bhool gaye ae
bhool gaye


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.

“Mitti” (1947) was directed by Ravindra Jaykar. The movie had Khursheed, Sadiq Ali, Revashankar, S Ahmed, Bhagwan Das etc in it.

One song from this movie has been covered in the blog in the past.

Here is the second song from this movie to appear in the blog. This song is sung by Khursheed Bano. Nazim Panipati is the lyricist. Lal Muhammad and Paingankar are the two music directors of this movie. I am not aware about the distribution of songs between the two. I have assumed Lal Muhammad to be the music director of this song. I request our knowledgeable readers to throw light on this movie and on the music directors of this song.

Only the audio of this song is available, but it is clear that the song was picturised on Khursheed herself.

This song is a nice philosophical song about duniya being “chaar dinon ka mela”. I heard this song for the first time only just now, and I loved it right from the very first listening of the song.


Song-Duniya chaar dinon ka mela (Mitti)(1947) Singer-Khursheed Bano, Lyrics-Nazim Panipati, MD-Lal Muhammad

Lyrics

duniya chaar dinon ka mela
duniya chaar dinon ka mela re
chaar dinon ka mela re ae
mat is mein kho jaana
mat kho jaana
mat kho jaana re ae
chaar dinon ka mela
duniya chaar dinon ka mela

do din ki hai jag ki jagmag
do din ki hai jag ki jagmag
aur baaki andhiyaare
aur baaki andhiyaare ae ae ae
aur baaki andhiyaare
aur baaki andhiyaare
jitna koi isko jeete
jitna koi isko jeete
utna hi wo haare
utna hi wo haare
jeewan ik anmol cheez hai
jeewan ik anmol cheez hai
isko haar na jaana re ae
chaar dinon ka mela
duniya chaar dinon ka mela

wo bhi koi aap(?) hai
wo bhi koi aap(?) hai
jo aankh ko aankh dikhaaye
jo aankh ko aankh dikhaaye
wo bhi koi dil hai
wo bhi koi dil hai
jo dard se bhar na aaye
jo dard se bhar na aaye
apna kaam banaaana hai to
apna kaam banaaana hai
doojon ke
doojon ke kaam aana re
chaar dinon ka mela
duniya chaar dinon ka mela
mat ismein kho jaana
mat kho jaana
mat kho jaana re ae ae ae


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

Today, May 31, 2017 is the 14th Remembrance Day of Anil Biswas ( 07/07/1914 – 31/05/2003) who is regarded as the doyen among the Hindi film music directors. Despite not having a formal training in classical music, he rose to the stature of being called the ‘Bhishma Pitaamah’ of Hindi film music.

More than the music director, Anil Biswas was an institution by himself. Music directors like Naushad, C Ramchandra, Roshan and O P Nayyar considered him as their Guru. Playback singers like Mukesh, Lata Mangeshkar and Talat Mehmood had acknowledged his role in polishing their playback singing. I am sure, he must have also trained actor-singers like Surendra, Jyoti, Husn Banu, Sardar Akhtar etc in the 1930s when playback singing was not in vogue.

He was the first to introduce the concept of orchestration in Hindi film music. He along with Ghulam Haider were the first to make use of folk music which they blended well in their song compositions. He was the first to make use of counter melody. He was first in Bombay film industry to use playback singing technique in the film ‘Mahageet’ (1937).

Anil Biswas sems to be very fond of ghazals. I had gone through the list of songs composed by Anil Biswas and had observed that in most of the films for which he was the music director, he would have at least one lyricist who was proficiency in Urdu ghazals. He was instrumental in composing ghazals for the films in a style acceptable to the filmy audience thus moving away from the traditional format used in the 1930s. Few examples of his ghazal compositions:

dil jaltaa hai to jalne de – Safdar Aah Sitapuri – PEHLI NAZAR (1945)

mere liye wo gham-e-intezaar chhod gaye – Behzad Lucknowi – ANOKHA PYAAR (1948)

tumhaare bulaane ko jee chaahta hai – Behzad Lucknowi – LAADLI (1949)

zamaane kaa dastoor hai ye puraanaa – Prem Dhawan – LAAJAWAAB (1950)

ae jaan-e-jigar dil mein samaane aajaa – Rajinder Krishan – AARAAM (1951)

husn bhi hai udaas udaas – Majrooh Sultanpuri – FAREB (1953)

roothh ke tum chal diye – Qamar Jalalalabadi – JALTI NISHAANI (1957).

In regards to the last ghazal in the above list, Anil Biswas may probably be the first music director to compose this ghazal based on the khayal style of singing. Even the accompanying tabla beat sounds unusual for a ghazal composition.

Yet Anil Biswas was a modest man. He had no hesitation in telling that among the music directors of his time, Sajjad Hussain was the only one who used original tunes in his compositions. Rest of the music directors including him were inspired from classical/semi-classical music, folk music, Rabindra Sangeet and sometime western compositions.

Anil Biswas is one of the most discussed music directors on the internet. There are many articles on him, some of which have been written by those who had interacted with him. If I remember correctly, his life profile and musical career have been discussed in the Blog more than once. So I will skip that part in this article. However, I would like to discuss his association with one of the prolific directors of Hindi films who started his first assignment as director in 1935 and turned producer-director by early 1940s. The name of the producer-director is Mehboob Khan.

The name of Mehboob Khan became familiar to me in the 1950s because of his films like ‘Mother India’ (1957) and later ‘Son of India’ (1962). In my younger days, I had also known that he had produced and directed films like ‘Anmol Ghadi’ (1946) ‘Andaz’ (1949), ‘Aan’ (1951) and ‘Amar’ (1954). In all these films, Naushad was the music director.

Although, later on I became aware that Mehboob Khan had Anil Biswas as music director for films like ‘Roti’ (1942), it never occurred to me that Mehboob Khan had a long association with Anil Biswas since 1936 which ended with ‘Roti’ (1942). This revelation came to me because during the last two years or so, I have been concentrating on the films mainly of 1940s in my quest for unearthing rare songs from that era.

During 1936-42 period, the most enduring relationship between Mehboob Khan and a music director was that of Anil Biswas. Both of them were in the rolls of Sagar Movietone. Mehboob Khan was on the roll of Sagar Moveitone since its inception in 1929 mainly as a small time actor and also doing behind the screen works. Anil Biswas joined Sagar Moveitone in 1936. Both worked together for the first time for the film ‘Manmohan’ (1936). Although on record, the music director for the film was Ashok Ghosh, it is generally believed that most of the songs in this film were composed by Anil Biswas who was assisiting him for his first film. Later, Anil Biswas did independent music direction for Mehboob Khan in ‘Jaagirdaar’ (1937), ‘Watan’ (1938), ‘Hum Tum Aur Wo’ (1938), ‘Ek Hi Raasta’ (1939), and ‘Ali Baba’ (1940).

After the closure of Sagar Movietone towards the end of 1939 and eventually merging with General Pictures to form a new entity, National Studios in 1940, Mehboob Khan became the de facto boss of National Studios. Anil Biswas also joined National Studios. It is here that the association of Anil Biswas with Mehboob Khan created a sort of a record. Under the banner of National Studios, 14 films were produced, some of which were directed by Mehboob Khan. As many as 10 films had Anil Biswas as the music director. The films were ‘Pooja’ (1940), ‘Aurat’ (1940), ‘Aasra’ (1941), ‘Nai Roshni’ (1941), ‘Behan’ (1941), ‘Jawaani’ (1942), ‘Vijay’ (1942), ‘Gareeb’ (1942), ‘Apna Paraaya’ (1942) and ‘Roti’ (1942).

Sometime during the making of ‘Roti’ (1942), some creative differences between Mehboob Khan and Anil Biswas developed which led to the termination of their association of 6 years and 15 films. Both left National studios after the release of ‘Roti’ (1942). Mehboob Khan set up his own film production company, Mehboob Productions in 1942 and Anil Biswas joined Bombay Talkies in 1942. Both tasted success in the immediate post-National Studios days – Mehboob Khan in ‘Taqdeer’ (1943), ‘Humayun’ (1945), ‘Anmol Ghadi’ (1946), ‘Anokhi Ada’ (1948) etc and Anil Biswas in ‘Kismet’ (1943), ‘Pehli Nazar’ (1945), ‘Milan’ (1946) and ‘Anokha Pyaar’ (1948).

In 1947, Anil Biswas left Bombay Talkies to become a free-lance music director. I personally regard Anil Biswas’s compositions as a freelance music director during 1948-65 as the golden period of his song compositions. Unfortunately, during his freelance period, most of his films did not fare well on the box office front. This coupled with the changes in the environment of Hindi film industry probably made Anil Biswas to quit Hindi film industry in early 1960s and settled for a service in All India Radio, Delhi.

For Anil Biswas’s 14th Remembrance Day, I have chosen a song from Mehboob Khan-Anil Biswas combination film, AASRA (1941). Here is the first song ‘bithaayi kahaan ratiyaan o maharaja’ to appear on the Blog. The song is sung by Husn Banu on the words of Dr. Safdar Aah Sitapuri. The idea for the lyrics has probably come from a traditional Dadra bandish in raag Bhairavi:

banaao batiyaan chalo kaahe ko jhooti
wahin jaao jahaan rahen tum ratiyaan
sauwatan kaa ghar aawat jaawat
hamaara jiyaraa jaraa ke piyaa

Anil Biswas has composed this song in Dadra style with his own variations to suit the film music.

AASRA (1941) was produced under the banner of National Studios. The star cast included Sardar Akhtar, Amar, Husn Bano, Wasker, Veena, Kanhailal, N A Ansari, Bhudo Advani, K B Lall etc. The film was a light social comedy. The story was concerned with the problems which bachelors face when they come to Bombay (Mumbai) in search of employment. Among the problems is difficulties in getting the housing accommodation for bachelors. Probably, the problems for the lead actors (Sardar Akhtar and Amar) turns into a situational comedy in that they have to act as husband and wife to get the housing accommodation. The owner of the house has a daughter, Husn Banu. So one can visualise the hilarious situation.

Since Husn Banu has acted in the film, it is apparent that the song was picturised on her.


Song-Bitaai kahaan ratiyaan o mahaaraaja (Aasra)(1941) Singer-Husn Bano,Lyrics-Safdar Aah Sitapuri, MD-Anil Biswas

Lyrics

bitaai kahaan ratiyaan
o mahaaraja
bitaai kahaan ratiyaan
o mahaaraja
man bhaai kya batiyaan
o mahaaraja
man bhaai kya batiyaan
o mahaaraja
bitaayin kahaan ratiyaan
o maharaja

raat ke jaage nain gulaabi
raat ke jaage nain gulaabi
pag behkat hai jaise sharaabi
pag behkat hai jaise sharaabi
banaao naahin batiyaan
o mahaaraja
banaao naahin batiyaan
o mahaaraja
bitaai kahaan ratiyaan
o maharaja

raat andheri baali umariya
raat andheri baali umariya
tum bin darsat naahin dagariya
tum bin darsat naahin dagariya
lagaaye leyo chhatiyaan
o mahaaraja
lagaaye leyo chhatiyaan
o mahaaraja
bitaai kahaan ratiyaan
o mahaaraja
bitaai kahaan ratiyaan
o maharaja


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.

“Jaagriti”(1949) was directed by Manohar Ghatwai for Veerendra Chitra, Bombay. This obscure Social movie had Ravikant, Mohana, Bheem, Omkar Devaskar, lalita Rao, Leela, Manohar, Haridas, Chandrahaas, Ganpatrao Phadke, Gangaram, Jayendra sharman, Suresh Kumar, Chemist, Jaal Khambhata, baby Shyama, Baby Rekha etc in it.

The movie had nine difficult to find songs in it. Here is the first song from “Jaagriti”(1949) to appear in the blog. This highly obscure song is sung by Lalita Rao. Indeewar in the lyricist. Music is composed by K Narayan Rao.

Seeing that Lalita Rao is there in the cast, it can be assumed that the song was picturised on herself.

I request our knowledgeable readers to throw light on the movie.

With this song, “Jaagriti”(1949) makes its debut in the blog.

As many as 156 movies were released by censors in the year 1949. This movie becomes the 100th movie of 1949 to find representation in the blog.


Song-Aaye aur jaadoo daal chale (Jaagriti)(1949) Singer-Lalita Rao, Lyrics-Indeewar, MD-K Narayan Rao

Lyrics

aaye
aaye aur jaadoo daal chale
seene se dil ko nikaal chale
aaye
aaye aur jaadoo daal chale
seene se dil ko nikaal chale

aa aa aa
aa aa aa
aa
nazron ne meri
iraada kiyaa thhaa aa aa aa
aankhon ne unki
waadaa kiyaa aa aa thha
donon hi poore ho na sake ae ae ae
wo aisi bedhab daal chale
wo aisi bedhab daal chale
aaye
aaye aur jaadoo daal chale
seene se dil ko nikaal chale
aaye

kya kya na pade hain uthhaane
ek tamanna ke ae laakhon bahaane
ae ae ae ae ae ae
nashtar nazar ka
jigar pe chala aa
kar ke hamko paamaal chale
kar ke hamko paamaal chale
aaye
aaye aur jaadoo daal chale
seene se dil ko nikaal chale
aaye


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 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.

BINDIYA (1946) was produced under the banner of Sun Art Pictures and was directed by Chimanlal Luhar. The star cast included Amar, Ragini, E Billimoria, Kamal Zamindar, Leela Mishra, Pratima Devi, Shakir, Bhagwandas, Leela Pawar etc. The film was reviewed in August 1946 issue of ‘Filmindia’. I was surprised to find for a change that the review was somewhat lengthier than the usual. After reading the review, I came to know as to why it was so. The additional length of the review was utilised for heavily criticising the director of the film for his inapt handling of the emotional scenes and for Prabhulal Dwivedi, the story writer for the film story based on a mix of several mythological stories.

I have attempted to make a condensed version of the review which is given below:

Raja Ganesh Prasad disappears leaving his wife, a little son and a huge property to his manager, Jagdish. Over a period of time, Jagdish misappropriates the property and expels the mother and the child. He now takes a new title, Raja Jagdish Prasad. He has a new manager, Prakash (E Billimoria) who is an ambitious and a greedy person. He has an eye over the huge property and Jyoti (Ragini), the daughter of Raja Jagdish Prasad.

As the years passed, the mother, Saraswati and the grown up son, Niranjan (Amar) devote their time for the services of the villagers. Prakash makes the first move towards his goal by arresting a cashier of the firm on a false charge. This brings Niranjan in the direct confrontation with Prakash. After the intervention of Raja Jagdish Prasad, the cashier is let off.

During the course of the negotiation for releasing the cashier, Niranjan introduces himself as the son of Raja Ganesh Prasad which makes Raja Jagdish Prasad uncomfortable. He gets a heart attack. He decides that the property which he had misappropriated from Raja Ganesh Prasad should be given back to Niranjan. But this is not to the liking of Prakash who now plans to frame up Niranjan. He also starts blackmailing Raja Jagsidh Prasad of his wrong doings.

In the meanwhile Jyoti, who is now in college, suddenly finds one sadhu giving astrological prediction and tells Jyoti that she is destined to become a widow on the day of her marriage. He also gives a prediction to Prakash that he would have blood of his father on his hand and tells another person that soon police will put chain around his wrists. This was all the handiwork of Prakash as he wanted to frame Niranjan. However, instead of Niranjan, another person is arrested by the police and chained on his wrists. So the first of Sadhu’s predictions has become true by design.

Jyoti loves Prakash and is about to get married. But Prakash backs out when he comes to know that Raja Jagdish Prakash would not give him the gold during the marriage. The story now takes an unusual turn. Jyoti gets married to Nirnajan under a tree in a forest and at that very time the lightning strikes Niranajan who is deemed killed. Jyoti becomes widow on the day of her marriage as predicted by the sadhu.

After some crying and wailing followed by singing of a song over her loss, a group of sanyasi finds Niranjan very much alive. The hero and the heroine are united. Prakash, the villain has a change of heart thanks to the group of sanyasis, the head of which is none other than Raja Ganesh Prasad. The film ends with a happy note.

BINDIYA (1946) had 11 songs written by Pandit Madhur (9) and Rammurthi Chaturvedi (2) which have been set to music by Kamal Dasgupta. Here is the first song ‘baadal baras baras ke tu paighaam suna de’ from the film to appear on the Blog. It is a multiple version song – the first one being duet sung by Amar and Kalyani Das. The second version is a solo sung by Kalyani Das with different antara lyrics. Both the versions of the songs are written by Pandit Madhur.

Since Amar is a lead actor in the film, it is apparent that the duet version is picturised on Amar and Ragini. In the film review referred to above, there is a mention that immediately after the marriage, Niranjan (Amar) is deemed to be killed by a lightning strike. At that time, Jyoti (Ragini) sings the song lamenting over her loss of ‘bhaag kaa sindoor’. After the end of the song, both Jyoti and Niranjan slowly walk towards each other and are united. The solo version of the song seems to fit in the situation.

With these songs, ‘Bindiya’ (1946) makes its debut in the Blog.

Duet Version :

Female Solo Version :

Song-Baadal baras baras ke tu paighaam suna de (Bindiya)(1946) Singers-Amar, Kalyani Das, Both/ Kalyani Das, Lyrics-Pt Madhur, MD-Kamal Dasgupta

Lyrics
—————————–
Duet version
—————————–

baadal baras baras ke
baadal baras baras ke tu
paighaam suna de
paighaam suna de
paimaana choor choor hai
tooti hai suraahi
har oar gham hai dard hai
aansoo hai tabaahi
manzil abhi baaqi hi rahi
thhak gaya raahi
hai door kinaara
usse tu paas mein laa de
manzil abhi baaqi hi rahi
thhak gaya raahi
hai door kinaara
usse tu paas mein laa de
baadal baras baras ke tu
paighaam suna de
paighaam suna de

deepak ne raushni bhi di
aur ghar bhi jalaaya
aur ghar bhi jalaaya
deepak ne raushni bhi di
aur ghar bhi jalaaya
aur ghar bhi jalaaya
sooraj ne jal ke chaand kaa
sansaar basaaya
sansaar basaaya
sooraj ne jal ke chaand kaa
sansaar basaaya
sansaar basaaya

parde mein chhupi zindagi
parde mein chhupi zindagi
parda tu hataa de ae ae
parda tu hataa de
parde mein chhupi zindagi
parda tu hataa de ae ae ae
parda tu hataa de
taqdeer ke likkhe ko mita de
tu mita de ae
taqdeer ke likkhe ko mita de
tu mita de
mita de
mita de ae

————————
Female Solo Version
————————-
baadal garaj garaj ke
baadal garaj garaj ke tu
paighaam suna de ae ae ae
paighaam suna de
baadal garaj garaj ke tu
paighaam suna de ae ae
paighaam suna de
dharti se aasmaan tak
dharti se aasmaan tak
toofaan macha de ae ae ae
toofaan macha de
dharti se aasmaan tak
toofaan macha de ae ae ae
toofaan macha de

haathhon se abhi mehandi bhi
ho na saki door
haathhon se abhi mehandi bhi
ho na saki door
hai loot liya jisne mere bhaag kaa sindoor
hai loot liya jisne mere bhaag kaa sindoor
uss lootne waale kaa dil ek baar
ek baar
ek baar hi la de ae ae
ek baar hi la de
baadal garaj garaj ke tu
paighaam suna de ae ae
paighaam suna de
baadal garaj garaj ke tu
paighaam suna de ae ae
paighaam suna de…ae


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 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.

Atul ji’s 10K Song Milestone Celebrations – 4
——————————————————————–

कर्मणये वाधिकारस्ते मां फलेषु कदाचन ।
मां कर्मफलहेतुर्भू: मांते संङगोस्त्वकर्मणि ।।
Karmanye aadhikaraste ma phaleshu kadachan
Ma karmaphalheturbhu maate sangostavakarmani

[You have a right to perform your duties but without any expectation.  You have no right to the fruits of your works. Let yourselves be not attached to inaction.]

I used to remember this shloka (verses) during the telecasting of ‘Mahabharat’ on TV. In the recent period, I have once again started recalling this shloka as I find this shloka apt for Atul ji! He has been doing his karma (duties) of posting Hindi film and non-film songs faithfully since the inception of the Blog on July 19, 2008 without expectation of any kind of rewards.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 13300 song posts by now.

This blog is active and online for over 3200 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13351

Number of movies covered in the blog

Movies with all their songs covered =1012
Total Number of movies covered =3703

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Blog Start date: 19 july 2008 Active for 3000 days.
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