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

Archive for the ‘Actor-Singer song’ Category


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4754 Post No. : 16493 Movie Count :

4481

Today’s song is from an unknown film Maaf Kijiyega-1946. HFGK mentions ” Social Film” as its Genre, but none of the factors of this film support this claim. The director was Nari Ghadiyali – who was a specialist for action/stunt films. MD was K.Narayan rao, famous only for stunt films. The cast of the film also consisted of regular actors for stunt films, like Prakash(real name Hashmat ullah khan), Shanta Patel (a regular in Master Bhagwan’s stunt films), Dalpat (popular as Dalpat Kaka), Bibi, Chandrika etc etc. The songs were written by an unknown lyricst- Mustapha and were sung by ordinary singers-not any famous one. I wonder how such a combination can be suitable for a ” Social’ film ?

This Blog started in 2008 and I joined it as a commentor sometime in 2010. I don’t remember exactly when. Nowadays, whenever I have free time and nothing else to do, I visit the early pages of the Blog and see the songs and more importantly – the comments. In those early years and till about 2018 or so, there used to be a lot of comments by readers. I found that readers were from various other countries, but surprisingly, their knowledge about old films, songs and its artistes was quite noteworthy.

As the years passed by, the foreign readers’ number dwindled slowly, but readers from India increased in the comment section. One logical reason was that the readers from other countries were probably from the older generation, settled abroad. Hence as the time passed on slowly their activities must have got reduced. Some of the younger commentors from other countries, too, stopped their comments. They are, however, active on FaceBook. People like Lalitha ji, memsaab ji, Pamir Harvey, Santosh oza, Shekhar Gupta etc. stopped commenting. One name remains with the Blog consistently from Day-1 till today (albeit now occasionally) and that is Raja Swaminathan ji – whether he is in India or in Holland.

I encountered some funny incidents involving comments on the Blog. I remember one. In those days, except the Admins perhaps, no one else knew who ” Peevesie’s Mom” was in reality.
I was also active on FaceBook. One day a lady visitor to my Fb page – Nalini Krishnan – asked me on Fb, ” are you the same Arunkumar Deshmukh, who comments on atulsongaday?”
She was shocked to read my reply, ” yes, Peevesie’s Mom ji”. Possibly shocked, she asked me how I knew her name. It was actually very easy. Before replying her, I visited her Fb page and I found that she is Vaidehi’s mother. After reading a few more posts , it was easy to make 2 + 2 !

Another incident was comments by one ” IDL Man”. From his comments, I knew he was from Australia. There was another reader called ” BOODHEMIYAN “. He was from Dubai. One day ‘ IDL Man’ posted the following comment, on 12-6-2011….

1 | I.D.L.Man
June 12, 2011 at 2:22 pm

0 0 Rate This
Atul Bhai,

WHY YOUR BLOG IS THE BEST IN THE WORLD

I am also a deewana of old film music like you all.Having lot of spare time now,I surf the Internet.I realised that there are many Indian and Foregn persons equally interested/obsessed with old film charms.Many of them run their own blogs on old films/music.I decided to find out and visit every blog on the Internet.
I visited exactly 102 such blogs run by Indian and foreigners.Surprisingly,foreigners were more consistent than Indians.
i found that almost 85 % blogs are left unattended,halfway or no posting for the last few years.One more interesting point is many ladies are also running such blogs,of course under Pseudonyms.They are more consistent than men and get a good following too !
After a lot of screening,I shortlisted 7 blogs: 4 in wordpress and 3 independents.Two blogs are run by ladies,one each Indian and foreigner.
Finally,I came to a conclusion that your blog ATULSONGADAY WORDPRESS.COM is THE BEST,because:

1)You are a very honest person ,without any airs, when you present songs
2)your deep love of music and hard work is consistent and it shows.
3)you are very systematic and you think of your readers while making songs available to them in an easy way.
4)your earnestness and humble knowledge(without a show off) is appreciated and liked by your readers(apparent from the responses)
5)you are not biased or partial in selecting or writing about songs
6)your goodwill has attracted like minded supporters who help you by providing information on films, songs, singers, composers etc. Notable among them, as I found in last 6 months are–
a) Mr.Sudhir Kapoor-writes very good and simple articles, full of information about songs and personalities.
b) Mr,Nahm-always provides you with correct lyrics, titbits and useful information, besides suggesting songs.
3) Mr. Arunkumar Deshmkuh-I have no words for him. He seems to know all the old movies, anecdotes and details. His information is unique(Not on net anywhere).May be, as he knows so many languages, he might be getting it from books/articles in various languages. He is a storehouse of information.
4)Mr. Prakash chandra- very good suggestions of songs
5)Lalitha ji / Raja ji – They are not only your admirers but also supporters. Raja ji’s support is important as he himself is a blogger plus many more things.

Note; The second place is shared by MEMSAABSTORY AND DUSTEDOFF.

Atul Bhai,
please accept my congratulations and good wishes for the future.

-I.D.L.Man

Atul ji, myself and Sudhir ji replied to him in normal way, but ‘Boodhemiyan” wrote thus….

5 | Boodhemiyan
June 14, 2011 at 5:47 pm

0 0 Rate This
IDL Man Bhai,

Wah, wah ! Kya baat hai !! Mashallah !!!

kya khoob kahi toone
hamare dil ki baat
Atul jaisa Sangeet Premi
sadaa rahe sab ke saath !

To which the ‘ IDL Man’ replied this way….

6 | IDL Man
June 15, 2011 at 7:41 pm

0 0 Rate This
Boodhemiyan Bhai,
Humne to bayan ki hai
jo haqeeqat hai,
hum kya karen
gar kisi ko gila hai

Gulab to Gulab hota hai
chahe use kuchch bhi kahe
hum subki duwayen hai
Blog-e-Atul salaamat rahe.

-IDL Man

In another an year or so, both these readers stopped commenting and disappeared for ever. I contacted the Grandson of actor/singer Parshuram, when he commented from New Zealand, on one of my posts. Similarly, actress Latika’s daughter from London commented and I got in touch with her.

There were days when lot of comments used to be made by the readers. In the last 2-3 years, the comments from the readers have dropped down considerably and noticeably. Difficult to know the reason.

However, since about a month or so I find that once again comments from new readers have increased Hope it keeps growing. Comments play an important role in a Blog. It gives readers’ reactions, additional information, encourages the authors of the post and generally works as a motivation.

Today’s song is sung by Kaushalya. Kaushalya was born at Lucknow in 1929. She was the daughter of the famous dancer Lachhoo Maharaj and actress Daya Devi. Being brought up in the house of dancer and actor, Kaushalya picked up Dance, Music and acting very early. She appeared as a child artiste in films from 1936, when she was just 7 year old. She worked in 11 films as a child artiste. After film Devbala-38, she did roles in Bhole bhale and Uski Tamanna-both in 1939, made by Sagar Movietone. She even sang in both films.

Then came films like Darshan and Ghar ki laaj, both 1941, and Baraat, Bharat milap, Station master and Swapna, all 42. The work poured on her till 1946, when she got married to a boy from Calcutta, when she had gone there for doing films. After marriage she found it difficult to work in films, but continued for some more films, till her last film Ek Do Teen-1953.

In all Kaushalya acted in 27 films and sang more than 100 songs in about 35 films, in her short career time. As a Heroine she had worked with Prithviraj Kapoor, Ulhas, Kumar, Ishwarlal etc.

With this song, film Maaf Kijiyega -1946 makes its Debut on this Blog.


Song- Joban roop bahaar Rasiya Kar lo chup ke pyaar (Maaf Keejiyegaa)(1946) Singer- Kaushalya, Lyricist-Mustapha Usman, MD- K Narayan Rao

Lyrics

Joban roop bahaar
Rasiya Kar lo chup ke pyaar
Rasiya Kar lo chup ke pyaar

din nahin ye phir se aaye
ankhiyaan hon jab chaar
Rasiya kar lo
haan kar lo
haan kar lo
chup ke pyaar
chupke chupke pyaar
rasiya karlo chupke pyaar
pyaar
chupke chupke pyaar

preet jawaani hai matwaali
matwaali ho
matwaali ho
preet jawaani hai matwaali
chhalak rahi joban ki pyaali
deewaanon ki mehfil mein hai joban ki pukaar
ankhiyaan hon jab chaar
kar lo chupke pyaar
chupke chupke pyaar
rasiya karlo chupke pyaar
pyaar
chupke chupke pyaar

duniya hai dilwaalon ki
ye mehfil hai matwaalon ki
dil ka sauda kar ke jaaye
ankhiyan ke do dwaar
ankhiyaan hon jab chaar
kar lo chupke pyaar
chupke chupke pyaar
rasiya karlo chupke pyaar
pyaar
chupke chupke pyaar


This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4748 Post No. : 16480

Hullo Atuldom

Mangte Chungneijang Mary Kom (born 24 November 1982) is an Indian amateur boxer, politician, and incumbent Member of Parliament, Rajya Sabha. She is the only female to win the World Amateur Boxing Championship six times, the only female boxer to have won a medal in each one of the first seven World Championships, and the only boxer (male or female) to win eight World Championship medals. Nicknamed Magnificent Mary, she is the only Indian female boxer to have qualified for the 2012 Summer Olympics, competing in the flyweight (51 kg) category and winning a bronze medal.

She had also been ranked as the world’s No. 1 female light-flyweight by the International Boxing Association (amateur) (AIBA). She became the first Indian female boxer to win a gold medal in the Asian Games in 2014 at Incheon, South Korea and is the first Indian female boxer to win gold at the 2018 Commonwealth Games. She is also the only boxer to become Asian Amateur Boxing Champion for a record six times. She was awarded the Padma Vibhushan, India’s second highest civilian award, in 2020. She is also a recipient of the Rajiv Gandhi Khel Ratna award in 2009 and Arjuna award in 2003.

Born as the eldest child, in Manipur, to parents who were tenant farmers, Mary Kom had her schooling at various schools of the Churachandpur district of Manipur. She was participated in all kinds of athletic events specially javelin throw and 400 metres running. She was among the youngsters who were inspired by Dingko Singh, 1998 Bangkok Asian Games Gold medal winner in Boxing and a fellow Manipuri. She switched from athletics to Boxing but kept it a secret from her father who was an ex-wrestler. The family got to know of her involvement in Boxing when her photo appeared in a newspaper when she won the state championship in 2000. Mary Kom is married to footballer Karung Onkholer (Onler) and has three sons including twins. She resumed her training and went back to her winning ways after the birth of her first two children.
(All the above information I have extracted from Wikipedia)

There was a biographical film on her life in 2014 where Priyanka Chopra enacted the role of Mary Kom. The movie had many lesser known actors playing her husband, coach, family etc. Only Shishir Sharma, who played the National Level coach, was the other known face. Even the music composers- Shashi Suman and Shivamm Pathak- were new along with the lyricists Sandip Ssingh and Prashant Ingole. The movie was directed by Omung Kumar and produced jointly by Sanjay Leela Bhansali and Viacom18 Motion Pictures. The movie was decent and showed incidents in a cinematic way. So I would suggest that anyone who sees the movie should not complain that details shown is not as it happened in Mary Kom’s life.

How did I land on this movie? Well I was thinking up a post on Priyanka Chopra for her birthday as she turns a year older on 18th July. I was going through her filmography and found that she had sung a few songs in her career which began in 2002 in a Tamil film and 2003 in the Sunny Deol- Preity Zinta starrer ‘Hero: Love Story of a Spy’.

She was Miss World 2000. She has done a whole of gamut of characters including a negative shaded Sonia Kapoor in ‘Aitraaz’ in 2004 for which she got a lot of critical acclaim and nominations/ awards as Best supporting actress and Best performance in a Negative Role. Priyanka has also won the National award for her performance in ‘Fashion’ (2008). If I may add she also managed to find a footing on American Television in the series ‘Quantico’ in 2015.

The song with today’s post is the one she has sung in her own voice. I haven’t seen ‘Mary Kom’ completely so I don’t know if the video accompanying the song is how it happens in the movie or whether the video uploaded on YouTube is a cleverly stitched affair.

Happy Birthday Piggy Chops (a nickname she got during the shoot of BluffMaster! in 2005)

(may not be from original soundtrack)

Audio

Song-Teri main balaayen loon (Mary Kom)(2014) Singer-Priyanka Chopra, Lyrics-Sandeep Singh, MD-Shivam Pathak

Lyrics

teri main balaayein loon
tujhe main duaayein doon
tujhko main
khushiyon ke saaye doon oon
khwaabon ko sajaaye tu
aankhon mein basaaye tu
tujhko main
doon sab jo chhaahe tu u
saari raat ye pehra kare
keh doon chaand taaron ko o
chaaoro chaaoro
ichha paari chaaoro
chaaoro chaaoro
ichha paari chaaoro

jaag jaaye na tu
jaagoon raaton mein
jhoole jhoola tu
mere haathon mein
teri choomoon aankhein main
baithh sirhaane
saari raat ye pehra karein
keh doon chaand taaron ko
chaaoro chaaoro
ichha paari chaaoro
chaaoro chaaoro
ichha paari chaaoro
mmmm hmmm
aaaa ahaaa
haa aaa
mmmm hmmm
mmmm hmmm
aaaa ahaaa
haa aa


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws

Blog Day :

4737 Post No. : 16459 Movie Count :

4471

Today’s song is from an unknown film-Lottery-1949. The title of the film is very apt to remind us how success in the film line is often nothing but winning a lottery in your name ! What led to the success of a film was one thing that no one could fathom so far. In my opinion excellent acting, solid story, superb music and a balanced combination of comedy and other emotions are generally behind the success of a film. When one analyses hit films, then at least 2 or 3 factors as I mentioned earlier would be found in them.

1949 was the best year in the Golden Era of HFM. There were so many films offering evergreen, out of this world songs, that the audience did not know which film to see and which song to listen to. The sale of records set new records in 1949. 157 films were made in 1949. Barring the figure of 181 films in 1947 ( we know the reasons), 1949 produced the maximum films from 1931 to 1984 – a period of 50++ years. What’s more, almost every alternate film gave superb songs. Nearly every Music Director of Hindi films was present in 1949, with his films.

This was also a transition period, when older composers were giving way to newer ones. Additionally, the competition between Naushad and C Ramchandra for the Number One position was at its peak. Though C Ramchandra is my favourite composer, it was Naushad all the way during the period from 1947 to 1949, and he was was the undisputed Numero Uno as far as quality and number of hit films were concerned.

In this period Naushad’s strike rate of Hit films was more than that of C Ramchandra. Naushad had 8 Hits from his 9 films in the period 1947 to 1949. For the same period, C Ramchandra had only 4 Hits in his 18 films.

The year 1949 had absolute heavenly showers of Musical Films. Some of such films were Andaz, Badi Behan, Barsaat, Bazaar, Dulari, Jeet, Apna Desh, Chandni Raat, Chaar Din, Sunehre Din, Shayar, Dillagi, Ek thi ladki, Kaneez, Laadli, Lahore, Mahal, Namoona, Patanga etc etc. The year 1949 also witnessed the introduction of A and U Censor certificates, the establishment of Films Division, the start of Navketan productions of Anand brothers and few other landmarks in the Hindi film industry.

The Film Lottery-49 had none of these factors. I do not know the film’s story. The film was made in Calcutta by Bengal National studios, owned by S.D.Narang- the producer. The Director was one G. Singh who had earlier directed one more film – Barsat ki ek raat-1948. Similarly the Music Director- Harbaksh Singh had only 3 films to his credit. Film Ek Aurat-48, Lottery-49 and Nai Bhabhi-50. All films were made in Calcutta only and by S.D.Narang’s banner. After Narang shifted his base to Bombay, possibly, his team was left behind only.

The cast of the film was Kaushalya, Sunder, Ameena khatun, K.Nanda, Cuckoo etc. There were two lyricists – B.M.Sharma (6 songs) and Charandas (3 songs). Not many of the younger generation readers would know that the comedian Sunder, who they saw in several films of 50 to 70 period, was in fact a Hero and a singer in his hey days !

For a long time,I was searching for information on comedian Sunder. I got hold of a 2 page detailed article on Sunder, but it was in Punjabi- which I could not read or use. I found a small paragraph on Sunder in Sanjit Narvekar ji’s book ” Eena Meena Deeka”. Lastly, I requested Harish Raghuwanshi ji for help. Despite his failing health, he promptly sent me articles in Hindi, English and Gujarati, on Sunder. He is such a helpful person. May God give him a healthy life.

Sunder Singh aka Sunder was born in Sialkot, Punjab on 10th August 1916. His father was working in Madon Theatres, Calcutta. Sunder also started working there. Initially, for a long period,he did Girl’s roles. Once his work was seen by H.S.Rawail (Director in later life). He was quite impressed. Later Rawail started working with R.N.Vaidya as his assistant in direction.Meanwhile Sunder started working in Talkie films. His first film,where he was credited, was ” Na honewali baat”-38. Before that, Rawail and Vaidya were preparing to make the film Banke Sipahi-37.Rawail recommended Sunder and Vaidya gave him an uncredited small role in that film.

Sunder and Rawail became good friends and started staying in one flat in Calcutta. After a few films here, they both went to Lahore and Sunder got the Hero’s role in the film ” Shukriya”-44. There were 4 Heroines in the film- Ramola, Rooplekha, Manorama and Raksha. Sunder’s role in this film was that of a young man from a village and Ramola was from a City. Sunder’s one song from this film-‘ Nayanon ke teer chala gayee ek shehar ki laundiya’ became very popular all over India, However the song was banned in Punjab due to its lyrics. After this they both came back to Calcutta.

His next film was Albeli-45, in which too there were 4 Heroines- Ramola, Rooplekha, Manorama and Usha. In the 40’s , Sunder acted in many films like Arabian Nights, Baap, Shabri, Chandrashekhar, Ek aurat, Grihalaxmi, Lottery, Samapti, Jhoothi kasme, Savyasachi, Do baaten, Shadi ke baad, Bawra, Khiladi, Nai Bhabhi etc. In Calcutta, Sunder got married to a girl from his community. Rawail left for Bombay. After a few months, Sunder also returned to Bombay.

Rawail was very happy to get him back and gave him roles in almost all of his films. Not only Rawail, but also J.Om Prakash, Mohan Kumar, Lekhraj Bhakri, Manoj kumar etc gave him roles in all their films and he became a busy actor. He was at one time, in great demand. He was quite popular due to his nature. In the decade of 50’s he did 88 films, which increased in the 60s and 70s. In the 80s however films came haltingly.

From singing Hero, he became a Junior artiste( extra), in presence of the new crop of actors. The role of comedians was on decline, as Heroes like Amitabh and others did comedy scenes themselves. His health started troubling him. His last film was probably Bahurani-89. He became ill for a long time and finally died on 5-3-1992. Sunder acted in 436 films. He was a good singer and sang his own songs in early cinemas. In all, Sunder sang 40 songs in 25 films. ( Thanks to Harish Raghuwanshi ji for material for adaptation.)

The Heroine of the film – Kaushalya too is not very well known. She was born at Lucknow in 1929. She was the daughter of the famous dancer Lachhoo Maharaj and actress Daya Devi. Being brought up in the house of dancer and actor, Kaushalya picked up Dance, Music and acting very early. She appeared as a child artiste in films from 1936, when she was just 7 year old. She worked in 11 films as a child artiste. After film Devbala-38, she did roles in Bhole bhale and Uski Tamanna-both in 1939, made by Sagar Movietone. She even sang in both films.

Then came films like Darshan and Ghar ki laaj, both 1941, and Baraat, Bharat milap, Station master and Swapna, all 42. The work poured on her till 1946, when she got married to a boy from Calcutta, when she had gone there for doing films. After marriage she found it difficult to work in films, but continued for some more films, till her last film Ek Do Teen-1953.

In all Kaushalya acted in 27 films and sang more than 100 songs in about 35 films, in her short career time. As a Heroine she had worked with Prithviraj Kapoor, Ulhas, Kumar, Ishwarlal etc.

Today’s song is sung by Kaushalya and Jagmohan Sursagar. With this song film Lottery-49 makes its Debut in this Blog. This rare song was provided by Abhay Jain ji (USA) and was uploaded kindly for me, by our own Sadanand Kamath ji. I thank both.


Song- Morey dil ki nagariya mein aaya hai chor raaja (Lottery)(1949) Singers- Kaushalya, Jagmohan Sursagar, Lyricist- Charandas, MD- Harbaksh Singh
Both

Lyrics

Morey dil ki nagariya mein aaya hai chor raaja
jaldi policewaa bulaaye le
ho raaja
jaldi policewaa bulaaye le
gori mukhda dikhaao
aji ghoonghat hataao zara
nainon se naina milaay le
ho gori
nainon se naina milaay le

mori dhhadke hai chhatiyaa
aur phhadke hai ankhiyaa
o jee choli mein jiyara
dhhak dhhak hoye hai
mori dhhadke hai chhatiyaa
aur phhadke hai ankhiyaa
o jee choli mein jiyara
dhhak dhhak hoye hai
o tohe Bambai le jaaun
bori bandar dikhaaun
jahaan raat din engine ki chhat chhat hoye hai
jahaan raat din engine ki chhat chhat hoye hai

mori bainyya na pakad
mohe jaana apne ghar
kaise boloon main
laaj mohe aaye hai
haaye Raam
nainon se naina milaay le
more dil ki nagariya mein aaya hai chor raaja
jaldi policewaa bulaaye le
ho gori
nainon se naina milaay le
ho o
ho o
nadiya kinaare gori
mori atariyaa
bhari(?) pahariya mein aana na bhoolnaa

ho o
ho o
aaungi raaja
na bhoolooongi vaada(?)
aasha ki dori se jhooloongi jhoolna
aana chupke se raani
more dil ki kahaani
koi aake na dil ko churaay le

o raaja
jaldi policewaa bulaaye le
more dil ki
nagariya mein aaya hai

chor raaja
jaldi policewaa bulaaye le
ho gori
nainon se naina milaay le


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws

Blog Day :

4735 Post No. : 16456 Movie Count :

4469

Today’s song is from the film Lagna Bandhan-1936. The film was made by Sagar Film company. The director was K.P. aka Kaliprasad Ghosh- who was a master in directing Silent Films. Film Shehar ka Jaadu-1934 was his Debut film for a Talkie version of films. After this film he directed one more film for Sagar, Lagna Bandhan-36 and then he left for Bengal.

His most important contribution to Hindi films of Bombay was that he convinced Motilal to join films, when he had come to the studio, with a friend, only to watch the shooting of a film. Ghosh spotted Motilal, who had a very impressive personality, and talked him into joining the films. K.P.Ghosh was also a writer. This film’s story, dialogues and Screenplay was done by him only. We do not know who was the Lyricist of the 8 songs of this film. The Music Director was Pransukh Nayak, an old timer expert in music for stage dramas in Gujarati. He started giving music to Hindi Talkie films with Sati Sone-1932. He composed 293 songs in 26 films. His last film as a Composer was film Kulvadhu-1937 from Sagar film company.

In those days, there was a Studio system, in which various artistes in different departments of filmmaking used to be paid servants of a studio. For composing music to Hindi films, the first composer in Sagar was S.P.Rane- a Marathi Manoos from Baroda, Gujarat. He gave music to almost 15 films here. Then came Pransukh Nayak. He gave music to 10 films. He was followed by Anil Biswas, who gave music to 12 films of Sagar and 2 films of National, before joining Bombay Talkies.

The film was released on 18-11-1936 in Roxy Cinema, Bombay. The cast of the film was Sabita Devi, Motilal, Azuri, Sankatha Prasad, Aruna Devi, Leelavati, Bhudo Advani, Ansari and many others. Though the film was labeled as ” Social” in HFGK, looking at the story, one finds that it was a costume drama spinning a story of King, Queen and the wicked Vazir etc stuff, combined with a love story. Such stories originated from the fertile imaginations of the Story Departments or the story writers. The story of the film as per the booklet is….

Yudhajit (Sankata Prasad) is the outlawed brother of the king of Udaynagar. Before he left the palace, he had stolen the elder of the Twin sons of the king to be killed for revenge. However, looking at the sweet baby, he decides to bring up the boy to be used for revenge afterwards. He grows up into a handsome Indrajeet (Motilal). His brother Shatrujit-in the Royal palace- falls prey to a dancer-Najma (Azuri) and becomes a drunkard.

Rajnagar princess Chandra (Sabita Devi) is due to marry drunkard Shatrujit. To avoid this she tries to escape from the palace guised as a Dasi-Nanda. Meanwhile Indrajeet is sent there to kidnap the princes, before marriage. They meet accidentally and fall in love wishfully. After singing a few love duets in a few days, Indrajeet returns empty handed. Yudhjeet plans that Inderjeet takes the place of Shatrujeet at the time of marriage. Reluctantly he agrees.

On the day of marriage, in any case, Shatrujeet is so drunk that he is not in a state to stand for marriage. The Dewan (Ansari) finds Indrajeet who, being a Twin, looks similar. He is caught and produced for marriage as Shtrujeet. The marriage takes place. Both the Groom and Bride see each other and are very happy. However soon the reality is declared. There is a fight in the armies of Yudhajeet and the King, in which Yudhajeet dies. Before dying he reveals the secret of the brothers to the king and others ( audience, anyway knows this before them !). All is well that has already ended well !

The film had the popular pair of Sabita Devi and Motilal. They acted as Lead Pair in 8 films of Sagar and 2 films of Sudama films of Sarvottam Badami, who had directed the pair in 5 films earlier in Sagar.

The real name of Sabita Devi was IRINA MAUDE GASPER. She was an Anglo-Indian, born in an affluent family of Calcutta, on 20-7-1914.

After completing education she wanted to join films, but her family objected. Without the family’s knowledge, she sent her resume and Photo to British Dominion Film Co., owned by Dhiren Ganguly in Calcutta. When they informed their consent the family resisted and kept her locked in the house. She fell ill and finally, the family conceded to her wish.

Her first Silent film was Flames of Flesh-1930. Then came Kanthahaar, A touch of Love, After the death, Aparadhi, Money makes what not and Bhagyalaxmi as silent films.

When the talkie came, she determinedly learnt Hindustani and Urdu and also Music.

She’s stated to have influenced P. C. Barua, who had joined the Board Of the British Dominion Film Company and acted in a few silent films, to start his own company. According to sources, “He was inspired to become independent”. After his return to Calcutta from Paris, Barua set up the Barua Film Unit. The first film under this banner was Aparadhi (1931), directed by Debaki Bose, with Sabita cast as the heroine. The film went on to become a “critical success”.

Her first Talkie film was Radhakrishna-33, in which she sang 16 out of 23 songs in the film, but no records were made. Next was Ek din ka Badshah-33. She shifted to Bombay for better opportunities. In 1934,came Shahar ka Jaadu,with Motilal as a debut actor and this film was a Hit. Later she and Motilal became a popular pair.

Sabita Devi and Motilal’s first movie as a pair in the famous Sagar Movietone, the movie Lure of the City (aka Shaher ka Jadoo) released on 29 th September 1934 at the Imperial Cinema Bombay. This movie was directed by Kaliprasad Ghosh and music was composed by K.C.Dey (the blind singer). Cast : Sabita Devi, Motilal, M.Kumar, K.C.Dey and Kamalabai.

This was the sound debut of Kaliprasad Ghosh at Sagar after a few successful movies directed in the silent era. Mehboob Khan was earlier selected for the lead role and was later replaced by Motilal. This was actor Motilal’s debut film and Motilal – Sabita made the best couple of the Sagar Film Company since then in many other movies under the banner of the Sagar such as, Silver King (1935), Dr Madhurika (1935), Lagna Bandhan (1936), Jeevan Lata (1939), Kulvadhu (1937), Kokila (1937), three hundred days and after (1938) and later in Films Ap Ki Marzi (1939) and Prarthana (1944).

She did many films. Her some films were- 300 days and after, Apki marzi, kokila, Kulvadhu, Amrapali, Ladies only, Chandragupta, Chingari, Dr.madhurika, grihalaxmi, holiday in bombay, Jeevan Lata, King for a day, Lagna bandhan, Manmaani, , Phantom Of the hills, Silver king, vengeance is mine, Village Girl etc etc. In all, she acted in 23 Talkie films and sang 15 recorded songs in 7 films. She was a good Piano and Harmonium player.In later days in 1943 onwards, she stopped singing herself. Her last picture was Amrapali-45.

She was one of the earliest female artists to write about film acting as a decent profession for ladies from respectable families. In a letter to the Filmland English weekly, November 1931 issue, titled “Why Shouldn’t Respectable Ladies Join the Films”, she countered claims of immorality and low moral standards of producers and directors, raised by an anonymous actress in the September 1931 issue, “Should Respectable Ladies Join Films”. She stated that “the attitude a man takes towards a woman is governed by the latter’s own integrity, by her actions, words and manner”. She went on to state that people had a “mid-victorian conception” of women on stage and that “A Lady Artiste” was perhaps herself to blame for any unwanted advances.

She was the highest paid actress of the 1930s and the magnet of attracting audiences for the movies made by the Sagar Movietone. Lure of the City (1933), Phantom of the Hills (1934), Educated Wife (1934), Vengeance Is Mine (1934), Silver King (1935), Dr Madhurika or Modern Wife (1935),Lagna Bandhan or Forbidden Bride (1936), Village Girl (1936), The Creeper of Life or Jivan Lata (1936), Kokila (1937), Kulavadhu (1937), Three-hundred Days and After (1938), Ladies Only (1938) are the hit movies she made under the banner of the Sagar Movietone in most opposite Motilal. Sabita- Motilal became a finest and most romantic couple in mid 1930 s . In 1939 she started working in Sudama Pictures and produced movies Aap Ki Marzi (1939), Chingari (1940), Sajni (1940),and Holiday in Bombay (1941). Thereafter she did lead roles in Fashion (1943) , Prarthana (1943) and Amrapali (1945).

In 1946, she got married and left for England. She came back again only to die in Calcutta on 11-3-1965.

With today’s song, film Lagna Bandhan-1936 will make its Debut on this Blog.


Song-Nis din Shyam Shyam japati (Lagna Bandhan)(1936) Singer- Sabita devi, Lyricist- Not known, MD- Pransukh Nayak

Lyrics

Nis din Shyam Shyam Japati
main apne piyaa par jaan maan shaan arpan karti
Nis din Shyam Shyam Japati
main apne piyaa par jaan maan shaan arpan karti
Nis din Shyam Shyam Japati

prem nadi hriday uchhalti
prem nadi hriday uchhalti
hansti khelti ramti
hansti khelti
Nis din Shyam Shyam Japati
main apne piyaa par jaan maan shaan arpan karti
Nis din Shyam Shyam Japati

kaisi sooratiyaa pyaari
main hoon bani matwaari
more jiya ko laga ?? chaab nyaari
man tadpat larjat(?) waari
jaaun waari o bihari
piya charan pe tan man harti
Nis din Shyam Shyam Japati
main apne piyaa par jaan maan shaan arpan karti
Nis din Shyam Shyam Japati
main apne piyaa par jaan maan shaan arpan karti
Nis din Shyam Shyam Japati


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws

Blog Day :

4733 Post No. : 16453 Movie Count :

4467

Today’s song is from the film Maa-1936. As per the Title index book, there were 5 films having this same title and one was incomplete in the 60’s. In addition there were 23 other films with titles having Maa in them like, Maa qasam etc.

Among this series, today’s film Maa 1936 seems to be the first one. The film was made under the banner of Prafulla Pictures, floated by Producer-Director Prafulla Ghosh. Possibly, this was the only Hindi film of this banner. The MD was S.P.Rane, who was a ‘Marathi Manus’ grown up in Gujarat. The lyricist was B.N.Gupta and the cast was Zubeida, Jal Merchant, Kanan Bala, Master Brijmohan, Manorama and others.

The actress Manorama in this film was a Bengali Jew, whose real name was Winnie Stewart. This Manorama was obviously different from the comic Manorama of Hindi films of the 40s to the 90s. This later manorama was famous for her role of Chachi in the film Seeta aur Geeta-1972. The Manorama of film Maa was acting in silent films.She acted in 15 silent films and then 19 Talkie films. She acted in many Hindi films made in Calcutta like Anath Ashram-37, Dushman-38, Kapal Kundala-39, Zindagi-40, Kashinath-43, Hospital-43, Hamrahi-44, Tum aur Main-46, Suleh etc. Her last film was in 1952- Chhoti Maa .

Director Prafulla Ghosh was directing films since the Silent era. After the Talkie started, he first directed the First Talkie film made by Sagar Movietone-Veer Abhimanyu-1931. He went on to direct 3 more films for Sagar- Abul Hasan-31, Romantic Prince-31 and Subhadra haran-32. In 3 of these 4 films the lead pair was Zubeida and Jal Merchant. Ghosh then went to Calcutta and directed Chaar darvesh-33 and hari Bhakti-34. He came to Bombay and started his own banner Prafulla Pictures and made today’s film Maa-1936. There is non information about him after this. Maybe he went back to Calcutta and did work in Bengali. We do not know.

In the early years of Talkie films, Parsis made substantial contributions in many departments of filmmaking. In acting, Sohrab Modi, Eddi Billimoria, Dinshaw Billimoria, Jal Khambata and Jal Merchant were famous. Jal Merchant was a typical Parsi born and brought up in the Parsi Colony area in Bombay. Though his family had a business, he did not join it as he was keen to make a career in films. Bombay being the centre of filmmaking he had plenty of chances. He did not have a masculine, wide chested body, but he compensated with his superb acting skills. He could also sing in his soft voice.

It was a colorful stellar team that Jal Merchant formed with Zubaida in the early talkies. But it was in mythological roles, and not romantic parts, that they first won the hearts of cinegoers. The first picture that made them a rage everywhere was Sagar’s “Veer Abhimanyu,” in which Jal played Abhimanyu to Zubaida’s Uttara. In the next one- Subhadra Haran-32, Jal was Arjun, Abhimanyu’s father, while Zubaida played Subhadra.

Like Zubaida, Jal Merchant joined films in the “silent days”. It was a change of medium for him, for he had been playing female roles on the Gujarati stage! His performance as the heroine of “Shankit Hriday,” a Gujarati play, proved a hit, and Nagendra Majumdar, who directed the play, induced him to switch over to screen acting. Jal joined the Imperial Film Company, and among his early films the most notable was “Vasant Bengali,” a social picture directed by R.S. Chowdhury. In those days, the screen hero generally had more brawn than brains, but the lead player of “Vasant Bengali” was called upon to show more intelligence than physical prowess. Jal did just that – and won instant fame.

After the advent of sound, Jal’s first four films for Sagar were mythologicals – “Veer Abhimanyu-1931,” Subhadra Haran-1932,” “Pandav Kaurav-1933” and “Mahabharat-1933”. For close-ups of these pictures, Jal used to wear trousers and only the upper part of his body was made up for his role. But in one close-up his pants were also visible! The shot was cut on the first day of screening in Bombay.

Gifted with a fine voice, he also delighted cinegoers with his singing. He sang 33 songs in 7 films-Meerabai-32, Pandav Kaurav-33, Mahabharat-33, Grihalaxmi-34, Aaj kal-34, Sone ka Shahar-35 and Toofan Express-1938.

In “Zarina,” written and directed by Ezra Mir, he was the tongawallah who falls in love with a dancing girl at a carnival. This poignant romantic tragedy won plaudits for both Jal and Zubaida. It was their last picture together for Sagar. Zubaida left Sagar and Sabita Devi took her place. Sabita and Kumar were the first stars imported from Calcutta. Sabita co-starred with Jal in “Phantom of the Hills,” directed by Ezra Mir, in which he played a dashing Pathan riding a white charger. In “Educated Wife” (Grihalaxmi), directed by Sarvottam Badami, he played a modern educated youth. In this role the versatile Jal revealed a genial personality. Sabita was again his co-star.

Jal and Zubaida played stellar roles together once again in “Aaj Kal,” directed by R.S. Chowdhury. This was the last important picture for both stars. Jal acted in about n15 Silent films and 29 Talkie films. His first Talkie film was Veer Abhimanyu-1931 and his last Talkie film was Armaan 1953.

Jal Merchant, who already had a family flourishing business, retired from the screen. Later, he started to live a quiet life in Bandra. Jal was an excellent shikari in his younger days. His screen associates also remember his soft voice, gentle manners and sensitive, handsome face. His pairing with Zubeida and Sabita Devi was very popular. He had all the gentle Parsee manners and was a popular co-star for the heroines.

I have read somewhere that Jal Merchant died in 1963 in Bombay. He was unmarried till the end, like many Parsis. ( information from an article by V.P.Sathe in Screen, ‘Screenplay’ by Isak Mujawar, HFGK, muVyz and my notes have been used in this post, with thanks.)

The Heroine for film Maa-36 was Zubeida Sr, who had acted in India’s first Talkie film-Alam Ara-1931, made by Imperial film co. She also acted in the first talkie film made by Sagar nMovietone- Veer Abhimanyu-1931. One of the 4 wives of Nawab Siddi Ibrahim Muhammad Yakut Khan of the state of Sachien,Gujarat, was Fatima Begum. She was in films, even before marriage. There is however no proof of their marriage. From the Nawab, She had three daughters, namely Sultana, Shahzadi and Zubeida. All daughters and the mother were into films.

When the girls became of age, Fatima used to make them dance in the film theatres between the change of reels- which was to entertain the audience. The beautiful eldest daughter Sultana and playful sister Shahzadi were already working in films. When Fatima and the Nawab had some differences, Fatima took her daughters and came to Bombay to work on her own.

Fatima was the First woman to establish Fatima Film co, Bombay, to produce and Direct Bulbul-E-Paristan-1926. All the 4 women acted in it. Fatima then formed Victoria Fatima Film Co. in 1928 and produced 7 silent films-Chandravali,Heer Ranjha both in 1928 and Kanak Tara, Milan Dinar, Goddess of Love, Shakuntala and Wonderful Prince all in 1929. Her company was closed in 1930.

Sultana, the eldest daughter, known as The sultry Sultana;, was famous for doing sexy roles. She came into limelight when she filed a case against Yassir Hussain Lalji, son of the chief of Bombay Municipality, in 1931, claiming to be his wife and demanding a sum of Rs. 5 lakhs in those days !

The second daughter known as Lovable Shahzadi also acted in films.

The third Zubeida, was born in 1911 and acted in silent film Veer Abhimanyu, but debuted as a Heroine in Gul Bakavali-1922. She acted in 36 silent films and then she became the Heroine of India’s first Talkie AALAM ARA-1931. In this film she sang one song also.

In 1935, she converted to Hinduism and married Raja Dhanrajgir Narsing Girji Gyan Bahadur, a very rich Jagirdaar from Hyderabad state. She stopped working in films, after 21 films, in 1935.

She lived peacefully with her husband in Bombay. In 1982, one of her legs was amputated due to severe Diabetes and she spent her remaining life in a wheelchair, yet till her end on 20-9- 1988, she used to look very beautiful and gracious.

Please note there was another actress named Zubeida, who appeared only after Zubeida Sr. retired in 1935. Zubeida Jr. was the inspiration for the film Zubeida-2001. These two are different. Do not get confused.

With today’s song, the film Maa-1936 will make its Debut on this Blog.


Song- Rah rah uthhti tees hriday mein (Maa)(1936) Singer- Kanan Bala, Lyricist- B N Gupta, MD- S P Rane

Lyrics

Rah rah
uthhti tee ee ee ees
hriday mein aen
aen aen
aen aen aen aen aen
Rah rah uthhti teees
hriday mein
Rah rah uthhti teees
hriday mein
?? ka man mere man mein
Rah rah uthhti teees
hriday mein
?? ka man mere man mein
Rah rah uthhti teees
hriday mein
paa gayi wo sab is jeevan mein
paa gayi wo sab is jeevan mein
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
aaa
aa aa
aa aa aa aa aa
paa gayi wo sab is jeevan mein
nahin kisi par trish(??) hai
phir kyun
nahin kisi par trish(??) hai
phir kyun
Rah rah uthhti teees
hriday mein
Rah rah uthhti teees
hriday mein
?? ka man mere man mein
Rah rah uthhti
Rah rah uthhti
Rah rah uthhti teeeees


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 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 :

4732 Post No. : 16452

After leaving Prabhat Film Company in May 1942, V. Shantaram had announced his new film, ‘Shakuntala’ (1943) under his own banner, Rajkamal Kala Mandir. He was looking for a reputed writer who could write screen-play and dialogues for the film. Baburao Patel, the editor of ‘Filmindia’ magazine who had business relations with Prabhat Film Company (through its printing press) and with V Shantaram, suggested the name of Dewan Sharar, author, playwright, poet and journalist of the international repute. In those days, Dewan Sharar used to publish his short stories every month in ‘Filmindia’ magazine after returning to India sometime in 1941 from London where he had been staying for many years.

Around the same time, D R D Productions of D R D Wadia had announced its maiden film, ‘Ishaara’ (1943) based on the Dewan Sharar’s famous novel, ‘The Gong of Siva’ (1935). With this film as well as ‘Shakuntala’ (1943), Dewan Sharar had shifted from Delhi to Mumbai and had made Cricket Club of India (CCI) as his temporary abode to write screen-play and dialogues for both these films. Since V Shantaram, after leaving Prabhat Films, did not have his own office, it was at CCI where he and Dewan Sharar met frequently to finalise the screen-play and dialogues for ‘Shakuntala’ (1943).

‘Ishaara’ (1943) was released in June 1943 and after couple of months, ‘Shakuntala’ (1943) was released. Both these films were box office success. Dewan Sharar had a long partnership with Rajkamal Kala Mandir as a story, screen-play, dialogue, song writer and sometime as an actor until ‘Jhanak Jhanak Paayal Baaje’ (1955).

Shantaram was to direct ‘Omar Khayyam’ under the banner of Prabhat Films in 1941 and the screen-play of the film written by Baburao Patel was ready. However, at that time, Shantaram did not go ahead with the film as his relationship with other directors of Prabhat Films was strained. After leaving Prabhat Films and the successful run of his maiden film, ‘Shakuntala’ (1943), Shantaram toyed the idea of reviving ‘Omar Khayyam’. He entrusted Khwaja Ahmed Abbas to rewrite the screen-play of ‘Omar Khayyam’. However, due to the fear of copyright issue that may crop up with Prabhat Films, Shantaram once again abandoned the plan to direct ‘Omar Khayyam’. It is quite possible that during this period, Khwaja Ahmed Abbas might have brought to the notice of Shantaram his novella, ‘And One Did Not Come Back’ which was based on the life of Dr. Dwarkanath Kotnis who spent 4 years in China during 1938-42 on a medical mission.

The story of Dr, Dwarkanath Kotnis impressed Shantaram so much that he not only decided to make a film as a biopic but also decided to act in the title role of Dr. Kotnis. The film took nearly 2 years to complete at a total cost of Rs.20 lakhs. The delay was mainly due to reshooting of some sequences which Shantaram was not happy when viewing the film at the editing table. For the sake of authenticity, Dr. B K Basu, one of the doctors who accompanied Dr. Kotnis to China and a Chinese lady was part of the production team to supervise during the shooting of the film [Source; from the advertisement which appeared in ‘Film Pictorial’, April 1946].

‘Dr. Kotnis Ki Amar Kahaani’ (1946) was made in Hindi and English with the title ‘The Eternal Tale of Dr. Kotnis’. The film had V Shantaram in the title role of Dr. Kotnis and Jayshree as Chinese nurse, Ching Lan. Other actors in the film were Keshavrao Date, Pratima Devi, Ulhas, Janaki Das, Dewan Sharar, Salvi, Hudlikar, Baburao Pendharkar, Master Vinayak etc. The screen-play was jointly written by Khwaja Ahmed Abbas and V P Sathe, the writer and publicist. Dialogues and songs were written by Dewan Sharar. The film was released on March 16, 1946 at Swastik Theatre, Mumbai.

I am not sure whether the English version of film was released. But there is a mention in one of the issues of ‘Filmindia’ magazine of 1946 that Shantaram along with Jayshree and Dewan Sharar sailed to London in July 1946 on their way to New York taking with them the English version of ‘Shakuntala’ (1943) and ‘Dr. Kotnis Ki Amar Kahaani’ (1946) for release in the USA.

‘Dr. Kotnis Ki Amar Kahaani’ (1946) had 7 songs – all written by Dewan Sharar which were set to music by Vasant Desai. Three songs have been covered on the Blog. I am presenting the 4th song, ‘chit doley nit doley subah shaam prabhu ji’ a lullaby from the film sung by Jayshree on whom the song is picturised along with V Shantaram. Dewan Sharar makes a brief presence in the song picturisation. The child in the cradle is Rajshree, the reel and the real daughter of V Shantaram and Jayshree.

Lyrics of the song were sent to me by Prakashchandra.

Video Clip:

Audio Clip:

Song-Chit doley nit doley (Dr Kotnis Ki Amar Kahaani)(1946) Singer-Jayshree, Lyrics-Dewan Sharar, MD-Vasant Desai

Lyrics(Provided by Prakashchandra):

chit doley
nit doley
chit doley
nit doley
subah shaam prabhu ji ee
chit doley
nit doley
chit doley
nit doley
subah shaam
ho shaam savera
subah shaam
ho shaam savera
mann preetam kaa ho dera
aa aa
mann preetam kaa ho dera
iss dere kar bhi le
iss dere kar bhi le
vishraam prabhu ji
chit doley
nit doley

neele parvat khet sunahre
neele parvat khet sunahre
neeli nadiyaan gahre gahre
neeli nadiyaan gahre gahre
chanda taare lete saare
chanda taare lete saare
ae ae
teraa naam prabhu ji ee
chit doley nit doley

pyaare nazaare
pyaare nazaare hain pyaare pyaare
pyaare nazaare
pyaare nazaare hain pyaare pyaare
aaankhon hi aankhon mein
ae ae ae ae
aankhon hi aankhon mein karte ishaare
nain tere
nain mere
nain tere
nain mere
ae ae ae
din rain prabhu ji
chit doley
nit doley
subah shaam prabhu ji
chit doley
nit doley


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws

Blog Day :

4717 Post No. : 16425 Movie Count :

4462

Today’s song is from a film called Daughters of India-1939. The film was made by Super Pictures, Bombay. It was directed by V M Vyas and the Music Director was Pt. Ram Gopal Pandey. Twelve songs of this film were written by Munshi A. Shah ‘Aziz’. The cast of the film was Khursheed, Ashiq Hussain,Radha Devi, Vimla Devi, Shah Ali, Leela etc.etc.

Film’s Hero Ashiq Hussain hailed from U.P. He was a Handsome person. He could act and also sing reasonably well. He was selected by Jaddanbai as a side Hero in her first film “Talash E Haq”-1935, wherein, her own daughter Nargis also made a Debut as a Child Artiste with the name Baby Rani. Jaddanbai was in the female lead opposite Yaqub, who also hailed from a Tawayef family. Ashiq hussain acted in all the 5 films made by jaddanbai, namely Madame fashion-36, Hriday manthan-36, Moti ka Haar and Jeevan Swapna-37- all directed by her. Ashiq hussain acted in 25 films. His last film was ‘ Utho Jaago”-1947, in which he was cast opposite actress Shahzadi. She was also the producer of the film. After the film was released, Ashiq Hussain married Shahzadi and they both migrated to Pakistan.

I do not know what was the story of the film Daughters of india-39. I had seen an advertisement of this film in Film India magazine, wherein they said ” after Mother India-38, another social film “. However I found that both films were made by different banners and different Directors too. The Music Director was the same.

I have heard 3 songs from the film Daughters of india-39 and frankly I was disillusioned. The songs are so drab and have almost the same style and same tune-with slight variation. I also happened to listen to some songs from other films of Ram Gopal pandey, like Kisan kanya-37 and mother india. They are so unmusical. No wonder Ram Gopal got only C grade action and stunt films.

Music Director Ram Gopal Pande was variously credited as R G Pande, Ram Gopal, Ram Gopal Pandey etc. He hailed from U.P. After trying to become a singer unsuccessfully, he became assistant to many well known composers and learned the methods.

His first break came in 1936 with ‘ Matwali Jogan’ aka A girl from Lahore. Then he was called by the Imperial film company for its first colour film Kisan Kanya-37. Master Nisar and Padma Devi’s songs became popular, so he was given two more films- Mere Laal-37 and Vasant Bangalee-38.

Then came Mother india-38, Actress kyon bani-39, Flying Rani-39, Perfect man-38, Daughters of India-39 and Chalti Duniya-40. He was then connected with Mohan Pictures. He did other movies like Tatar ka chor-40, Deepak Mahal-40, Captain Kishore-40, Jadui Bandhan-41, Shahzadi-41, Bulbul E Baghdad-41, Bandukwali-44, Hoor E Jungle-46, Baghdad ka Chor-46, Arab ka chand-46, Ali Baba-46.

His last film seems to be Angoorbala-47. He was left behind as his music was stage and drama type only. He did not change the style either. In all he gave music to 22 films and composed 203 songs. None of his songs are remembered today. No other information is available on him.

Even the director of this film was V M Vyas who specialised in films of low budgets and C grade films generally. Vishnukumar Maganlal Vyas was born on 4-11-1905 in Ahmedabad. He started his career in 1927 as a Cinematographer. His company, Sunrise films, was started in 1941. He produced and directed 30 Hindi ( 3 Silent and 27 Talkie films) and many Gujarati films . He died on 24-1-1962 at Bombay. Vyas was a very hardworking person and a man of ‘ never say die ‘ spirit. He was disciplined and did not tolerate any nonsense. He was also known as a very miser. Being a Vaishnav, his stars would get only vegetarian food during shootings. If they wanted Non Veg food, they had to pay for it.

His first Talkie film was Saubhagya Lakshmi-34 and the last was Naag Devta-81.

Famous writer Manto has described in his book an incident about Noorjehan and V.M.Vyas.

At the time of film Naukar-43, the pair of Shaukat Hussain and Nur jehan troubled Vyas to no end. Not attending the shoots on time, asking for extra money on some pretext or the other and in general giving trouble and mental torture to Vyas were common. Not only this, additionally Nur jehan and Shaukat used to take interesting property materials from the sets to their house-like furniture, decorative vase, cupboards etc. Vyas kept quiet till the film was complete.

Once the film was completed and released, he registered an F.I.R against both of them for stealing studio equipment. To utter dishonour of Noor jehan, a police raid was made on her residence and all the furniture, tables, decorative pieces etc. , which she had taken from the sets were confiscated and the court fined her also.

Thus Vyas did not keep quiet when it was his turn and taught a lesson to Noor jehan and Shaukat Hussain, for troubling him.

After listening to songs of early era films made in Bombay, no wonder the film songs from Calcutta films became more popular. It must have been a breath of fresh air to the audience.

This song was given to me by Shri Abhay Jain jee (US) and it was uploaded by Sadanand Kamath jee for me. I thank both.
With this song, the film Daughters of India-39 makes its debut on the Blog.


Song-Tum ho sajni meri tamanna(Daughters of India)(1939) Singers- Ashiq Hussain, Khursheed Bano, Lyricist-Munshi A Shah ‘ Aziz’, MD- Pandit Ram Gopal Pandey
Both

Lyrics

Tum ho o sajni meri tamanna
sajni ee meri tamanna
tum ho saajan mera sahaara
tum ho saajan mera sahaara

aao nayi ek duniya basaa kar
aao nayi ek duniya basaa kar
us mein prem ka baag lagaayen
hum roothhen aen
tum hamko manaao

tum roothho ham tumko manaayen
tum roothho ham tumko manaayen

jahaan sadiyaan haan jahaan sadiyaan
jahaan sadiyaan
jahaan sadiyaan khil khil jaati hon
jahaan prem ki neenden aati hon
haan

jahaan koyal boley koo koo koo
jahaan ?? boley choon choon choon
prem badariya chhaayi ho sajni ee
barse amrit dhaara aa aa
prem badariya chhaayi ho sajni ee
barse amrit dhaara aa
tum ho
tum ho
tum ho o o


This article is written by Avinash Scrapwala, 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 :

4694 Post No. : 16381

Music of Uttam Singh – 01
—————————

#Nostalgia – Summer – 1983 (2) #

When I talk about the summer nostalgia-1983 I cannot forget the today’s movie. And that is why this separate write-up. Because the movie was a special movie for people like me who were interested in Manoj Kumar and his movies. And since his brother was making a debut with three others also making a debut, we (me and my friends) were excited about this movie.

Promotion of this movie on radio had already started earlier when we were already preparing for our board exams (of class Xth). Me and my friends used to discuss about its songs as some were nice songs and already heard frequently during promotion of this movie. Few songs from this movie were also becoming our favorites and we were also eager to watch the debutant actor and actresses of this movie.

The movie is ‘Painter Babu from 1983. The music of this movie is composed by music duo Uttam Singh- Jagdish Khanna. This was their first movie as music director duo. And this was also the first introduction of these names to me.

Well, we get to watch this movie in the vacations after our board examinations were over. After watching and liking this movie we become curious to know more about the music composers of this movie viz. Uttam Singh and Jagdish Khanna. However, after the Board exams it was ‘World Cup-1983’, and around the same time the results for the exams were declared. After that everything took a back seat and looking for admissions to ‘polytechnic’ or ‘11th -12th, become the priority. And that time there was no internet or blog like ‘atulsongaday’, and I was also not into contributing of lyrics or writing about movies and their songs 😊, So everything was deferred for the future.

‘Painter Babu’ was not as much successful on the box office as it was expected to do. But its beautiful songs were liked and enjoyed by music lovers like me. Some of its songs were already popular like “Kab Talak Shamma Jali Yaad Nahin” which has already been posted on the blog on 11.07.2012, more than eight years ago. Since I loved the songs of this movie, I had shared two of its songs after getting associated with this blog. I had noted two songs of this movie long time back, but they remained to be posted.

Today I am presenting this song on birth anniversary of Music Director Uttam Singh.

Uttam Singh was born on 25th May’1948. Today is his seventy-third birth anniversary. On this occasion we wish him a very happy birthday and a healthy and peaceful life ahead. (We will discuss more about him and his filmography in the future posts coming on the blog. Till then we move to the today’s movie again.)

‘Painter Babu’ is directed by Ashok for ‘V.I.P. Films, Bombay’. It is produced by Manoj Kumar who also wrote the story and screenplay for this movie and had also done the editing.

The star cast of the film includes Rajiv Goswami (debutant and in title role), Meenakshi Sheshadri (debutant), Neelima (debutant), and Virendra Sharma (also a debutant).  They were supported by Rakesh Bedi, Madan Puri, Om Shivpuri, Krishna Dhawan, Pichoo Kapoor, Bandini, Ram Mohan, Kamaldeep, Bharat Kapoor, CS Dubey, Birbal, Lalita Kumari, Meena T, Tun Tun, Sundar Taneja, Rajan Kapoor, Madhup Sharma, Shyam Jeet, Walia, Heera, Bhinda, Leela Mishra, Jankidas, Sudhir, Mohan Choti, Shammi, Dinesh Hingoo, Aruna Irani, Kamini Kaushal and others. Singer Mahendra Kapoor had a special role in this movie.

This movie was passed by Censor Board on 31.03.1983.

This movie has seven songs written by three lyricists viz. Manoj Kumar, Qamar Jalalabadi and Qateel Shifai. Lata Mangeshkar, Mahendra Kapoor, Kishore Kumar, and Bhupinder Singh have given their voices to the songs in this movie. The list of the songs in this movie is as given below.

S.No. Song Title
01 Ho, ham kuchh bhi rakh le naam uskaa
02 Painter Babu, I love you
03 Kab Talak Shamma Jali Yaad Nahin” (Posted 11-07-2012)
04 O mere sajan barsaat mein aa  (Discussed Today)
05 Yaar kapadaa shaandaar hai
06 Hamkaa le chal yaaraa thhandi thhandi nahar ki kinaare
07 Jab yaad ki badli chhaati hai tab aankh meri bhar aati hai

Today’s song is sung by Lata Mangeshkar and Mahendra Kapoor. On screen Meenakshi Sheshadri is lip syncing for Lata Mangeshkar’s voice and Mahendra Kapoor is singing for himself as plays a ‘boatman’ here in this song. Rajiv Goswami, the hero of the movie is seen in jail in the picturization of this song and many other artists perform on the boat in this song.

This song may remind some of us the song “Kho Gaya Hai Mera Pyaar” from the film ‘Hariyali Aur Raasta’ (1962) sung by Mahendra Kapoor. In that song the ‘hero’ is searching for his lost love, while in today’s song the heroine is missing her beloved and singing for him.

I have said above that few songs of this movie are very nice. E.g. the song “Kab Talak Shamma Jali Yaad Nahin” posted earlier on the blog, the songs “Jab Yaad Ki Badli Chhaati Hai”, “Hum Kuchh Bhi Rakh Len Naam Uska’ and the song beibg discussed today’s. But surprisingly none of these songs could make it to the annual ‘Binaca Geetmala’ list of 1983. However two other songs from this movie featured in the list – they are “Humka Layi Chal Yaara Thandi Thandi Nehar Ke Kinaare” (at rank 21) and “Yaar Ladki Shaandar Hai” (ranking at number 26).

Let us now listen to the today’s song and take a trip down memory lane (almost) thirty-eight years back. . .

 O mere sajan barsaat mein aa

And also wish a very happy birthday to Uttam Singh. . .

(Lyrics for this song are written by Manoj Kumar as I have noted from some alternate sources. HFGK Vol-VI (1981-1985) does not mention the lyricist’s name for individual songs separately).

Video (Partial)

Audio (Complete)

Song – O Mere Sajan Barsaat Mein Aa (Painter Babu) (1983), Singer – Lata Mangeshkar, Mahendra Kapoor, Lyrics – Manoj Kumar, MD – Uttam Singh – Jagdish Khanna
Female Chorus
Male Chorus
Male Chorus + Mahendra Kapoor

Lyrics

jhin chak jhin jhin
jhin chak jhin
jhin chak jhin jhin
jhin chak jhin
jhin chak jhin jhin jhin

o saagar mein kaisa hai shorr
o chhayi hai ae ghataa ghanghor
jhin chak jhin jhin
jhin chak jhin
ek lehar hai aati
jhin chak jhin jhin
jhin chak jhin
ek lehar hai jaati
jhin chak jhin jhin
jhin chak jhin
aane jaane me lehar
ek hi geet sunaati

o mere sajan barsaat mein aa
o mere sajan barsaat mein aa
saawan ki andheri raat mein aa
o mere sajan barsaat mein aa
o mere sajan barsaat mein aa
jhin chak jhin jhin
jhin chak jhin
jhin chak jhin
jhin jhin

o paani re

jhin chak jhin jhin
jhin chak jhin
jhin chak jhin
jhin jhin

jhoomke barsaa paani re
tutke barsaa paani re
jhoomke barsaa paani re
tutke barsaa paani re
saawan ki,
saawan ki andheri raaton mein
main kya jaanu kya hota hai
oye main kya jaanu kya hota hai
main roti hoon dil rota hai
main roti hoon dil rota hai
aur saath hi baadal rota hai
barsaat aayee ee ee ee ee
barsaat mein aa
saawan ki andheri raat mein aa
o mere sajan barsaat mein aa
o mere sajan barsaat mein aa

jhin chak jhin jhin
jhin chak jhin
jhin chak jhin
jhin jhin
o paani re

jhin chak jhin jhin
jhin chak jhin
jhin chak jhin
jhin jhin

paani ek kahaani re
aankh se behtaa paani re
paani ek kahaani re
aankh se behtaa paani re

tujhse teri yaad hi achhi hai
jo mujhse sharmaati hi nahin
tujhse teri yaad hi achhi hai
jo mujhse sharmaati hi nahin
tu jaake kabhi aata hi nahin
tu jaake kabhi aata hi nahin
yaad aake kabhi jaati hi nahin
barsaat kahe ae ae ae ae
barsaat mein aa
saawan ki andheri raat mein aa
o mere sajan barsaat mein aa
o mere sajan barsaat mein aa
saawan ki andheri raat mein aa
o mere sajan barsaat mein aa
o saagar mein kaisa hai shorr
o chhayi hai ae ghataa ghanghor
o mere sajan barsaat mein aa
o mere sajan barsaat mein aa
o mere sajan barsaat mein aa
o mere sajan barsaat mein aa
hoon hoon hoon hoon hoon hoon
hoon hoon hoon hoon hoon hoon
o saagar mein ae ae ae
jhin chak jhin jhin
jhin chak jhin
jhin chak jhin jhin
jhin chak jhin
jhin chak jhin jhin jhin
jhin chak jhin jhin
jhin chak jhin
jhin chak jhin jhin
o o o o o o o o
jhin chak jhin
jhin chak jhin jhin jhin
jhin chak jhin
jhin chak jhin jhin jhin
jhin chak jhin
jhin chak jhin jhin jhin
jhin chak jhin
jhin chak jhin jhin jhin


This article is written by Avinash Scrapwala, 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 :

4685 Post No. : 16368

# Superstar Child Artist – Junior Mehmood # 9
——————————————————–

Welcome all to the nineth article in this series. In the previous eight posts we have seen songs sung by different singers for Junior Mehmood during late sixtees and early seventees when he was a ‘superstar child sensation’.

The eight songs that we listened earlier were sung by Mohd Rafi(four songs), Lata Mangeshkar(one), Hemlata(one), Shanti Mathur(one) and Asha Bhonsle(one).

Tis series began by exploring songs sung by Rafi Saab for Junior Mehmood when he was ‘child artist and still growing’. Simultaneously we also looked at songs sung by female singers for Junior Mehmood as a ‘child artist’.

It would be interesting to know if there is any song hich as sung by Junior Mehmood for himself. (I am not sure, knowledgeable readers can enlighten us).
Today’s song is one such song, not a full song though, but having few lines sung by Junior Mehmood. In this song he is performing with Manoj Kumar, Nutan, Mohan Choti, Birbal and others.

This song is from the ‘1970’ movie ‘Yaadgaar’.

‘Yaadgaar-1970’ was directed by S. Ram Sharma for ‘Kunal Chitra, Bombay’. It had Nutan, Manoj Kumar, Pran, Prem Chopra, Kamini Kaushal, Junior Mehmood, Madan Puri, Tiwari, Mohan Choti, Lalita Chatterjee, Asit Sen, Lakshmi Chhaya, Shammi, Man Mohan, Polsan, Jayshree, Kuljeet, Renu, Raj Kishore, Harbans Pape, Kirti Behl, Manohar, Naidu, Birbal, Hansraj, Shrinath, Mohan Shery, Dubey, Sabina, Manohar Gosvai, Kesho Rana, Brahm Bharadwaj, Sobti, Alija, Genius, Darshan M., Ravikant, Chandra, Mohan Chhotu, Narbada Shankar, Ramlal and others.

This movie had six songs written by Indeevar and Verma Malik (three songs each).
(One song ‘ik taaraa boley’ is in two parts and it is considered as two songs).

Here is the list of songs of this movie as given in HFGK Vol- IV (1961-1970),

SNo Song Title Singer/s Posted On
01 Ik taaraa boley tun tun, kya kahe ye tumse sun sun (Part-I) Mahendra Kapoor 13.04.2009
02 Aaye jahaan bhagwaan se pahle… wo khet mein milegaa Mahendra Kapoor 13.04.2019
03 Jis ghar mein daaku chor chhupe… Ik taaraa boley tun tun (Part-II) Mahendra Kapoor 13.04.2009
04 Bahaaron ka hai melaa … phool koi mere liye bhi to ho Asha Bhonsle
05 Boli saawan ki raat badi paawan hai raat… Hamne dekhi hai honewaali bhabhi Mahendra Kapoor, Nutan, Manhar, Jr Mehmood, Birbal, Being discussed today
06 Jis path pe chalaa us path pe mujhe aanchal to bichhaane de… mujhe saath to aane de Lata Mangeshkar 28.11.2011

Music for this film was composed by Kalyanji-Anandji.

As we can see fromthe above table, four songs (including one multiple version song) from this movie have been posted on the blog.

Today’s song is the fifth song of this movie ‘Yaadgaar-1970’ to be posted here on the blog. This will take the movie within striking distance from ‘Yippeeee-land’.

Let us now listen to today’s song.

The situation of the song is self-explanatory. On screen is performed by Manoj Kumar, Nutan, Mohan Choti, Birbal, Junior Mehmood and Kuljeet (I guess the actor lip syncing for Manhar’s voice).

Mahendra Kapoor, Manhar Udhas, Nutan, Junior Mehmood and Birbal have given their voices in this song.
Lyrics are by Verma Malik and music is composed by Kalyanji-Anandji.

Over to the song now …

Video

Audio

Song-Hamne dekhi hai honewaali bhaabhi (Yaadgaar)(1970) Singers-Manhar Udhas, Nutan, Mahendra Kapoor, Lyrics-Verma Malik, MD-Kalyanji Anandji
Unknown male voice 1
Unknown male voice 2
Unknown male voice 3
Unknown male voice 4
Birbal
Chorus

Lyrics

ho boli saawan ki raat
badi paawan hai baat
boli saawan ki raat
badi paawan hai baat

ho rang khushiyon ne pahne gulaabi
ho hamne dekhi hai
honewaali bhaabhi
ho hamne dekhi hai
honewaali bhaabhi
boli saawan ki raat
badi paawan hai baat
rang khushiyon ne pahne gulaabi
ho hamne dekhi hai
honewaali bhaabhi
ho hamne dekhi hai
honewaali bhabhi

sukh hai bhaabhi
chain hai bhaabhi
maa hai bhaabhi
behan hai bhaabhi
dil hai bhaabhi
nain hai bhabhi
dil hai bhabhi
nain hai bhaabhi

teri bhaabhi
meri bhaabhi
meri bhaabhi
teri bhaabhi

apni bhabhi
hai aisi bhabhi

lakshman ki thhi jaisi bhabhi
ho hamne dekhi hai
honewaali bhaabhi
ho hamne dekhi hai
honewaali bhaabhi

bhaiyya ki baaraat chalegi
bhaiyya ki baaraat chalegi
saari jantaa saath chalegi

taaron ki chunri mein lipatkar
chaand chalega
raat chalegi
chaand chalega
raat chalegi

phir samandhi ki galiyon mein jaakar
naachenge bhangdaa punjabi
hoye
hadippa
hadippa
hadippa
hadippa

ho hamne dekhi hai
honewaali bhabhi
ho hamne dekhi hai
honewaali bhabhi

chhamak uthhe hai
barkha ke ghunghroo
machal uthhi hai
raat ki paayal
ho paayal
ho paayal
ho paayal

raat ki paayal

dil ki dhadkan
aisi badhhi hai
bina hawaa ke
udtaa aanchal

ho aanchal
ho aanchal
ho aanchal
udtaa aanchal

devar bhabhi sang sang
naachen
ho gayi saawan ki raat
sharaabi

ho hamne dekhi hai
honewaali bhabhi
ho hamne dekhi hai
honewaali bhabhi

ho mohanlal ji
haan sohanlal ji
bolo laalji
arey yaar kanhaiyya
baithha chup hai bhaiyya
mera bhaiyya
haan haan haan tera bhaiyya
haan haan haan mera bhaiyya

bhaiyya bhaiyya
bolo bhaiyya

hanh
boloon kya main
arey bol kanhaiyya
aaj ki raat
haan haan kal ki baat

hmm
aaj ki raat
kal ki baat
bhabhi ne kuchh tum mein dekha
tumne bhabhi mein kya dekha

maine dekha
tune dekha
o maine dekha
tune dekha
isne dekha
usne dekha
kya nahin hai ismein dekha
kya bataaun kya kya dekha
maine tumhaari bhabhi hai dhoondhi
tum dhoondh ke laao
meri bhaabhi

dhathh main bhabhi dhoondh ke laaun
chhi mujhe sharm aati hai

aa haa haa haa

boli saawan ki raat
ho badi paawan hai baat
ho rang khushiyon ne pahne gulaabi
ho maine dekhi hai
honewaali bha…
o teri …

haa haa haa
haa haa haa

o teri dekhi hai honewaali bhaabhi
ho hamne dekhi hai
honewaali bhabhi
ho hamne dekhi hai
honewaali bhabhi
bhabhi
bhabhi
bhabhi
hoye ae ae ae
haa


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4677 Post No. : 16354 Movie Count :

4441

During 1966-72, I used to watch one Hindi film almost every week-end. I had only two main criteria for selecting a film. First, I should be able to procure a ticket without a long queue either in advance or current booking. Second, the film should be from a good banner which meant that ‘B’ and ‘C’ grade films were out of my reckoning.

‘Aradhana’ (1969) was one such films which fitted my criteria. I watchedit in a theatre during the first week of its release. There was no problem in booking the ticket as Rajesh Khanna had not become a ‘phenomenon’ at that time, a term which one of the film magazines had used for him after the success of this film. While I was acquainted with the names of most of the main actors, the actor who had done the role of Sharmila Tagore’s father was a new face for me. His performance as a distressed father whose daughter has become a widow, carrying her fiancé’s child before formally getting married, had remained embedded in my mind with the song, safal hogi teri araadhana playing in the background. It was after a few months that I came to know that the actor in that role was Pahadi Sanyal, a name that I heard for the first time. Now this sounds surprising for me.

It was a sort of paradox that while I was not aware of Pahadi Sanyal as an actor in 1969, I was acquainted with his daughter, Luku Sanyal who was a lecturer in English literature in my college (K C College, Churchgate) during my college days in 1966-69. It was only when she started reading news in English on Doordarshan, Mumbai in 1972 that I came to know that she was the daughter of Pahadi Sanyal.

It took me another four decades to know that Pahadi Sanyal was also a good singer. That was after I joined the Blog sometime in 2011.

Pahadi Sanyal (22/02/1906 – 10/02/1974) and K L Saigal were contemporaries in New Theatres, both of them starting their filmy career almost the same year (1932). Apart from Bengali, Pahadi Sanyal was fluent in Hindi, Urdu and English. This qualified him to work as a singer-actor in most of the bilingual films (Bangla and Hindi) produced by New Theatres during 1933-40. The bilingual films included ‘Rajrani Meera’ (1933), ‘Chandidas’ (1934), Dhoop Chhaaon’ (1935), ‘Devdas’ (1935), ‘Karorepati’ (1936), ‘Vidyapati’ (1937), ‘Adhikar’ (1938), ‘Sapera’ (1939), ‘Haar-Jeet’ (1940). He also acted and rendered songs in ‘Yahudi Ki Ladki’ (1933) and ‘Kaarwaan-E-Hayat’ (1935). In some of these films, Pahari Sanyal worked with K L Saigal and also rendered songs with him.

Despite being a trained musician and singer in Hindustani classical music from the prestigious Marris College of Music, Lucknow, Pahadi Sanyal had to work under the shadow of K L Saigal whose songs were very popular and thus sure shots for the box office success of the films. I have seen many films of Pahadi Sanyal and K L Saigal working together and there is no doubt that K L Saigal was a better singer than Pahadi Sanyal. But when it comes to acting I felt that latter’s acting calibre was higher than that of K L Saigal.

After completing ‘Saugandh’ (1942), Pahadi Sanyal shifted his base to Mumbai in 1942. During his Mumbai stint, he acted in ‘Saheli’ (1942), ‘Sharaafat’ (1943), ‘Inkaar’ (1943), Mohabbat’ (1943), ‘Anban’ (1944), ‘Paristan’ (1944), ‘Kadambari’ (1944), ‘Preet’ (1945), ‘Malan’ (1946), ‘Milan’ (1946) among others. He was a lead actor in many of the films in the 1940s in Mumbai and he sang for himself in all these films.

Some time in the late 1940s, Pahadi Sanyal went back to Kolkata and worked in Bangla films but often visited Mumbai to work in Hindi films in the 1950s and 60s. By early 1950s, Pahadi Sanyal had started doing character roles.

While writing articles under the series ‘Hindi Songs in Bangla Films’ for the Blog, I had occasion to watch many Bangla films and Pahadi Sanyal had acted in some of these films. His role as a Psychiatrist in ‘Deep Jeley Jai’ (1959) was noteworthy for his long monologues with few dialogues delivered in chaste English. I have also seen its Hindi remake, ‘Khamoshi’ (1969) in which Nazir Hussain played the role of Psychiatrist but in my view, he was a shade lower in performance than the one by Pahari Sanyal.

In ‘Uttar Falguni’ (1963) and its Hindi remake, ‘Mamta’ (1966), Pahari Sanyal had a small role of a prosecution lawyer. Here he was pitted against the defence lawyer, Bikash Roy/Ashok Kumar. It was an interesting dual of natural actors in the court room to watch. In ‘Alor Pipasa’ (1959), Pahari Sanyal played the role of a senior doctor who tells the story of a mujra singer to his junior doctor (Asit Baran) who turns out be the mujra singer’s son. The narration of the story in a flash back mode by the senior doctor in tight to medium close-up shots shows the confidence the director of the film on the ability of Pahadi Sanyal to give effective facial expressions along with smooth dialogue delivery. In Bangla cinema, some of the character actors like Pahadi Sanyal and Chhabi Biswas, thanks to their acting prowess, commanded status almost equal to that of the lead actors. There are some more such Bangla films where Pahadi Sanyal has given memorable performance even in small roles.

During the 4 decades of his filmy career, Pahadi Sanyal worked in 56 Hindi films and almost an equal number of Bangla films. In addition, he also worked in an English film, ‘The Householder’ (1963).

As a singer in Hindi films, Pahadi Sanyal was active from 1933 to 1946 during which time, he rendered about 50 songs as an actor-singer. His last Hindi film song appears to be wo kahen aap ki do chaah ka inaam mujhe from ‘Milan’ (1946).

About a week back, I uploaded a rare song from the film ‘Mohabbat’ (1943) ‘tum shyaam badariya main hoon mor’ rendered by Pahadi Sanyal which I am presenting here. The film was directed by Phani Majumdar. Shanta Apte and Pahadi Sanyal were in the lead roles in the film with the supporting cast of Jagdish Sethi, Sunalini Devi, K C Dey, Yashodhara Katjoo, S Nazir etc.

There were 10 songs in the film which were set to music by Hari Prasanna Das. Except for Meera Bai bhajan, the lyricist/s for remaining 9 songs are unattributed.

With this song, ‘Mohabbat’ (1943) makes its debut on the Blog.

Audio Clip:

Song-Tum shyam badariya main hoon mor (Mohabbat)(1943) Singer-Pahadi Sanyal, Lyrics-Unknown, MD-Hari Prasanna Das

Lyrics

tum shyaam badariyaa
badariyaa
main hoon mo…r
tum shyaam badariyaa
badariyaa
main hoon mo…r
tum shyaam badariyaa
tum chaand kiran ho
tum chaand kiran ho
main hoon chakor
tum shyaam badariyaa
badariyaa
main hoon mor
tum shyaam badariyaa

ek praan hai do hain kaaya
ek praan hai do hain kaaya
bandhi preet ki dor
bandhi preet ki do…..r
tum shyaam badariyaa
badariyaa
main hoon mo….r
tum shyaam badariyaa


aa haa
tum jal ki chanchal dhaara
main uska ek kinaara
tum jal ki chanchal dhaara
main uska ek kinaara
jeewan pathh mein sang sang dolen
jeewan pathh mein sang sang dolen
chale ek hi ore
chale ek hi ore
tum shyaam badariyaa
badariyaa
main hoon mo….r
tum shyaam badariyaa

hum tum donon do panchhi hain aen
hum tum donon do panchhi hain
uden aen gagan ki ore
dekhen kitni door hai
apni iss duniya ka chhor
dekhen kitni door hai
apni iss duniya ka chho..r
tum shyaam badariyaa
badariyaa
main hoon mo…r
tum shyaam badariyaa
badariyaaaaa


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over THIRTEEN years. This blog has over 16500 song posts by now.

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

Important Announcement

(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16510

Number of movies covered in the blog

Movies with all their songs covered =1280
Total Number of movies covered =4487

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