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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 written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3971 Post No. : 15055 Movie Count :

4131

Today’s song is not only unique and rare,but it is also one of the few real early songs of the Talkie Films. It is from film Vikram Charitra aka Rajkumar Thaksen – 1933. Thanks to Mr. Shalin Bhatt, who has uploaded this rare Gem, sung by Gauhar Karnataki.

When you see the title of the film, one feels that it is about King Vikramaditya, but when you see the other title Rajkumar Thaksen, you know that this is something else. When Talkie films started, it had profound influence of stage dramas, because that was the only accepted form of entertainment in India, till films arrived…Silent or Talkie. Parsee, Gujarati and Marathi theatre stories, Natya Sangeet and the artificial way of stage acting were things followed in early films,cent percent. Fairy tales, folk tales, Panchatantra stories and Traditional Grand ma stories started appearing as films, after some time.

When I first bought the 5 volume set of HFGK, I started going through the films of 1930s. I read this film title and I suddenly remembered the story of Raja Vikram and Rajkumar Thaksen I had read, when I was about 10-12 years young. That was one of my favourite stories and I felt it was a good competition to Arabian Night stories of Alibaba, Alladin or Sindbad. The Thaksen story had Indian background and felt closer to heart.

However, during the growing years, the tastes changed and the Thaksen story went into the background. Now, when I decided to write on this film song, I tried to recollect the story, but could not recall it fully or cohesively. Despite searching on the net for several days, the story eluded me. Suddenly, one day I bumped into a children’s story book ” Raja Vikram and Rajkumar Thaksen”. I simply can not put into words, how much joy I got after reading this story all over again !

The story of King Vikram, his queen Shashikala and Rajkumar Thaksen was first filmed in 1929, as Prince Thaksen, by Aryan Film company, Poona, in which the role of Thaksen was done by the handsome Nandram Pehelwan. This was a Silent film. In the Talkie era, the first film on Thaksen was this- Vikram Charitra-1933 by Sharda Movietone. In 1933 itself a sequel to this film was made as ” Rambha raniaka Stree Charitra” made by same company, with the same cast and team as Vikram Charitra. This was followed by another film ” Bhedi Rajkumar aka The Mysterious Prince aka Rajkumar Thaksen” in 1934, by Saraswati Cinetone, Poona belonging to R G Torney. After a gap, ” Vikram Shashikala ” was made in 1949, by Chitravani productions, Bombay featuring Master Vithal as Thaksen.

In short, film makers were attracted towards the story of Thaksen. What is this story all about. The story, in short, is thus described in the book….

Raja Vikram of Avanti Nagari was having 7 queens, but he loved queen Shashikala most and used to take her on tours with him. This made the other queens jealous and they conspired to teach her a lesson. When the king came to them, they unanimously complained against Shashikala that she criticised the king on his back. This enraged the king and he deserted Shashikala. She was kept far away in a fortress, surrounded by a water trench all around, with only one entrance. The queen was pregnant, but the king was not aware of it.

In due course, Shashikala gave birth to a handsome prince, who was named Raj Ratan. The king was duly informed, but he never came to see his son. As the Prince grew, he became an expert in the Bird’s and Animal’s languages. He also learnt how to disguise skilfully. Once he tricked even his mother and mother lovingly called him Thaksen ( one who cheats). This name became his name for all purposes.

One day Thaksen came to know about what Raja Vikram did to his mother and he prepared to take revenge. Despite mother’s request, he started for the capital.

To cut the story short, how he reaches the king, teaches him a lesson, saves the king from foreign aggression, how he falls in love with Rambha Rani etc has to be read from the original book itself. It is full of adventures, magic and stories of Thaksen’s valour. In the end, all is well and Shashikala is honourably recalled to the Capital by Vikram etc etc.

The film was made by Sharda Movietone and was directed by Harshadrai Sakerlal Mehta. The cast of the film consisted of Baburao Apte (as Vikram) and Madhav Kale (as Thaksen), along with Gauhar Karnataki, Dulari, Shivrani etc etc. Baburao Apte is the same as elder brother of actress Shanta Apte-about whom I wrote just last month. We do not know the names of the Lyricist or the Music Director, as HFGK is silent on these.

It is a well known established fact that in the early years, women artistes came from lower classes, singing families or Tawayafs and similar types. Most of these girls joined the film line in order to get a a rich Seth ji or a suitable husband and spend the rest of the life respectfully. There are many examples of such ‘ planned’ marriages in the early era. However, this process continued even in later times.

Film industry is one industry where men and women have to work together. Whether it is Actor-director or Singer-Composer, for the sake of work they have to spend much time together. No wonder then that Cupid does his work overtime. Sometimes there are mutual attraction and at times there are one sided fires burning. In most cases the one sided fire is extinguished in a very painful way, like what P L Santoshi faced with actress Rehana or the slap Sanjiv Kumar got from actress Nutan.

There were cases when love of Dilip kumar for Madhubala, died in the High court witness Box, when he gave evidence against her father in the ‘ Naya Daur ‘ legal case. Dev Anand’s love with Suraiyya ended happily for Dev Anand with him marrying Kalpana Kartik, but Suraiyya stayed “Unmarried”, in his ” yaad”, throughout her life. Here the villain was her so called ” Grand mother “, who actually was her own mother, as documented in the book “Stars from another sky” by Saadat Hasan Manto !

The successful 2-way traffic usually ended with a marriage. We can see marriages between producers and Actresses( Himanshu Rai-Devika rani and W Z Khan and actress Nina), directors and singers/actresses ( Nalini jaywant-Virendra Desai, Shaukat Hussain-Noorjehan, Geeta Dutt-Guru Dutt, Lalita Pawar-G.P.Pawar, Rattanbai-Hafiz Khan), Actors and Actresses ( Arun Ahuja-Nirmala devi, Snehprabha Pradhan-Kishore Sahu, Dev Anand-Kalpana Kartik, Dharmendra- Hema Malini, Rajesh Khanna-Dimple Kapadiya, Amitabh Bachchan-Jaya, Abhishek-Aishwarya, Kishore Kumar-Madhubala, Premnath-Bina Rai, Karan Dewan-Manju Desai, Marutirao Pehlwan-Tara Devi.)

There were some odd combinations like Satyendranath Athiah-Bhanu Athaiya (Lyricist-Costume designer),Lyricist-Singer (Amar Verma-Manik Verma), Singer-villain (Shakti Kapoor- Shivangi Kolhapure),Music teacher-student ( Roshan-Ira Moitra, Hemant Kumar-Bela Mukherjee, C.Ramchandra-‘Ben’ Ratan Thakur), and even a singer-Orchestra player (Vinita Amladi-Krishna Chakravarty) and lastly between singer-singers ( Jyoti-G M Durani, Gauhar Karnataki- Bal Gandharva). There were those pairs who were singers-actors ( Amirbai- Himalayawala,Rafiq Gazanavi- Anwari bai).

The interesting group, however,was that of Composer-Singers ( Sudhir Phadke-Lalita Deulkar, Asha Bhosle-R D Burman, Naashad-Premlata, Anil Biswas-Meena Kapoor, Pannalal Ghosh-Parul Ghosh, Khayyam-Jagjit Kaur, Ghulam Haider-Umrao Zia begum, Kamal Dasgupta-Firoza begum, Ninu Majumdar-Kaumudi Munshi).

The Heroine of today’s film- Gauhar karnataki was also one such artiste who did a ‘planned’ marriage. Her life story is interesting. Tabla player Hussain khan,living in a small town Belagi,near Hubli,had 6 daughters. The first was Allamma(Ahilya),then Amirbai,next was Gauhar(Born in 1908),then a series of badi Munni,Chhoti Munni and Nanhi Munni. Son was Dastgir.

Being from a singing family,Amirbai and Gauhar(Gauramma) worked in a drama company called Vanivilas Natak mandali. Since Hubli, Dharwad, Belgaum came under Bombay Presidency and also near Sangli/Miraj and Kolhapur, the sisters were experts in Marathi too.

Brother Dastgir went on to study B.Sc and did a job in AIR, Belgaum. From the beginning only, Amirbai and Gauhar did not get on well with each other. May be professional jealousy. Gauhar got classical music training from a blind teacher NIlkanth Panchakshari Buwa. Great classical singer Mallikarjuna Mansur’s brother Basavanna wrote songs for Gauhar and also accompanied her on Harmonium.

Marathi singer actor Chaphekar took the sisters to Bombay for working in films. Gauhar and Chaphekar stayed as companions in Bombay for few years. Meanwhile Gauhar got a daughter Ashamma. Her father’s name is not known. Ashamma remained with Gauhar till her death.

Gauhar started acting in Marathi and Hindi films. She acted,sang and also composed her own songs,but no records were brought out.

Gauhar was mesmerised by the famous Marathi singer actor BAL GANDHARVA. She first met him in 1937,in actor Himalayawala’s flat(Amirbai karnataki’s cruel Husband). It is widely believed that Gauhar used Black magic to attract Bal Gandharva to her. As expected he fell in her love and Gauhar joined his Balgandharva Natak Mandali in 1938. After her arrival into the Mandali, all senior artistes left the company as they were afraid of Gauhar’s black magic.

From 1938, Gauhar remained with Balgandharva till she died in 1964. Balgandharva’s wife died in grief in 1940 and Gauhar married Balgandharva in 1951.

She acted in films like Raas vilas-32,Kala pahad and Sohni mahiwal-33,Kala vagh and Shak karta Shivaji(M)-34,Pyar ki Maar-35,Bansriwala,Gol Nishan and Graduate-36,kala Bhoot and Chabuk swar-37,Vijay Danka-38,hawai khatola and swadesh sewa-46. chabuk swar-37 was a stunt film a-la Fearless Nadiya style wherein she did some stunts and fencing too. (Thanks to lifekidhun,warren senders,wiki and HFGK for some information used above.)

Gauhar is mentioned as Gauhar karnataki or Gauhar from Bijapur in the HFGK. She must have sung at least 100 songs but since there were no records, there is no information.As her many films were C grade, no records were issued even for them. However she has sung many Marathi natyageet and Bhajans.

There can not be any comparison with her sister Amirbai since Amirbai was in a higher league and her records were also made. She had many composers and singers to sing along.

Film Vikram Charitra-33 was written by C M Luhar, who became a well known director later on. There were 15 songs in the film. This song was recorded by Gauhar Karnataki in June 1934, according to the uploader. Since hardly any records of Gauhar Karnataki are available, this song becomes a rare song. let us enjoy this 85 year old recorded song. With this song, film Vikram Charitra-33 makes its Debut on the Blog.


Song-Raaja ke chaman se laayi manke ki maala (Vikram Charitra)(1933) Singer- Gauhar Karnataki, Lyrics- Not Known, MD- Not known

Lyrics

Raaja ke chaman se laayi
Raaja ke chaman se laayi
Manke ki maala
Raaja ke chaman se laayi
Raaja ke chaman se laayi
Manke ki maala
joohi manke ki maala
joohi manke ki maala
joohi manke ki maala
joohi manke ki maala
joohi manke ki maala
Raaja ke chaman se laayi
Raaja ke chaman se laayi
Raaja ke chaman se laayi
manke ki maala
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
manke ki maala
joohi manke ki maala
joohi manke ki maala
Raaja ke chaman se laayi
Raaja ke chaman se
hamaara kaam hai
sabhi ne ??
sabhi ne ??
sabhi ne ??
sabhi ne ??
??
aa aa aa
jaise nihaar ??
jaise nihaar ??
jaise nihaar ??
jaise nihaar ??
manke ki maala
joohi manke ki maala
joohi manke ki maala
joohi manke ki maala
Raaja ke chaman se laayi
Raaja ke chaman se laayi
Raaja ke chaman se laayi
manke ki maala
Raaja ke chaman se laayi
manke ki maala
joohi manke ki maala
Raaja ki

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

Blog Day :

3957 Post No. : 15033 Movie Count :

4121

Today’s song is from the film Jadu Nagari-1940.

In last 2-3 years, I find that a lot many collectors are uploading songs from films of the 30s and also rare songs. The HFM History students- like me- are highly indebted to them for their generosity.

Like in any other fields, here too some disturbing events take place. Some collectors upload incomplete songs, thinking that this will protect their monopoly. I feel this is very unfair. No one forces them to upload songs. If they do so on their own, why not complete songs ? Anyway, it is their thinking and choice. Fortunately, true connoisseurs, like Shalin Bhatt ji are highly dependable and his songs are not only complete and rare but he also adds some information to it. Many times the viewers’ comments on the song also gives important information pieces. May God increase his tribe !

Film Jadu nagari-40 was based on an imaginary story, like many such films. These films had writers, who flew the kites of their imagination, sometimes in a very comic way. For example, turning Humans into Animals or showing talking animals, birds and even Snakes. Of course since the film had Jadu in its title iteslf, all these things were within expectations only. Actually these things made the films very interesting and watchable. ALAS ! The era of such C grade films is gone for ever !

I selected a song from this film, because I found some unusual and rare points here, worth talking about.

Firstly, the film is directed by Baburao Apte ( variously spelt as Baburao, Bapurao or S R Apte), who was the elder brother of actress Shanta Apte. He had started his acting career from the silent era. He acted in 8 silent films. Starting with film Shyamsunder-32, he acted in his first Talkie film, as Radha’s husband- where Radha was his own younger sister, Shanta Apte. In all, he acted in 16 Talkie films, his last film being “Main abla nahin hoon”-49 directed by Shanta Apte herself. He had a very minor role in it-courtesy his sister. He also directed 8 Talkie films from Kala Pahad-33 to Jadu Nagari-40. yes, today’s film was his last film as a director.

And yes, he was the same person, who brought his own younger sister of 9 years to act in films. He would put a condition in the contract that no other actor will touch her while shooting. If she had a wife’s role, he would do the husband’s role. Fortunately for cine goers, as Shanta Apte grew up as a rebel, she defied this rule and Baburao started his acting and direction separately. He got married and lived separately.

Shanta Apte- though unmarried till end- had a daughter-Nayana Apte. However this news of her daughter was kept a secret. When Shanta Apte died on 28-2-1964, ten years later Nayana declared that she was Shanta Apte’s daughter. Film Historian Isak Mujawar, in one of his books, has said that Nayana was Shanta’s daughter from brother Baburao Apte only. Such matters have no credible proofs anytime. By the way, Nayana Apte became a popular actress on Marathi Stage and in Marathi Cinema. Obviously Baburao Apte was very creative indeed !

Secondly, in this film Rajkumari Calcuttewali (real name Pullo Bai) had acted and also sang 5 songs. Though HFGK is silent about which Rajkumari it was in this film, the noted Music Historian and collector Girdharilal Vishwakarma ji has confirmed this. Also the song’s uploader Shalin Bhatt ji also mentions Rajkumari Calcuttewali. Though she acted and sang only in films made at Calcutta, two films ‘Gorakh aaya’-38 and ‘Jadu Nagari’-40 indicate her participation.Later she married one Seth Motilal from Calcutta and left films.

Thirdly, Music Director in later times-Jimmy aka James Singh- sang a duet in this film with Rajkumari Calcuttewali. Composer Jimmy aka James Singh- is one of those little known composers who never got fame or name in spite of their Talents. His real name was JAMES SINGH. He was a Christian Punjabi from Ludhiana. He was educated in Delhi.He started his career in Hindi films as a singer in Chorus. He sang 7 songs in 6 films (Imandar-39, Baghi-39, Pyar-40, Anjaam-40, Jadoo Nagri-40, and Maaya Nagri-44).

He could play many western instruments, especially all types of Guitars.When he failed as a singer, he became assistant to many composers. Finally.he got his chance to compose few songs for film ‘Muqaddar-50’, though with Khemchand Prakash and Bhola Shreshtha. He composed 2 duets of Asha and Kishore. The credit of composing the First ” Yodelling ” song of Kishore kumar goes to Jimmy. Kishore ‘yodelled ‘ first time in this film.

Jimmy then gave music to 14 more films like, Shrimatiji-52, Smuggler-59, Awara Shehzadi-56, Sher e Baghdad-57, Nek khatoon-59, Pathan-62, Miss chaalbaz-61, Tarzan and Gorilla-63, Duniya hai dilwalon ki-66, Pyar ki Baazi-67, Tarzan in fairy land-68, Aakhir-84, Khoon aur sazaa-86 and his last film, Sachhi Ibadat-1987. Inspite of giving sweet and melodious songs of a variety,Jimmy never came up to A class. He always remained a composer for C grade films. Anyway, as long as Kishore’s yodelling is heard,Jimmy’s name will be remembered.

However, in this film Jimmy was not the MD. It was yet another little known MD- Shanti kumar Desai, a very talented but unlucky composer who rarely got support from any famous banner. His music was enchanting and tunes were superb, but Lady Luck did not favour him.

He was born in Amreli,Saurashtra, Gujarat state on 3-3-1908. His family was in service as Royal Musicians, so he was exposed to music from childhood.He was an expert Harmonium player. To start his career, he came to Bombay and worked in H.M.V. as a Broadcaster. Here he came into contact with many composers and learnt how they operated and made tunes etc. He was already giving music to Dramas, but wanted to join Film line as M.D. He got his first film Navbharat ( Jawanmard)-1934. In those days Gujarati producers and directors used to prefer Gujarati MDs. Thus out of his 36 films, 18 were done with Gujarati Directors like Sohrab modi, Nanubhai Vakil, V.M.Vyas(4 films), Kanjibhai Rathod, Dhirubhai Desai etc. He also gave music to Gujarati films.

He gave music along with Madholal Master,Rafiq Ghaznavi, Pannalal Ghosh, Shyambabu Pthak etc. Famous singers like Rafi, Manna Dey, Zohrabai, Amirbai etc sang in his films during their early careers. Even kishore kumar’s early film Sati Vijay-48 had music by Shanti kumar Desai. He gave music to films of early era actors like Prem Adib, Mehtab, Sitara Devi, Leela Chitnis, Jal Merchant, Ashraf Khan, Rajkumari, Mazhar khan, Shanta Hublikar, Jairaj, E Billimoria, Kumar, Sardar Akhtar, Chandramohan, Shobhana Samarth, Durga Khote, Shahu Modak and Sulochana.

From 1934 to 1948, he gave music to 35 films and in 1964 his one film was released. He composed about 300 songs. He never got films from top banners like Bombay Talkies,Prabhat, Sagar or Minerva, otherwise his career would have been different.

He died on 6-1-1986. Some of his better known films were Bholi bhikaran-36, Punarjanma-38, Anjaam-40, Suhaagan-42, Naukar-43, Ek din ka sultan-45 and Lav Kush-51.

The Hero of this stunt film was the Stunt King Yeshwant Dave…..ever heard his name ? Not a great chance, I know.

It was not uncommon during the days of early cinema for people to hang around studios and filming locations in the hopes of being discovered. One such intrepid soul was Yeshwant Dave (or Yashwant Dave), who was at Kohinoor Studios observing a picture being made by producer J.B.H. Wadia. The handsome and athletic Yeshwant cornered Wadia, insisting that he would make a fine hero for an action film.

Wadia agreed to test Yeshwant by having him jump from the roof of one set piece to another. He did so successfully, and J.B.H. decided to cast him in a film that he was to direct for Young United Players, the 1931 silent Thunderbolt (aka Diler Daaku) featuring Mumtaz as the heroine.

Yashwant was again directed by Wadia in Toofaan Mail (1932) and thereafter became a sought after action star appearing in the stunt films of other directors like Aspi, Dhirubhai Desai, Nari Ghadiali, Chunilal Parekh, and Harshadrai Mehta. Some of his films include Bharat Veer (1932), Jaadui Jung (1934), Bombshell (1935), Vasant Bengali (1937), Flying Ranee (1939), Magic City (Jaadoo Nagri) (1940), Torpedo (1941), Royal Mail (1946), and Kaun Pardesi (1947).

Growing out of the stunt hero persona, he turned to character parts and made infrequent onscreen appearances throughout the 1950s, including in Seikh Chilli and Makkhee Choos both released in 1956 and starring comedian Bhagwan. What became of Yeshwant Dave afterwards is anybody’s guess, as the once popular action star faded into obscurity and, sadly, is barely remembered today.

Today’s song is a duet sung by Rajkumari Calcuttewali and James Singh. There were 9 songs in the film. With this song, film Jadu Nagari-40 makes its Debut on this Blog.

(Thanks to cinemajadu.com, activeindiatv.com, Cinerang by Isak Mujawar, Harish Raghuwanshi ji of Surat and my notes for information used herein.)


Song-Prem nagariya jaayenge hum(Jaadoonagri)(1940) Singers- Rajkumari Calcuttewali, James Singh (aka Jimmy), Lyricist- Munshi Kabil Amritsari, MD- Shanti Kumar Desai
Both

Lyrics

Prem nagariya jaayenge hum
Prem nagariya jaayenge hum
Prem nagariya jaayenge
dharti pe swarg basaayenge
dharti pe swarg basaayenge

Prem nagariya jaayenge

Prem nagar ki har galiyan mein
Prem nagar ki har galiyan mein
prem bageech banaayenge
prem bageech banaayenge

prem panchhi ban kunj kunj mein
prem geet nit gaayenge
prem panchhi ban kunj kunj mein
prem geet nit gaayenge hum
prem nagariya jaayenge

kal kal karti prem sarit mein
prem mast ho ??aayenge
kal kal karti prem sarit mein
prem mast ho ??aayenge
prem sudha ras pi pi kar
tan man ka taap mitaayenge
prem sudha ras pi pi kar
tan man ka taap mitaayenge

prem nagariya jaayenge

ek pran ham do tan ho kar
phir bhi to bisraayenge
haan
ek pran ham do tan ho kar
phir bhi to bisraayenge
haan

prem devta ke kunjan mein
prem devta ke kunjan mein
jeewan sakal bitaayenge hum
jeewan sakal bitaayenge hum
prem nagariya jaayenge


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

Blog Day :

3934 Post No. : 15007 Movie Count :

4109

Today’s song is from a film of the first decade of the Talkie films- Rikshawala aka Bhola Raja-1938.

In India, documentation of old films, songs, actors and other artistes of the film industry, is extremely poor. The major part of the responsibility being with the Government, it was all the more in poor condition For Historical data maintenance work, dedicated people are required to do the proper caring. In Govt. offices, this was expecting too much. Thus occasional fires engulfing heritage films, books, documentaries etc and frequent theft or loss of books and other materials from the archives was not surprising.

Of course, everything and all the time, it was not that there were no good peoplein Govt. Agencies. It is because if such rare good and capable people only, we have today, whatever is available in the Govt. archives. The common feeling in India is that Govt. should look after everything under the Sun. Have the people no responsibility or accountability towards preservation of Heritage ? Go to any Heritage Temple, building or structure, you will invariably find that Lovers have carved their names on stones and walls, as if the world was eager to know ! So much for public awareness !! I feel, these things have to be taught from primary school level onwards only. We have failed miserably to inculcate National pride, Nationalism and Patriotism in our newer generations, from their childhood. These things have only remained to symbolically unfurl Flags and sing National Anthem on Independence Day !

Luckily, as far as Film history is concerned,there are some people who, on their own, try to preserve old film data and other related matters to the best of their capabilities. Record collectors, song collectors, old film magazine collectors, films and books collectors, poster collectors and those who open up their valuable collections to the general public free of charge are worthy of appreciation. They are doing a great service to preservation of history.

Apart from these, those who upload old and rare song videos on You Tube or other social medias, for use of anybody and everybody are also doing yeoman’s service to hindi film music. It is another thing that some selfish uploaders upload incomplete songs,but there are good people like Shalin Bhatt, Alaknanda, Girdharilal Wishwakarma ji, Sadanand Kamath ji,our own Sudhir ji, Atul ji, Javed bhai etc who upload not only complete but also rare songs on Internet. My sincere thanks to these Noble Souls.

In addition there are some less known Blogs who do a great job in this field. Most people are totally unaware of one such Blog run by an American-Mike Barnum ji. On his Blog Mike has written on atleast 100+ only C grade action and stunt films alone. He has made classification by different Generes also, like Jungle films, Mystery films, Murder films, Horror films etc etc. There are Photos, posters, cast details, film stories and short Bios of unknown C grade artistes. Once you go to his Blog, you get lost for a long time. It is a great work, involving a neglected Genre of Hindi films, which was once upon a time, a very popular film variety for certain audiences. I thank him profusely for this service. thanks, Mike Barnum ji.

Why I am writing all this is, most people are unaware of these things and they must know the good work done by these people also. Many times I use song videos uploaded by Shalin ji Bhatt. They are clean, clear, full and rare most times. Thanks, Shalin ji.

Today’s film, churned out from the Ranjit factory was not a stunt film, but a social film. The Music Director was Gyan Dutt. The lyrics were by the young Pyarelal Santoshi, who became very famous writer and a director later on. The cast consisted of Mazhar Khan, Ila Devi, Wasti, Indubala, Charlie, Dikshit and Ghori, Waheedan Bai, Tara bai etc. The film was directed by Ezra Mir.

Some of the Senior readers, in the bracket of 55 to 75 years of age would recollect the Indian Documentaries made by Ezra Mir, shown before almost every film in the theatres. Indian News Reel and these documentaries on various subjects were actually used as a facility to enter the theatre late and still catch the whole movie from the beginning. These documentaries were made mostly by Ezra Mir and the voice over used to be that of Pratap Sharma usually. ( his younger brother Mahesh Sharma was my good friend in those days).

Ezra Mir was one of the rare persons who worked in the famous Hollywood studios for a considerable time, before he came to India and got involved in making films here. He was also a rare person who, despite being in great demand in the commercial cinema, chose to join a Government organisation and did a monumental significant work for the future generations. For a long time, I was thinking him to be a Muslim man, but at a much later date, I came to know that he was a Jew person.

Ezra Mir ( real name Edwyn Meyers) was born on 26-10-1902 at Calcutta. After completing his education, he joined Madon Theatres in 1921. In 1923, he left for Europe and America to work in film industry. After doing bit roles in Rudolph Valentino’s films in Long Island, New York and working for First National Biograph Studios, he joined the Universal studios as a ” Film Cutter ” and later as a Scenario writer. By his diligent and hard work he became the chief of story Department in United Artistes. In 1929, he wrote and directed a film ‘ Simbolisque ‘, which created a sensation in the film circle there.

With the advent of the Talkie, he came back to India , joined Imperial Film co. and made film Noorjehan-31 in Hindi and English. In 32-33, he joined Sagar movietone and directed Zarina-32, Pagal premee-33 and Farzand e Hind-34. Then Ezra went to Calcutta. After doing some films he came back and made documentaries on second world war. In 1940, he was appointed by the Govt. on Film Advisory Board. In 1942, when V.Shantaram left as its head, he became the head. From 1942 to 1946, he made 170 documentaries.

In 1951 he joined Films Division and in 1956, became its President. In his tenure here, he made 400 documentaries. In 1970 he got ‘ Padmashri ‘. Ezra Mir died on 7-3-1993. His Filmography is Noorjehan-31, Zarine-32, Pagal premi-33, Farzand e Hind-34, Mera Pyara and Rasheeda-35,Jeevan Sangram, Parivartan,Rajdulari and Shaitan ka pash-36, Rikshawala-38,Sitara-39, Beete din-47, pamposh-54 and Raju aur gangaram-64.

Another interesting artiste in this film was Indubala. Indubala’s mother was Rajabala, who along with sister Matibala and brother Tinkary worked in Motilal Bose’s The Great Bengal Circus, also known as Bose’s Circus or Professor Bose’s Circus. Harimati was the eldest sister of Rajabala and had a different life. Rajabala performed mainly as a trapeze artiste and got married to Motilal Bose at a temple in Ujjain, India. At the time he was then in his forties while Rajabala was still a teenager. The marriage was never accepted as legal by Motilal’s family. Motilal Bose’s first wife was Mrs. Annadamohini Devi.

Indubala was born in Novenber, 1899 at Amritsar, where the circus party had gone for performance. Indu was born premature and Dr. Bidhumukhi Basu was taken to Amritsar from Calcutta to attend to Rajabala. Such was the affection and concern of the husband for his young wife. Motilal’s interest in Rajabala dwindled later, supposedly because Rajabala showed no interest in going back to the circus after Indu’s birth and soon she was left to fend for herself. She came to Calcutta with her daughter and was given shelter by a Jiban Krishna Ghosh, who remained loyal to her till his death and also played a major role in establishing Indubala in her life as a performer. Once in Calcutta, Rajabala trained herself as a singer and Indubala’s first training in music was from her mother. The initial plan was to train Indu as a nurse and she was admitted as a trainee in a hospital in the Pataldanga locality of Calcutta. Indu did not take fancy in the job and ran away from the hospital, much to the disappointment of her mother, who never wanted her only daughter to be forced into a life of indignity.

After this incident Indubala’s musical training started. Although her father ignored wife Rajabala completely, he remained fond of his daughter and kept in touch with her and often invited her to his ancestral home where he lived during his brief visits to Calcutta and sent her a monthly pocket money of Rupees twenty till his death. Indubala’s first performance was at a gathering of distinguished guests where her mother was the chief entertainer. Each one of the guests appreciated Indu’s singing and thus began her formal training from Gouri Shankar Mishraji. Indu was only about twelve then. This also marked the entry of Indubala into the red light world. Amongst her trainers were Kali Prasad Mishra, Elaahi Bux and Miss Gauhar Jaan. Apart from music, Miss Gauhar Jaan, credited as Prima Donna of India, Indu also learned etiquette from the elder artiste and developed a close friendship with her. This association provided Indu with valuable musical knowledge and experience.

In later years she took training from Girin Chakraborty, Kamal Dasgupta, Subal Dasgupta, Jamiruddin Khan and Kazi Nazrul Islam. In time she came to be one of the major exponents of Nazrul songs and her songs along with those of Miss Angurbala and Kamala Jharia are still referred to for authenticity of lyrics and tunes of Nazrul songs. In 1916, Indubala recorded her first songs. She was brought into the record circle by Bhagabati Charan Bhattacharya and Mr. Manindra Nath Ghosh, alias Mantababu, himself a gramophone singer of repute. The first songs published as record were Asha Phuraye Gelo, Sindhu Khambaj and Aar Mukhey Boley Ki Hobey, Kedara. The record number was P 4306. In the beginning she did not take any money from the Gramophone Company and as such was credited in the records as Miss Indubala (Amateur). She was not the first amateur artiste of the company but enjoyed the privilege of announcing her name at the end of each song saying “My name is Indubala”. The amateur status continued for a fairly long period. Later on she received Rupees two hundred per record and also received a royalty of five per cent over the sales. Her first songs of Nazrul on the disc were “Cheyona Sunayana” and “Rumjhum Rumjhum Ke Eley Nupur Paye”. The record number was P 11661. To Indubala also goes the credit of being the first Bengali artiste to record Hindustani songs for the Gramophone Company. For the Indian State Broadcasting Center, later named All India Radio, Indubala first sang on the second day of the radio company’s broadcasting in 1927 in Calcutta and went on singing in this medium for nearly fifty years. Over the radio, Indubala sang not only from Calcutta but from several other stations by special invitation all over India. Apart from discs and the radio, Indubala was well established by the thirties in cultural functions all over India. Frequent invitations used to come from Shahjahanpur, Pakur, Madras, Bangalore, Palanpur, Nagpur, Hyderabad, Oudh, Trivandrum, Vizagapattam, Ajmer, Qoembatore, Dacca and several other places.

In 1936 she was appointed court musician to His Highness, The Maharajah of Mysore. She received a monthly salary of Rupees two hundred and fifty and this continued till the time when the native princes faced withdrawal of privy purse. In all Indubala had recorded some two hundred and eighty songs, including about two hundred forty basic songs, the rest being from films. Indubala’s first stage appearance was in The Rambagan Female Kali Theatre, established by her mother Rajabala in 1922. Both mother and daughter took part in the plays and Indubala appeared in about twelve plays in this short-lived company which lasted for only two years and in 1924 she joined Calcutta’s most prestigious stage, The Star Theatre. She continued to appear on the stage mainly in singing roles and her songs were a major attraction in each of the plays. By rotation she acted in all the public theaters of Calcutta and even took part in the Hindi Parsee Theatre in 1945 and 1946, the plays being Ghar Ki Laaj and Jasoos. Her last appearance in the public stage was in the play Prithviraj in the role of Mehga at Star Theatre in 1950. Thereafter she worked in call shows till almost 1958.

Jamuna Puliney (1933) has been credited as her first film. This is probably because this was her first film contract although Ankh Ka Tara (1932) released before Jamuna Puliney. In all she acted in about forty eight films in Bengali, Hindi, Urdu, Punjabi, Tamil languages. In most of them, she had songs as a major attraction or else did comic roles as in Bengali Indira (1937) and Hindi Deewali (1940) to name a few. She did the role of Dhai Ma in both the versions of Swamsidhha (1947). Thereafter she was not seen on the screen. As a playback singer she lent her voice in films like Alibaba (1937), Chandragupt (1934) in Hindi, Ab E Hayat (1933) in Urdu and Dil Ki Pyaas (1935) also in Urdu. She did not act in these four films. Indubala did not receive any major award apart from the Gold Disc given on behalf of His Master’s Voice. The government of India never considered her name for any award. The Sangeet Natak Academy however honoured her with a lifetime achievement award in 1975. The government of West Bengal, India however did arrange for a pension for which a lot of running about had to be done.

In personal life, Indubala was most humble and polite and bold in her behavior and was never ashamed to admit or discuss her origin. Even when established as a major singing artiste with an all India fame, she refused to move out to a respectable place leaving her residence in Rambagan, a notorious red light area of Calcutta. Indubala was got herself involved in voluntary work for the uplift of fallen women and worked actively for their rights in society through various organizations, which were patronized by top political leaders of the time. She had some interesting hobbies like writing poetry and collecting perfumes.

Even at old age all the empty perfume bottles were kept within her view. She was fond of jewellery too and had a great collection, either purchased or gifted by admirers. These valuables vanished when she was too unwell to keep track of them. Her contemporary artiste Miss Angurbala was a close friend with whom she confided and shared the joys and sorrows of life and this friendship lasted till the very end. Indubala adopted a nephew of her mother’s friend Jiban Krishna Ghosh. The boy’s name was Pranab Ghosh. This foster son did not look after her mother very much when in old age Indubala suffered from conditions like cataract and then paralytic stokes. It was Dr. Badan Sengupta who made necessary arrangement for her treatment She could not afford nursing homes and therefore was treated at state government hospitals in all occasions of illness.

The end came on the thirtieth day of November, 1984 after a prolonged illness during which again Dr. Badhan Sengupta looked after her as his own mother. Perhaps by coincidence her friend Angurbala died the same year.

I have not seen this film, nor have I got any idea about its storyline. 90% of Ranjit films were destroyed in a fire so there is no chance of seeing this film anymore. From the lyrics of the song, it seems to be a comedy song.

“Rickshaawaala” aka “Bhola Raja” (1938) makes its debut with this song.

( some information for this post has been used with thanks from an article by Dr. J.P.Guha in an adapted form, Filmdom-46, Bengali Cinema by B.C.Roy and my notes)


Song-Khatmal Ram ji Khatmal Ram ji tumko sau sau baar salaam (Rickshaawaala)(1938) Singer- Indubala, Lyrics- P L Santoshi, MD- Gyan Dutt

Lyrics

Khatmal Ram ji
Khatmal Ram
tumko sau sau baar salaam
Khatmal Ram ji
Khatmal Ram
tumko sau sau baar salaam
sone waale madhur neend mein
jab khurraate bharte
aa aa
sone waale madhur neend mein
jab khurraate bharte
aa aa aa aa
aa aa aa aa
aa aa aa aa
sone waale madhur neend mein
jab khurraate bharte
lekar apni baaki toli
lekar apni baaki toli
tum ?? karte

Khatmal Ram ji
Khatmal Ram
tumko sau sau baar salaam
pahle pahar mein
bhogi jaage
dooje pahar mein rogi
hey ae
teeje pahar mein
???khu jaage
chauthe pahar mein jogi
aa aa aa
aa aa aa
aa aa aa
aa aa
apna apna kaam bhool kar
jo hain chup so jaate
aa aa aa
apna apna kaam bhool kar
jo hain chup so jaate
ang ang ek tedhi(?) kar ke
ang ang ek tedhi(?) kar ke
aake unhen jagaate
Khatmal Ram ji
Khatmal Ram
tumko sau sau baar salaaaam


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

Blog Day :

3926 Post No. : 14994 Movie Count :

4103

Today’s song is from an old film of the first decade of the Talkie films-Mera Haq aka In search of happiness-39.

When New Theatres in Calcutta started making Talkie films, very soon their Bi-lingual films became very popular. There were quite a few reasons like, good actors, good songs and good distribution network pan India. However, I think, the most important reason of their success was that their films were primarily based on well known novels, dramas and stories. B N Sircar had understood that if the story is strong, the efforts of the Director and Composers will surely make the film a successful one.

The intelligent and business minded film makers of Bombay soon understood this and films on world famous novels, as well as popular Indian stories were made in Bombay too ! Soon, it was clear that more than being honest to the original story, the makers of Bombay were concentrating on commercial successes even at the cost of compromising the written script.

This, I feel was the basic difference between the mindset of the West and East parts of India. Learned, studious and highly principled Bengalese stuck religiously to the original stories, while in Bombay, Saraswati started working for Laksmi ! As the times went by and the Bengal empire of New Theatres crumbled, the importance of solid, strong story base for a film remained only a dream for Bombay. Still, Bangla Directors who came to Bombay in search for greener pasteurs, believed strongly and stuck to strong story base. This was generally the scenario till mid 50’s, after which everyone became commercial and story lines became secondary, optional and manipulable devices.

In the early era of the Talkie, Bilingual films in Bombay (Marathi and Hindi) was a common thing. Most films made in Kolhapur and Poona were also made in Hindi simultaneously. Many talented writers from Marathi literary field, like Hari narayan Apte, mama Varerkar, Ga. Di. Madgulkar, V S Khandekar, N S Phadke and Acharya Atre were connected with film industry. Baburao Painter, Master Vinayak, V Shantaram etc made best use of their talents in writing film stories.

Today’s film Mera Haq-39 was made by Huns Pictures of Master Vinayak. This film was based on a story of V S Khandekar (later on he became the first writer in Marathi to get the Sahitya Academi Award also). The film was made in Marathi and Hindi. The Marathi title of the film was ” Sukhacha Shodh” and the other title of Mera Haq was its translation ” In search of Happiness “. The Marathi story and dialogues were translated into Hindi by Pt. Anand kumar.

Like Pt. Mukhram Sharma of Prabhat films, Anand Kumar was also belonged to a Hindi speaking state, but both had mastered Marathi. I do not know if Pt. Anand kumar also married a Marathi actress like Mukhram Sharma who had married actress Shanta Muzumdar. Pt.Anand kumar was born in Delhi in 1907. He was a producer, director, writer and Lyricist. From childhood, he was not interested in studies in English medium. He was taught Urdu, Hindi and Sanskrit by his poor Brahmin Shastri father. When he was 15 year old, he entered a business. He was always discontented. He wanted to become an actor, but family resisted. He tried fasting and even suicide. Then he stole some money and ran to Bombay. He could not get into any studio and after money finished, he returned to Delhi, only to take more money and run to Bombay again. Even after this failure, he went back to Delhi and started writing stories.
His first book ‘ Mera Huq ‘ became a hot seller and he started earning money. He was invited by film people and he went to Bombay nth time. He wrote stories, dialogues and Lyrics of scores of films and earned name and money. He produced a film ‘Zameen’-43, under his own banner Anand Brothers. He directed 5 films,including a Hit marathi film, Gora Kumbhar-42. Some of his films as a Lyricist were Suvarn Mandir-34,Katle aam-35, Pratibha-37, Divorce-38, Saathi-38, Alakh Niranjan-40, Punarmilan-40, Charnon ki Dasi-41, Raja Rani-42 etc. As a writer some films were, Divorce-38, Honhaar-36, Saathi-38, Vasant sena-42, Rang mahal-48 etc etc.

Film Mera haq-39 was directed by an exceptionally talented director Parshwanath Alatekar. This name too must be unknown to most people. Altekar (1897-1957) was from Khare Patan in Ratnagiri, the coastal Konkan area of Maharashtra. He was educated in Kolhapur and graduated from Sangli. He abandoned Law studies to direct a drama in 1922. Basically a drama enthusiast, Altekar entered film world in Marathi and directed many films in silent era. He joined hands with Sarpotdar, Master Vithal and Pendharkar brothers. In 1928, he made 4 films for Imperial film co, then for Saraswati Cinetone, Master Vinayak and Circo films. He made few Tamil and Kannada films too.

He floated his own company Natraj Cinetone and made Hindi/Marathi film Saathi/Savangadi in 1938 with Durga Khote and Mubarak. Meanwhile he worked for his pet drama group Natya Manwantar. Alatekar died on 22-11-1957 at Bombay. he directed 13 films including silent and Tamil/Kannada films. His Hindi films were Vasavdatta-34, Saathi-38, Mera Haque-39, Geeta 40 and Mahatma Vidur-43.

The lead actor in film Mera haq-39 was Baburao Pendharkar. Baburao Pendharkar(1896-1967) was a Pioneer Marathi actor and producer born in Kolhapur. Actor-manager of Maharashtra Film (1919); then a manager in Prabhat (1929); manager and main star at Kolhapur Cinetone (1933) and for several years associated with Master Vinayak at Huns Pics (1936) and Navyug Chitrapat; then producer with Navhans (1943). Best-known work after the mid-40s was with V. Shantaram at Rajkamal Kalamandir, including the classic role of the Chinese general in Dr Kotnis Ki Amar Kahani, and with his brother, the director Bhalji Pendharkar. Noted actor as a villain in mythologicals (e.g. in Shantaram’s Ayodhyecha Raja/Ayodhya Ka Raja, Kans in Vasant Joglekar’s Nand Kishore, and Keechaka in Pethkar’s Keechaka Vadha) and for character roles in socials by Atre (the crotchety grandfather in Shyamchi Aai; the title role of Mahatma Phule). Directed Prabhat’s only major Tamil film, Seeta Kalyanam, a landmark in Tamil cinema. Also a noted stage actor. His autobiography (1961/1983) is also an important record of Marathi film history. From Jalti Nishani-1932 to Amrapali-1966, he worked in 69 films in all.

The story of Mera haq was written by V S Khandekar and it depicted the importance of a joint family, role of the elders in controlling the wayward new generation. The story was…

Anand (Baburao Pendharkar) is a Professor in a college and married to Manik (Vimal Sardesai), who is all the time busy in doing social work and who, in the process, does not justify being a housewife, or a daughter in law or even a wife.
One day, Anand meets Miss Chanchal (Usha Mantri- one of the most beautiful actresses of those times), when he goes to meet a friend at Sahyadri Cinetone. Chanchal catches him in her net perfectly and he becomes mad after her.
When Anand’s life is mess with all this, he chances upon meeting Usha (Meenakshi Shirodkar), a poor little widow- whom Anand has saved from committing a suicide.

When Usha learns all the story from Anand, she goes and talks to Anand’s parents and Grandfather, in a village and brings them to live with Anand and Manik. Together they hatch a plan to repair the situation. They announce that Anand will marry Usha and bring her as his second wife as he is not getting any happiness from Manik. When Manik comes to know this, she gets panicky and mends her ways, leaving all social work and tries to be an ideal wife. Anand’s friend Chanchal also deserts him when she learns about his second marriage.

When all the matters settle down satisfactorily, Anand and Usha, in presence of elders of the family disclose the truth that they are not marrying each others and it was planned to show Manik where the real happiness lies.

In this case, the film’s Marathi version came out first and the Hindi version was released on 15-9-1939 at Majestic Cinema in Bombay, well after the Marathi film was released.

The lead actress Vimal Sardesai hailed from Konkan are and started her film career as baby Vimal. She acted in only 7 Hindi films. Her first film was Saathi-38. This was the Hindi version of Marathi film Savangadi-38, starring Durga khote and Mubarak Merchant. her second film was mera haq-39. It was her first film as a Heroine. This too was a Hindi version of Marathi film ‘ Sukhacha Shodh”. Then came Narsi Bhjagat-40 made by Prakash pictures, Alakh Niranjan-40 was a Hindi version of Marathi film Gorakhnath-40, Apna Ghar-42 was a Hindi version of Marathi film Aaple Ghar-40- directed by Debki Bose, his first film in Bombay, Wadia’s Shobha-42 and her last film was Mahatma Vidur-43, a Hindi version of Marathi film of the same name. This was also the last film of Parshwanath Altekar the director.
After this film Vimal Sardesai was traceless. Probably she got married and left films.

Today’s song is a female duet of Vimal Sardesai and Meenakshi Shirodkar. With this song, film mera haq-39 and singer Vimal Sardesai make their debut on this Blog.

(My thanks to ” Marathi Cinema in Retrospect”-Sanjit Narvekar, ” Maharashtra- Birthplace of Indian Film Industry”- Isak Mujawar, Encyclop. of Indian Cinema by Ashish Rajadhyaksha, Filmdom-46 and my notes, for information used herein.)


Song-Kheloongi kheloongi main aankh michauli kheloongi (Mera Haq)(1939) Singers- Meenakshi Shirodkar, Vimal Sardesai (Baby Vimal), Lyrics- Pt Anand kumar, MD-K Datta
Both

Lyrics

kheloongi
kheloongi
main aankh michauli kheloongi
kheloongi
kheloongi
main aankh michauli kheloongi
main jhooloongi
main jhooloongi
kheloongi
kheloongi
main aankh michauli kheloongi

main chaand talak chal jaaoonga
main kunj taley chhip jaaoonga

main jhooloongi
main jhooloongi
main aankh meench kar chhipti hoon
main tan ankhiyon se takti hoon
takne ka badla le loongi
kheloongi
kheloongi
main aankh michauli kheloongi

main chhip jaaoon
jaa chhip jaa
main aa jaaoon
tu thham jaa

khushboo ban kar phoolon mein chhip
phoolon mein chhip
phoolon mein chhip
khushboo ban kar phoolon mein chhip
ya roop badal rangon mein chhip
belon mein chhip
kaliyon mein chhip
seene mein chhip
ya dil mein chhip
belon mein chhip
kaliyon mein chhip
seene mein chhip
ya dil mein chhip

main jhooloongi
main jhooloongi
main jhooloongi
main jhooloongi
kheloongi
kheloongi
main aankh michauli kheloongi


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

Blog Day :

3911 Post No. : 14969 Movie Count :

4091

Today’s song is from an obscure film Vaseeyat-1940.

Though this film was made by Minerva Movietone, neither it was directed by Sohrab Modi nor he had acted in it. The film was directed by K.M.Multani, who also wrote the screenplay for this film. Multani had directed his first film also from Minerva only-Vaasanti-38 – a social film. This too was without Sohrab Modi in any capacity. Multani further directed 3 more films, Virginia-40, Ujala-42 and Umang-44.

Minerva Movietone was started by Sohrab and brother Rustom Modi, when they realised that the stage dramas, filmed as Feature films did not get the public approval. Consequently production from Stage films- their first film production enterprise- was suspended till Minerva became successful. ” Aatma Tarang-38″ was the new company’s first film. C. Ramchandra was the Harmonium accompanist for M.D. Habib Khan and Bundu Khan. He also did a small role in Aatma Tarang and earlier Saeed E Havas-36. Minerva’s first film proved to be a let down.

Sohrab found that there were hardly 20 to 30 persons in the audience on the very First show. The film was based on the power of ‘ Bramhacharya’ (Celibacy). In those days, Sohrab was greatly influenced by the teachings of Ramkrishna Mission. Seeing the poor response, he was upset. Thoughts of quitting the film production line were crowding in his mind. Suddenly, he saw four men coming towards him. They came, confirmed that he was Sohrab modi and told him that his film was very good. They further advised him to keep making such good films and one day he will be on Top. Later on he learnt that these gentlemen were the Judges of Bombay High Court.

Enthused with this experience, he made successful films and took his company to the Top. Renowned for big budget historical films, Minerva benefited from Modi family’s distribution interests in Gwalior, expanded by his third brother Keki Modi into western India. At one time he controlled a chain of 27 theatres in 10 cities. In 1952, they established India’s first Technicolour Laboratory.

Film Vaseeyat40 had music by khan Mastana, who was essentially a singer. The lyrics were by Abdul Baqi. The cast of the film consisted of Sheela, gajanan jahagirdar, Eruch Tarapore, Sunalini Devi, Shobha, Kamini and many others. There were 6 songs sung by Sheela, Pramila and Khan Mastana himself.

Sheela was the Heroine of this film. SHEELA(real name-Roshan Ara) was born on 13-3-1925 at Sholapur-Maharashtra.Her father was Station Master at Sholapur Rly.Stn. Once Sohrab Modi had come to Sholapur with his Drama company.He went to the station to do reservations and saw Sheela.They got to know each others and he proposed to give her roles in his films.Thus Sheela came to Bombay in 1936 and Joined Minerva Movietone as a singer/actress.
Her first film was Khan Bahadur-37,ih which she sang and acted.Then came Jailor-38 in which she sang 4 solo songs under MD Mir Sahib.Then Divorce and Meetha Zahar came.

She became famous only after her songs in Pukar-39.Bharosa,Wasiyat and Sikander also gave her name and fame.In Sikander she had 6 songs out of total 7 songs. The famous song ‘ zindagi hai pyar se’ also had her voice in the chorus. She was Heroine in film ‘ Vaseeyat’-40
Ulti Ganga, Bhakta Raidas, Prithvi Vallabh,and Patharon ka Saudagar were all Minerva films.
She had also done films elsewhere- Alladin and wonderful lamp,college Girl,gaibi Gola,jahan ara,keemti qurbani,Sansar naiya,Shaitan ka pash etc.
After 1943,she almost stopped working.Only in Beete Din-47 and lastly in Billi-49 she sang songs., which was a stunt film of Nadia and Cavas.

She had married the actor Rama Shukla, in 1947. He was a Kanauji Brahmin and they had terrible opposition to their marriage. The marriage was by Registration. Only 4 friends were present in the marriage. They had one son and one daughter. Rama Shukla died by Heart attack in the 50s.
Her voice had a peculiar mixture of Muslim style of Amirbai karnataki and Marathi slant od Shanta Apte.

There is an anecdote with one of her songs. When film Pukar was in the making, C.Ramchandra was working as an assistant to MD Meer Saheb. He has mentioned in his autobiography also that in the absence of Meer saheb, he used to insert his tunes to songs as Meer saheb’s. This was known to many, except, may be, Meer saheb himself. One of the very popular songs sung by Sheela ” Tum bin hamri kaun khabar le ‘ was actually composed by C.Ramchandra. This is supposed to be CR’s first composed song. The credit ,of course, went to Meer Saheb.

Another uncommon name in the cast is Sunalini Devi. Sunalini Devi, the actress, was born on 1-1-1896 in Hyderabad Deccan. Her father, Aghornath Chatopadhyay-a Bengali settled in Hyderabad – was a Sanskrit scholar, was proficient in 27 languages and was the first Indian to get the D.Sc. honour. Sunalini was the elder sister of Sarojini, who became Sarojini Naidu after her marriage, and Harindranath Chatopadhyaya-renowned poet.

Sunalini learnt Music and Dance from her third year of age itself. Due to her sweet voice, she was called ‘ Kokila ‘. It is to be noted that her younger sister Saojini Naidu was called ‘ Nightingale of India’ ! It is unfortunate that the film industry did not use Sunalini’s music skill in her films and she sang just one song in her career in film ‘ Raja Rani-42’.

Sunalini started acting in stage dramas from 1918. Her first movie was ” Light of Asia”-released initially in Germany and Poland in 1925. It’s restored version was released on 5th July 2001, in India. This film was made by Himanshu Rai. The film was shot in Lahore. It was a silent film on Gautama the Buddha. Her first Talkie film was ‘ veer Kunal-32’. She acted in 56 films. Mostly she was known for motherly roles only. She had, like her more eminent sister, married a south Indian- Mr.A.S.Rajan, a writer from Madras.

Some of her more known films are, Aurat,Lalaji, Inkaar, Nai roshni, Talaash, Bairam khan, Tamasha, Dilruba, Malhar etc etc. She retired from films in 1956.

Then there is Eruch Tarapore. Eruch Tarapore was a distant relative of Sohrab Modi and he worked only in Modi’s films. He worked in 16 films, right from Modi’s first film Hamlet-35 up to 1948. Eruch sang one song each in 3 films, Meetha zehar-38, Jailor-38 and Phir milenge-43. He died in 1948.

I have no details of the storyline of film Vaseeyat-40. However, I faintly remember having read somewhere that the story was about a rich person, who dies without a will. There is lot of confusion, but finally the will is found etc.

With today’s song, film Vaseeyat-40 makes its Debut on the Blog.


Song- Duniya rain basera Musafir duniya rain basera hai (Vaseeyat)(1940) Singer- Sheela, Lyrics- Abdul Baqi, Music- Khan Mastana

Lyrics

Duniya rain basera musaafir
Duniya rain basera hai ae
Duniya rain basera hai
Duniya rain basera musaafir
Duniya rain basera hai ae
Duniya rain basera hai

saari duniya jaag uthhi tu
saari duniya jaag uthhi tu
lambi taane sowe
lambi taane sowe
jo jowe so paawe musaafir
jo jowe so paawe musaafir
jo sowe so khowe
jo sowe so khowe
door hai manzil neend ke maare
?? jaag ??
duniya rain basera hai
duniya rain basera musaafir
duniya rain basera hai ae
duniya rain basera hai

duniya kya hai paap ki nagri
duniya kya hai paap ki nagri
is se man na lagaana
is se man na lagaana
kadam kadam pe ?? base hain
kadam kadam pe ?? base hain
soch ke pair uthhaana
soch ke pair uthhaana
moh lobh mein pyaar ke ??
aane ?? hai
duniya rain basera hai
duniya rain basera musaafir
duniya rain basera hai ae
duniya rain basera hai


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

Blog Day :

3903 Post No. : 14955 Movie Count :

4086

Today’s song is a rare song from film Salma-1943.

Like in my earlier post on film ‘ Arab ka Sitara’-46 dt 13-3-2019, in this Blog, about 3-4 years ago also I had discussed the issue of very few films made in India, on Muslim Social issues and also on other minority communities, for that matter. One of our readers from USA, Mr. Salim Shah-son of actress Indurani aka Ishrat jehan siddiqi- wrote an E mail to me on this issue. He had said that the film market is driven by the needs of the majority and hence not many producers dare to make films on minorities, which have a very small and limited market. I agreed, as this was a very logical explanation to my loud thinking.

When I planned to write on Muslim social films or films with Muslim backgrounds, I noticed that from 1933 to 1942 (10 years) only 15 such films were made. Then from 1943 to 1947, a whopping 23 films were made in just 5 years ! These are only rough and estimated figures, without going into much details and avoiding films like Pukar-39 and Humayun-45 or Shahajehan-46. In 1947 alone there were 9 such films.

What could be the reason for this sudden surge in Muslim social films ? I think, by 1943, it was almost certain that India would be divided on Religion basis and Pakistan would be a New separate country for Muslims. This possibly increased the awareness of a need for improvement in the Muslim population. May be, I am wrong. One can only hazard a guess on such matters.

Director Mehboob started his production company by making the film Najma-43 and later also he made films like Elaan-47. He is on record why he made such progressive films, despite the risk from fundamentalists involved. Anyway, we leave the matter here only. Now that the Muslim population has increased considerably from 1951 (3.5 crores or 9.8%) to 2011 (17.2 crores or 14.2%), let us hope to see more such films. Equally disturbing is to see rare films on Christian, parsee, Budhist, Jain, etc minorities.

Film Salma-43 was actually a story of two thick girl friends. The film story was written by Munshi Dil. Screenplay, dialogues and Lyrics were by Hasrat Lucknowi. Music was by Pt. Gobind Ram. The cast was Sitara devi, Ishwarlal, Yakub, Urmila, Majid, Azra, Anwari etc etc. The film was directed by Nazir Ahmed khan. It was made by his own Hind Pictures.

This was also the period when Nazir had married Sitara Devi. Saadat Hasan Manto, in his famous book ‘ Stars from another sky” has described very juicy stories about Sitara- her many lovers, Nazir and his Nephew K.Asif. Sitara eloped with Asif to Delhi to marry him, after conversion to Islam with a new name Allah Rakhi, the book says. Returning to Bombay, after some time, Asif himself made a Muslim Social film, ” Phool’-45, with Sitara as the Heroine. More about this film some other time.

Nazir Ahmad Khan (1910–28-8-1983) was a Indian / Pakistani film actor, director and producer. He was the first successful film hero in independent Pakistan. Nazir was associated with almost two hundred films during his career, which spanned over a period of 55 years.Nazir Ahmed was widely known as Bao Jee in the film industries in India and in Pakistan.
It was in the late 1920s when Nazir went to Calcutta along with A.R. Kardar, and appeared in a character role in Kardar’s Sarfarosh (aka ‘The Daring One’) in 1929. Kardar later made Heer in which Nazir played the role of the Qazi. Both these films are from the silent era. He also did a secondary role in Kardar’s Mysterious Bandit.

Nazir went to Bombay. During this period he was cast in leading roles in Rajputana Ka Sher, Chandaal Chaukri, Badmaash Ka Baita and Pahari Sawar.

In 1934 he went back to Calcutta on the request of his old friend Kardar to act in his productions of Chandra Gupta, Sultana, Milaap, Mandar, Night Bird and Aab-e-Hayat.

In Calcutta Nazir won laurels for his role of Chanakya in Chandra Gupta. To perform this role realistically, Nazir had his head shaved completely to authentically perform the role of the ancient Indian minister.

In 1939, both Nazir and Kardar moved to Bombay and under Kardar’s banner he performed his most well remembered and renowned character role in Baghbaan, which besides creating box office records also established him as a hero.

Shokh Dilruba, Sher ka Panja, Shamaa, Midnight Mail, Swami Pooja, Apni Nagaria, Laila Majnu, Wamaq Azra, Sandaisa, Kaljug, Society, Chher Chhar, Aabroo, Salma, Gaon Ki Gori, Maa Baap ki Laaj, Yaadgar, Malika and Abida and several other hit films of that era are credited to his name. He also produced and Directed many of them. Most of the films directed by him saw the milestones of being Silver Jubilees.He acted in 25 films and directed 8 films in India.He even sang 7 songs in 5 films.

Nazir’s studio and the offices of Hind Pictures were burnt down during the riots in 1946-47. Nazir stood quietly outside his burning studio,smoking a cigarette and watching the ashes.In 1947, Nazir migrated to Pakistan. He left everything he had behind in Bombay and shifted to Lahore. He started from scratch and in the process became one of the pioneers of the Pakistan film industry.

He produced and directed Saachai, as his first film in the newly born Pakistan. It was followed by the first Silver Jubilee film of Pakistani Cinema, Pheray. Nazir completed Pheray in just one month, followed by Larey. His other movies include Shehri Babu, Anokhi Daastan, Shamaa, Heer, Khatoon, Noor-e-Islam and Azmat-e-Islam.

During the 1960s, he disassociated himself from Pakistani cinema, with the decline in this industry. He could not reconcile himself with the qualitatively declining trends in this industry.

Nazir was first married to his cousin Sikandara Begum. He was the Maternal Uncle of K.Asif,Director of Mughal E Azam. Later he married Sitara Devi and before going to Pakistan,he married his Heroine Swarnalata.

He died in 1983.

The story of film Salma – 43 was….

Salma (Sitara) and Suraiya (Urmila) grew up in Kanpur as very close friends. When they became marriageable, Salma’s father Abdul Majid (Majid) fixed her marriage with Dr. Masood (Ishwarlal) of Allahabad. Suraiya’s brother Yakub (Yakub) was a crook. He used to destroy all letters Salma wrote to Suraiya, from Allahabad, after marriage. Now Suraiya got engaged to Dr. Manzur (Ishwarlal-double role), who resembled his brother Dr. Masood, husband of Suraiya.

Unfortunately, on the day of marriage, Dr. Manzur dies in an accident, but Yakub tells Suraiya that Manzur cheated her and has left the town.She is shocked and loses her memory. She is taken to Allahabad for treatment from Dr. Masood, the specialist.

Suraiya gains memory, recognises Masood as Manzur and insists for marriage. Masood learns Suraiya’s full story from her parents and tells Salma about it. Salma is very religious and follows five times Namaz. She knows that as per Islam religion, a male can have 4 wives. She forces her husband to marry Suraiya. After initial resistance Masood agrees.

After marriage Suraiya recovers completely and both friends live happily. Soon Salma goes to Haj and becomes a Darvish ( a Sufi religious Mendicant-as per wiki). All this so that her friend Suraiya is made happy in her life.

The film had 8 songs, composed by Pt. Gobindram. He is one MD, about whose life absolutely no information is available in any book or on Internet. Only his work details are available on the net, books and HFGK.

Pt. Gobind Ram – the Music Director was a highly respected composer in the industry for his originality. Stalwarts like C.Ramchandra considered Sajjad and Pt. Gobind Ram ji as the original composers.

Author Pankaj Raag mentions in his book,” Dhunon ki yatra”- ” When K.Asif planned his magnum Opus- Mughal E Azam in the late 40s, he had engaged Gobind ram ji as the Music Director.” This statement, however, could not be corroborated with any other reference.
Pt. Gobind Ram gave music to only 32 films from 1937 to 1955, composing 302 songs.

Today’s song is sung by G M Durrani, who was a leading Playback singer , before Rafi and others prevailed on the scene in the latter half of the 40s decade. 6 songs which I have heard are all good ones, but this song is the best and melodious. other singers are Rajkumari, Sitara Devi and Hameeda Bano.

With this song, film Salma-43 makes its Debut on the Blog.
(Thanks to book ” Forgotten movies on Muslim Culture 1933 to 1947″ by Kamalakar Pasupuleti ji for some information used here.)


Song-Ye kaun aaj reh reh ke yaad aa raha hai (Salma)(1943) Singer- G M Durrani, Lyrics-Hasrat Lucknowi, MD-Pt. Gobindram

Lyrics

Ye kaun aaj reh reh ke yaad aa raha hai
Ye kaun aaj reh reh ke yaad aa raha hai
Ye kaun aaj reh reh ke yaad aa raha hai ae ae ae
ajab haal dil ka hua jaa raha hai
ajab haal dil ka hua jaa raha hai

jise wo samajhte hain apna maseeha
jise wo samajhte hain apna maseeha
aa aa aa aa aa
wo beemaar khud hi hua jaa raha hai
wo beemaar khud hi hua jaa raha hai

mili hai nazar jabse unki nazar se ae
mili hai nazar jabse unki nazar se
mili hai nazar jabse unki nazar se ae ae ae
kaleje mein nashtar chubha ja raha hai
kaleje mein nashtar chubha ja raha hai

ye kaun aaj rah rah ke yaad aa raha hai
ye kaun aaj rah rah ke yaad aa raha hai ae ae


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

Blog Day : 3887 Post No. : 14917

Today’s song is from film Gauri-1943. It was a film made by Ranjit Movietone. The Lyrics, Story and Screenplay as well as the Direction was by Kidar Sharma. The cast of the film was Prithviraj Kapoor, Shamim, Monica Desai, Rajkumari Shukla, Brijmala, Amarnath etc etc.

The making of film Gauri-1943 had a big story behind it. This is described in great details by Kidar Sharma himself, in his autobiography ” The one and Lonely Kidar Sharma”. We will,however, discuss this in an abridged version here.

Kidar Sharma left New Theatres, Calcutta and shifted to Bombay, for a new chapter in his life and career. His close friend from Calcutta, Prithviraj Kapoor, who was in Bombay earlier, had arranged for his meeting with Ranjit’s chief Chandulal Shah. Even before Sharma reached Bombay, Shah had known about him and had become his fan.He saw film ” Chitralekha “-41, made and directed by Kidar Sharma, several times,in his own Theatre-Opera House in Bombay, mostly with his consort Goharbai Mamajiwala. He was very much impressed with Sharma ji’s work. Shah and Goharbai both, were actually eager to employ Kidar Sharma. Therefore, without any hitch, he was hired at a very lucrative salary of Rs. 3000/- pm and an advance of Rs. 5000/- to bring his family from Calcutta.

Kidar joined Ranjit on 3rd October 1941. His first film here was ‘ Armaan’-42. During this film, he became very friendly with actor Motilal, whom Sharma regarded as a very good artiste. During his next film, ‘Vish kanya’, Kidar took Raj Kapoor as his third assistant. His close friend Prithviraj was worried about the future of Raj, hence Sharma took him under his wings so that he will learn the making of films in all aspects. In effect Raj was only a Clapper Boy here, but he was a keen observer of everything. He was a little childish still. In one of the outdoor shootings of the film, Kidar Sharma got so much irritated with Raj Kapoor’s irresponsible behaviour that in anger, he slapped Raj kapoor on the sets, in front of all the staff. Later Sharma felt bad about the incident and decided that one day, when he would become a Producer, he would make Raj Kapoor his Hero in that film (Neelkamal-47…earlier started as ‘ Bechara Bhagwan ‘ as its Title). More about this film some other time.

In 1943, Sharma wrote a story “Gauri”- set in Calcutta and woven around the Durga Pooja in Bengal. It was a very touching human story and very emotional too. During the story session, both Chandulal Shah and Goharbai could not control their emotions and wept openly. Shah liked the story so much that he volunteered to sent a team to Calcutta for shooting during the Pooja Festival days.

Sharma insisted that the Hero’s role of Khumar- the Idol Maker be done only by his friend Prithviraj kapoor. His name was of course agreed upon. However, Goharbai queried as to who Sharma had in his mind to do the sensitive Heroine’s role. Sharma ji replied that he needed someone who looked fresh and innocent. He asked for some time. Actually he had thought of Monica Desai- the younger sister of famous actress Leela Desai. Monica worked as a school teacher in Calcutta. She had done a small role in his film ‘ Chitralekha’-41. In those days Sharma was impressed with her and had assured her that when he gets stabilised as a Director and has a suitable script, he will give Heroine’s role to Monica.

Next day, Sharma ji told Chandulal Shah about her selection. Chandulal had confidence in his judgement. The big hearted Shah gave Rs. 5000/- to Sharma to send to Monica for coming to Bombay comfortably in First Class. Kidar Sharma sent the money to her and asked her to travel only by First class to Bombay, to get down at Dadar, keep the luggage in Cloak room and freshen up in the waiting room. She was asked to wear a silk saree also. Sharma asked her if she understood all instructions and she confirmed. She was to visit Ranjit Studios at 2.30pm, when Sharma would introduce her to Sethji.

On the afternoon of her arrival day, the Shah couple and others waited anxiously for Monica’s arrival. In the afternoon, Monica arrived at the gates of the studio looking tired and untidy, along with all her luggage. Seeing her Chandulal became nervous, but asked Sharma ji to arrange for her stay and food etc. Chandulal Shah was not only upset with Monica’s looks but also annoyed. Still without commenting, he left the studio immediately with Goharbai. Sharma as well as Prithviraj felt humiliated with the foolish Monica who came to the studio, not following Sharma’s instructions. This she did to save some money, but put everyone in an awkward situation. Anyway, Sharma made her staying etc arrangements.

Next day, Chandulal called him to his office and said that he will continue making film Gauri, as promised, but he will not participate in any shootings, recordings or other matters till the film is completed. He will however, see the finished movie before it goes to Censors. It was too obvious that both the Shahs were upset about the ordinary looking and childish, immature Monica as Heroine.

Kidar Sharma gulped all this quietly and started work on the film quickly. The team went to Calcutta also and came back. When the film was completed, Sharma invited Chandulal and Goharbai to see it. Actually whenever such a preview was done all other Directors of Ranjit also attended it, but this time there were only the two of them-Chandulal and Goharbai. The entire team of the film was also present. Sharma had known that when Chandulal did not like the film, he usually abused loudly and sometimes even threw his chappals at the screen. With bated breath, Sharma showed him the film Gauri and waited for his reactions, expecting fireworks. Instead, Chandulal and Goharbai left the room and went to their office. Everyone,including Sharma was sure that Sharma has to leave the company now.

With great courage, Sharma went to their office to know their opinions. To his great surprise, Chandulal dug into his pocket and removed whatever money was there and gifted it to Sharma. He said,” this is my gift to you for making a sublime movie.” Gohar too appreciated heartily. Both of them were spellbound with Monica’s performance. Shah offered Monica a 3 year contract, furnished house and a new car with a driver etc. Shah also increased Sharma’s salary to Rs.5500/pm.
Thus Monica Desai’s first film was a great success. ” Durga” was a winner. Kidar Sharma was a winner.

One of the cast in the film was Rajkumari Shukla. At that period of time, there were 3 Rajkumaris working in Hindi films. One and the most famous was Rajkumari Dubey-Banareswali. The second was Rajkumari-Calcuttewali. Her real name was Pullobai. And the third was this Rajkumari Shukla. She was known as the ‘ mother of the Indian screen’.

Rajkumari Shukla was born in Benares in 1903. She joined films to earn her livelihood. She was married but got bad treatment from her in laws. After the death of her husband, her torture incresed. One Nana Baba, her neighbour was kind enough to help her and get her a job in Madon Theatres, where he was working. Rajkumari had no issues or parents. She treated Nana Baba as her father. She entered films with Uljhan-42. She started getting mother roles and she excelled in that. She worked only upto Nai Maa-46. But she acted in Bangla and Gujarati films too.

In all she did more than 60 films. Hindi films were 31 only. Some of the more known films that she did were Ek raat-42, Vakil sahib-43, School master-43, Sanjog-43, Paraya Dhan-43, Panghat-43, Namaste-43, Najma-43, Gauri-43, Aage kadam-43, Rattan-44, Mann ki jeet-44, Dr,Kumar-44, Sharbati aankhen-54, Hamara sansar-45, Gaon ki gori-45 and nai maa-46. She sang only 1 song in film Panghat-43.

Today’s song is sung by singer actress Shamim. She was variously credited as Shamim, Shameem, Miss Shamim, Shamim Akhtar. She was born in Lahore and died in Lahore, where she migrated after Partition. Her biodata was given on 17-1-2019 in a post on film ‘Return of Toofan Mail’-42.


Song-Majboor hai is dil se (Gauri)(1943) Singer- Shamim (Akhtar), Lyrics- Kidar Sharma, MD- Khemchand Prakash

Lyrics

Majboor hain is dil se ae
ye kaisi pilaayi hai
Majboor hai is dil se
is dil se
ye kaisi pilaayi hai
jaaye hai jidhar dilbar
haay dilbar
uss simt ye jaaye hai
jaaye hai jidhar dilbar
haay dilbar
uss simt ye jaaye hai

duniya se niraala hai
jaanaan tera deewaana
jaanaan tera deewaana
haay kaise bache hasrat
haay hasrat
har aankh mein haaye hai
haay kaise bache hasrat
haay hasrat
har aankh mein haaye hai

hans den jo zara
dekh ke
khil jaaye kali dil ki
khil jaaye kali dil ki
halka sa tabassum tera
gulzaar khilaaye hai
halka sa tabassum tera
gulzaar khilaaye hai
tum saamne baithho ke main
jee bhar ke tumhen dekhoon
jee bhar ke tumhen dekhoon
tum jyon hi huye ojhal
haay ojhal
jhat aankh bhar aaye hai
tum jyon hi huye ojhal
haay ojhal
jhat aankh bhar aaye hai
majboor hai is dil se
is dil se
ye kaisi pilaai hai


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3880 Post No. : 14903

Today is 3 march 2019. No, I am not going to discuss a “blog ten year challenge” song today. This article covers a far bigger time span, namely 50 years. It was on this day 50 years ago, viz on 3 march 1969 that the first Rajdhani Express train left Howrah for New Delhi. This train had made its inaugural run from New Delhi on 1 march 1969 and had arrived Howrah on 2 march 1969. Its maiden journey from Howrah to New Delhi was on 3 march 1969, viz 50 years ago.

50 years ago, the highest speed of Indian Railways trains used to be 96 kmph. This train became the first Indian train to break the 100 kmph barrier. Its maximum speed was 120 kmph.

Just like there is considerable opposition today to the introduction of bullet trains in India, there was stiff resistance against the introduction to this train. The top man in Indian Railways, viz the Chairman Railway Board himself was against the introduction of this train.

When this train began its run on 3 march 1969, Rail Minister Ram Subhag Singh was available on platform to flag it off. This train took 17 hours to reach its destination which was a seven hour improvement over the fastest train on this route.

This train was an exclusive train meant to run faster and and its onboard service was meant to be upscale. It was an all airconditioned train. It was only the second airconditioned train in India till then. The first train was one that was simply called Air Conditioned express.

The sleeper class fare from Howrah to New Delhi was Rs 290, which was one month’s salary for an average Indian. No wonder then that there was considerable resentment and opposition among people as well as politicians when this train was introduced.

The train stopped only in three stations those days, viz at Gomoh, Mughalsarai and Kanpur. Today it stops at eight stations. The train then had nine coaches, some were sleeper coaches and others were chair cars. Today there are 20 coaches.

The ticket of this train was also special. It was like an airlines ticket, namely folio type, that has photo of Qutub Minar and Howrah Bridge on its two sides.

The ticket price included price for meals. This train was the first that had a pantry car. The quality of food was quite upmarket those days, five star stuff.

With time, Rajdhani trains have changed. Those were the days of Diesel locomotives and vacuum brake coaches. They were later replaced by Electric locomotive and air brake coaches. Now ICF design coaches have been replaced by LHB design coaches.

The second Rajdhani that was introduced was between New Delhi and Bombay Central. Gradually Rajdhani trains were introduced in ten routes between New Delhi and various state capitals.

I have no idea when I first travelled by Rajdhani express. It must have been in 1990s I think, when I was posted in Andhra Pradesh. Personally I used to feel a bit overwhelmed at the prospect of travelling by this train those days. The reason could be that I was rather junior and I felt that I did not belong to this train. On the other hand, I wondered how other railway men, who I felt belonged even less there would travel in this train with confidence as if then owned it. 🙂

The first time I travelled in Rajdhani with family was in 2001 from New Delhi to Guwahati. My three year old daughter would look forward for the meals and demand some more “utterly butterly butter”. 🙂

It is not as if I have travelled a lot on Rajdhani with my family. The second and till now the last occasion when the three of us travelled by Rajdhani express was in 2016 by New Delhi Mumbai Central Rajdhani express when we went to Mumbai to admit my daughter to a medical college there.

It must be said that New Delhi -Mumbai Rajdhani is quite a useful train between the two places, Most of the journey is at night time and one reaches the destination in the morning. If one gets accomodation in this train then it is a more comfortable and convenient means to travel between the two places than travelling by plane.

My daughter and wife have travelled alone by Rajdhani quite a few times. When I was posted at Bareilly, my daughter would visit me by first reaching New Delhi by Mumbai Central Rajdhani and would then board New Delhi Dibrugarh Rajdhani that stopped at Bareilly.

In 1969, Rajdhani trains introduced speed upto 120 kmph in Indian trains. Now 50 years later, the fastest Indian Railways train are still only 160 kmph. I dream of a day when India will have a network of bullet train lines and public would be able to reach 1500 km in 5 hours. If that happens then it would be a big transformation in India. We have already seen communication revolution in Indiawhere everyone has access to phone and so one can share information easily and in real time. I dream of seeing a similar transport revolution in India. That would transform Indian economy. I am cautiously optimistic that India will have a fe bullet trains by 2030. People would be ready to use it on a big way because India by that time would be nearly a $ 10 trillions economy with per capita nominal GDP of around $7000/-, a three fold increase in per capita income of Indians and they would be able to afford bullet train tickets and many more such services.

On this occasion, here is a rail song from a time when no one even thought of Rajdhani trains, forget bullet trains. This rail train is from “Zabaan”(1943).

“Zabaan”(1943) was produced and directed by Jayant Desai for Jayant Desai productions, Bombay. This “social” movie had Ishwar lal, Kaushalya, Mubarak, Diit, Vatsala Kumthekar, Bhagwandas, Kantilal etc in it.

The movie had twelve songs in it. All of them were actor-singer songs, viz the songs were sung by the actors themselves.

Here is this rail song from “Zabaan”(1943). It is sung by Ishwar Lal. Mahir Ul Qadri is the lyricist. Music is composed by C Ramchsndra.

Only the audio of the song is available, but it is clear from the lyics that it is a rail song. It would have been nice to be able to watch the picturisation of this song, but I doubt that the video of this song is available. So we only have the audio of the song with us to savour.

On the occasion of Rajdhani trains turning 50 years old, here is this 75 year old rail song to celebrate the occasion.


Song-Piya des hai jaana (Zabaan)(1943) Singer-Ishwar Lal, Lyrics-Mahir ul Qadri, MD-C Ramchandra

Lyrics

piya des hai jaana
piya des hai jaana
aa ha ha ha
aise mein mohabbat ka koi jaam pilaana
aise mein mohabbat ka koi jaam pilaana
piya des hai jaana

gaate huye khambhe
hanste huye paudhe
gaate huye khambhe
hanste huye paudhe
chalte huye raste
chalte huye raste
kahte hain ye mujhse ke
piya des hai jaana
kahte hain ye mujhse ke
piya des hai jaana
piya des hai jaana
piya des hai jaana
aa ha ha ha
aise mein mohabbat ka koi jaam pilaana
piya des hai jaana

lohe ki ye patri
chalti hui dharti
lohe ki ye patri
chalti hui dharti
dee rail ne seeti
aawaaz ye aayi ke
piya des hai jaana
piya des hai jaana
aa ha ha ha
aise mein mohabbat ka koi jaam pilaana
piya des hai jaana

ummeed ko lekar
aate hain tere ghar
umeed ko lekar
aate hain tere ghar
hai dil ki zabaan par
hai dil ki zabaan par
piya des hai jaana
piya des hai jaana
piya des hai jaana
aa ha ha ha
aise mein mohabbat ka koi jaam pilaana
aise mein mohabbat ka koi jaam pilaana
piya des hai jaana

———————————————————
Hindi Script Lyrics (Provided by Avinash Scrapwala)
———————————————————

पिया देस है जाना
पिया देस है जाना
आ हा हा हा
ऐसे में मोहब्बत का कोई जाम पिलाना
ऐसे में मोहब्बत का कोई जाम पिलाना
पिया देस है जाना

गाते हुए खम्भे
हँसते हुए पौधे
गाते हुए खम्भे
हँसते हुए पौधे
चलते हुए रस्ते
चलते हुए रस्ते
कहते हैं ये मुझसे के
पिया देस है जाना
कहते हैं ये मुझसे के
पिया देस है जाना
पिया देस है जाना
पिया देस है जाना
आ हा हा हा
ऐसे में मोहब्बत का कोई जाम पिलाना
पिया देस है जाना

लोहे की ये पटरी
चलती हुई धरती
लोहे की ये पटरी
चलती हुई धरती
दी रेल ने सीटी
आवाज़ ये आई के
पिया देस है जाना
पिया देस है जाना
आ हा हा हा
ऐसे में मोहब्बत का कोई जाम पिलाना
पिया देस है जाना

उम्मीद को लेकर
आते हैं तेरे घर
उम्मीद को लेकर
आते हैं तेरे घर
है दिल की ज़बान पर
है दिल की ज़बान पर
पिया देस है जाना
पिया देस है जाना
पिया देस है जाना
आ हा हा हा
ऐसे में मोहब्बत का कोई जाम पिलाना
ऐसे में मोहब्बत का कोई जाम पिलाना
पिया देस है जाना


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

Blog Day :

3866 Post No. : 14883 Movie Count :

4071

Today’s song is an extremely rare song, to be presented here today. It is from film Shaadi ka Maamla-1937. It was produced by the ‘One Film’ banner of Lalitkaladarsh Movietone, Bombay and it was directed by Bhargavram Vithal aka Mama Varerkar- a heavyweight name in Marathi Literature. The song was written in Hindi by Pt. Dwijendra Sharma. We are unaware of who was the Music Director, but Cinestaan claims that Pt. Badriprasad Manik was the MD, though HFGK is silent on this issue. This rare song is sung by Bapurao Pendharkar, who was an actor, singer and producer on Marathi stage, in the early 1900’s.

Drama and stage work has a tradition of more than 150 years in Maharashtra. The stage gave many Gems in Music and Acting to Maharashtra. Natyageet from the sangeet Nataks became extremely popular. There is hardly any classical singer, in Maharashtra, who did not sing Natyageet. When the Talkie films started, the stage and dramas provided the biggest contribution to its Music. Almost all Music Directors of early cinema-Marathi or Gujarati- came with a history of working on stage. Govindrao Tembe, Master krishnarao Phulambrikar, Shankarrao Vyas, Keshavrao Bhole, B R Devdhar, Dada Chandekar, Mainkar, Sureshbabu Mane etc came to films from stage only.

There used to be Drama companies or Natya Mandalis, like Gandharva Sangeet mandali (of Balgandharva), Kirloskar Natak mandali (of Annasaheb Kirloskar), Balwant Natak mandali (of Master Dinanath Mangeshkar), Lalit kaladarsh ( of Keshavrao Bhosle) etc etc.

Initially, many film makers in the silent and early talkie looked upon the cinema as an extension of the stage or merely a different form of packaging the same basic product. This was clear when Sohrab Modi made his Talkie film ” Hamlet’-35 by shooting the actual drama on stage or film ” Indrasabha”-32 with 69 songs just like a drama. However, film makers like Baburao Painter understood the underlying difference in these two media and evolved a new Grammar for films. This was promptly followed by V.Shantaram, Master Vinayak and all others.

Among the Marathi Literary Giants, the first to get attracted to the new medium was B.V.aka Mama Varerkar. He formed a film company, ‘Deccan Picture corporation’, along with P.Teligiri to produce a silent film ” Poona Raided-1924″. He was disillusioned with the failure of the film and withdrew from films. After 12 years, he formed another company, with Bapurao Pendharkar- Lalit kaladarsh movietone and made, wrote and directed ‘ Vijayachi Lagne-36’ in Marathi and ‘ Shadi ka Mamla-37’ in Hindi. Other giants like M G Rangnekar, V S Khandekar, Acharya Atre and P L Deshpande also joined film making.

B V aka Mama Varerkar, director of film Shadi ka mamla-37, was born on 27-4-1883, at Chiplun in Ratnagiri district. His early education took place in Ratnagiri and he joined a medical course at the Civil Hospital. Here he met Dr. Kirtikar, who was a writer and had a big private library. Varerkar got interested in Literature, read lot many Marathi and Bangali books. Finally he left medical course and did a job in postal department from 1899 to 1919. He wrote several dramas, stories etc. His first drama ‘ Kunjvihari’ was staged in Bombay on 14-4-1908. The drama had Vishnupant Pagnis as a Gujarati Radha and sang Gujarati songs. The Gujarati people of Bombay crowded his shows in hundreds and Varerkar became famous. His next famous drama ‘ Haach mulacha Baap’ came on stage in 1916. Then there was no looking back. In all, he wrote 37 dramas, 6 dramalets,and 14 one act plays. He wrote from 1914 to 1960 continuously. He was awarded Padma Bhooshan, paid Rs. 1 lakh per year and also sent to Rajya Sabha as an M.P.. Mama Varerkar died in Delhi on 23-9-1964.

He wrote film stories, screenplays, dialogues and directed films in Marathi and Hindi. His Filmography is Poona raided,silent film-1924, Gori Bala-silent,-1930, Thaksen Rajputra in Marathi and Bhedi Rajkumar in Hindi,Talkie-1934, Vilasi Eshwar in Marathi and Nigahe Nafrat in Hindi-1935( debut film of Shobhana Samarth), Vijayachi lagne-36 in Marathi and Shadi ka Mamla-37 in Hindi, Savangadi in Marathi and Saathi in Hindi-38 ( Durga Khote and Mubarak produced it), Geeta in Marathi and Hindi-40 ( Chandramohan did the Hero’s role in Marathi also,speaking flawless Marathi) and Karasthan in Marathi-47.

Today’s film, Shadi ka mamla-37 was produced by Lalit Kaladarsh Movietone and was directed by Mama Varerkar. The film cast was Bapurao Pendharkar, Hansa Wadkar, Kesar Wadkar, Nalini Nagpurkar, Master Chhotu, Dajiba Parab, Antoba Kulkarni and others. Bapurao Pendharkar was a very popular actor singer on Marathi stage. He was owner of the famous drama company ‘ Lalit Kaladarsh ‘, which completed its Centenary in 2007-8 and is still owned by his family, remaining as a premier,respected drama company of repute in Maharashtra. The company at one time hired full special train to move from one city to other, with all its staff and props.

Bapurao Pendharkar ( Vyankatesh Balwant Pendharkar) was born on 10th December 1892 at Jamkhindi, a princely state in Karnataka.( This was the First princely state to join Independent India, on a call by Sardar Patel. Its only demand was to make it a District place !). he got his education in Poona. In 1915, while studying from his Matriculation, he left studies and joined ” Lalit Kaladarsh “- a drama company of repute, owned by keshvrao Bhosle.

Bapurao had no good looks, no height and no proper voice, but Bhosale took lot of efforts on him and made him a fine actor singer. From 1915 to 1920, Bapurao did only female roles on stage. Starting from Sharda, he did Bhamini, Manjiri, Kishori, Vasant sena and many other famous Heroines in marathi dramas in those days. Bapurao also played Organ on stage. In 1920 he became a Gandaband shagird of Ramkrishnabuwa Vaze, a big name in vocal music.

On 4th October 1921, Keshavrao Bhosale died and Bapurao became the owner of Lalit Kaladarsh. The company staged all dramas of Mama Varerkar and its name became famous.

His first natyageet record came out in 1922, through Rose and co. in Bombay. Upto 1936, his 70 records ( 140 songs) came on HMV (Red and Black labels), Zonofone (Green0, and The Twin (Yellow). In 1974 one LP having his 12 songs came out and in 1996, Audio tapes of his more songs were marketed. Many collectors have his songs. Even today’s rare song has been obtained from a collector. Keshavrao Bhole liked his singing very much and appreciated him in his writings and autobiography too.

In 1936, Bapurao, along with Mama Varerkar launched his film company-Lalit Kaladarsh Movietone and made two films. Vijayachi lagne in Marathi in 1936 and Shadi ka Mamla in Hindi in 1937. The film did not become much famous, but his songs became a rage in those days. Only 4 songs from his only Hindi film are available and they are collector’s delights. In 1926 he recorded a Bhavgeet ” Rajhans maza nijla” a popular song by Govindagraj aka Ram Ganesh Gadkari. Thus Bapurao became the First Bhavgeet singer of Maharashtra. Silver jubilee of Lalit Kaladarsh was celebrated in 1933 and Bapurao recieved many awards.

Bapurao Pendharkar died on 15th March 1937, at Gwalior. His illustrious son -actor and singer Bhalchandra Pendharkar took over the company at the age of 16 years. He did a superb job and took the company to greater heights in times to come.

The Heroine of this film-Shadi ka Mamla-37 was just about 14 year old girl, Hansa Wadkar. She was born Ratan Bhalachander Salgaokar, on 24 January 1923 at Dr. Bhalerao Hospital in Bombay, Maharashtra, India. Her father, Bhalchander Salgaokar, was the son and grandson of “kalavantins, courtesans renowned for their musical accomplishments”. Her mother, Saraswati, was the daughter of a Devdasi. Wadkar was the third of four children. The oldest sister and youngest brother died, leaving a second child, her brother Mohan and her. In her autobiography Wadkar mentions that her great grandmother, Baybai Salgaokar, called Jiji by the family, was a wealthy courtesan who was the influential figure in the family. Marriage in the courtesan community was a rarity and Wadkar’s grandfather Raghunath Salgaokar (Jiji’s son) was the first person in the family to marry.

Jiji divided the vast property she had and Wadkar’s father was given the house in Sawantwadi. The mother, father, brother and young Wadkar shifted there and she joined a Marathi medium school where she studied till class IV. She also studied vocal music under Bhagwatbuwa but was not interested in singing. The family returned to Bombay and Hansa attended an English medium school for two years at Aryan Education Society School. However, she had to leave school when the family faced financial problems. The father had turned into an alcoholic and there was no money coming in the house. The mother insisted that Mohan being a boy should continue his studies, hence it was left on Wadkar to find work.

The influence of films was present from an early time. Wadkar’s father had three sisters, Kesharbai, Indirabai and Sushilabai. Sushila was married to Master Vinayak, a renowned actor-director of the early era of Indian cinema. The elder sister as well as Indira Wadkar were acting in films and Indira was a classical singer as well. Indira acted in several films including Duniya Kya Hai (Resurrection) (1937) and in Vinayak’s production company “Hans Films” like Devata (1939) in Marathi. Indira used the surname Wadkar to avoid using the family name Salgaokar, for fear of reprisal from society against women acting in films. Her older aunt, Kesharbai, was working in a film made by M.G. Rangnekar and suggested that Wadkar work in films to sustain her family.

In 1936, Wadkar acted in her first role as a heroine in Bapubhai Pendharkar’s Vijayche Lagane. A bilingual, made in Marathi and Hindi (Shadi Ka Maamla), it was directed by Mama Warerkar. The film was produced by Pendharkar’s Lalit Kala Production, its “first and last” film, as Pendharkar died soon after. When her brother objected to the family name being used in films, her name was changed from Ratan to Hansa, and the surname Wadkar was borrowed from her actress aunt, Indira Wadkar. Her salary at that time was Rs. 250 per month. The film was a success at the box-office.

Wadkar worked in a few films after this for different companies, which remained incomplete. She then joined Golden Eagle Movietone and learned Hindi from a Hindi scholar appointed for her by the company. She became proficient in the language, working in several Hindi films at the time like Meena, Prem Patra, Zamana, and Raj Kumar with Chetan Anand.

Marrying in 1937, she had to return to films once again due to shortage of money. She acted in two stunt films of Bhagwan Palav, having joined Harishchandrarao’s company. The films were Bahadur Kisan, and Criminal which was released in 1939. In 1938, she was cast in Zamana directed by Ram Daryani, starring Padma Devi who had earlier acted in India cinema’s first indigenous colour film, Kisan Kanya. The other co-stars were Dar (Jeevan) Gulab, Ameena and Amirbai Karnataki.

She worked in films made by Bombay Talkies, Prabhat, National studios and other banners. In all she worked in 27 films. She sang 10 songs in 3 films also.

Jagannath Bandarkar was one of the sons of the neighbour at Sawantwadi. His family was deemed of a “lower caste” than the Wadkars. Being ten years older than Wadkar, her brother and other family members did not approve of her closeness to him. However, her mother would ask her to call him over for lunch or odd jobs. When the Wadkar’s shifted to Bombay, Bandarkar followed. Having failed at setting up a printing press, he started a theatre company called Dominic Union and got Wadkar to join it. When her mother accused her of having an affair with Bandarkar, it made her do what she was thought was an unfair accusation. She writes of assuming this defiant and oppositional attitude later on too, when wrongly accused. Soon she was three months pregnant at age fifteen and Bandarkar and Wadkar were married on 6 September 1937, at Kittebhandari Marriage Hall in Bombay. Though she had “dreamed of a family life”, she had to resume work as Bandarkar’s company was financially unstable. She also had a miscarriage at this time.

Rekha, their daughter was born following the completion of Wadkar’s film Mera Gaon(1942). Over time when her husband physically abused her over some imagined wrong-doing, she would go out and do it. She started drinking and describes one drinking session in her autobiography where she was unconscious of what took place. She found herself in a village where Joshi, one of the men she had been drinking with brought her as his third wife. She stayed virtually imprisoned there for three years, till she was able to smuggle a letter out to her husband. He arrived with the police, and took her to the magistrate’s office in the neighbouring town, where she had to testify. The magistrate sent Bandarkar to get a signature on a paper and then proceeded to rape Wadkar. Since she did not speak out about the incident, no action was taken.

She went on to perform several plays, where she met Rajan Jawale, an actor, with whom she formed a bond that lasted till her death. She maintained a good relationship with all the female workers. Some of them became good friends like Lalita Devulkar.

Hansa Wadkar died on 23 Aug 1971 in Bombay Maharashtra, India.

Have you seen the film ” Bhumika”-77 ? Smita Patil had acted in this film. The film had earned the patronage of both, the Critics and the general public. The film received many awards and accolades. This film was based on the Autobiography of Hansa Wadkar.

Since the days Talkie films started till today,only 2 films were made on the real lives of actresses. One was ” Bhumika’-77 and the other was ” Zubeida-2000″ based on the actual life of actress Zubeida ( jr. ).

Shyam Benegal made a film on her autobiography (Sangte Aika) -Bhumika-1977. Hansa’s role was done by Smita Patil and Bandarkar was Amol Palekar The film was very successful and won many awards.

Now let us listen to this rare song by Bapurao Pendharkar. With this song the film and the singer make their Debut on the Blog.

( My Thanks for information used from
Marathi Cinema in Retrospect-Sanjit Narwekar
Maharashtra-Birthplace of Indian Cinema- Isak Mujawar
Poorvausrinche soor (पूर्वसुरींचे सूर)- Dr. Suresh Chandwankar
lalitkaladarsh.com
bhalchandrapendharkar.com
wikivisually.com
Cinestan
MuVyz
HFGK.
Harish Raghuvanshi ji, Surat and
My notes )


Song-Aavo aavo aavo jee (Shaadi Ka Maamlaa)(1937) Singer- Bapu Pendharkar, Lyrics- Pt. Dwijendra Sharma, MD- Unknown

Lyrics

aavo aavo aavo jee
aavo jee
aavo aavo aavo jee
aavo jee
preetam pyaare more nagar maan (?)
preetam pyaare more nagar maan (?)
aavo aavo aavo jee
aavo jee
aavo aavo aavo jee
aavo jee
preetam pyaaaaare
aa aa aa
preetam pyaare more nagar maan (?)
preetam pyaaaare
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
preetam pyaare more nagar maan (?)
preetam pyaaaare
preetam pyaare more nagar maan (?)
aavo aavo aavo jee
aavo jee
aavo aavo
man ki aaas
man ki aas ??
man ki aaaas
aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
man ki aas
aa aa aa
man ki aas
aa aa aa
man ki aaaas
man ki aaaas
aa aa aa
aa aa aa aa aa
aa aaa aa aa
aa aa aa
man ki aas ??
aavo aavo aavo jee
aavo jee
aavo jee
aavo jee
aavo aavo aavo jee
aavo jee
preetam pyaare more nagar maa (?)
preetam pyaare
aa aa aa
preetam pyaaaare
preetam pyaare more ??
preetam pyaare more ??
aavo aavo aavo jee
aavo jee
aavo jee
aavo aavo aavo jee
aavo jee
aavo aavo aavo jee
aavo jee
preetam pyaare more ??
aavo aavo aavo jee
aavo jee
aavo aavo aavo jee


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

Blog Day : 3855 Post No. : 14868

Today’s song is a surprise item. Just when we were ( atleast I was) feeling that all available film songs of Noorjehan are covered in the Blog, I came across this song. As a Bonus, even the complete video of this song was traced by me. For a long time, only a short clip of the song was available, but now you can enjoy the full video too.

The song is from film Lal Haveli-44. The film was made by Bombay Cinetone of K.B.Lal, the producer and director of the film. It seems the finance for this film was provided by one Rooplal Mehra, as per comment made by one of our readers. The film story was by R S Chaudhari, dialogues were written by Agha Jaan Kashmiri and Wajahat Mirza and the screenplay was done by the director K B Lal himself.

The cast of the film consisted of the then popular singing pair Surendra and Noorjehan, supported by Ulhas, Maya Banerjee, Badri prasad, Kanhiayalal, Baby Meena(Meena kumari), Alaknanda, Brijrani and few others. The veteran composer Meer Sahab composed the melodious songs written by Munshi Shams Lucknowi.

Noorjehan ( 21.9.1926 – 23.12.2000 ) had a very short span of career in India- 1942 to 1947, as far as Hindi films are concerned. Her first Hindi film was Khandaan-42 as an adult and the last film was Jugnu-47. She acted in only 15 films during this period. They were Khandan-42, Naukar-43, Naadaan-43, Duhai-43, Lal Haveli and Dost in 44, Zeenat, Gaon ki Gori, Bhaijaan and Badi Maa in 45, Hamjoli, Dil and Anmol Ghadi in 46 and Mirza Sahibaan and Jugnu in 47. In these films, as per one source, she sang just 68 songs. 66 songs of these are already discussed on the Blog. Today’s song will be the 67th song.

As long as Noorjehan was in India, people were mad about her singing. After she left India, people became Nostalgic about her. Many composers used to insist the female singers to sing like Noorjehan ( just like after Saigal, his copies were popular), for quite some time. Over a period of course this influence waned. Out of the many artistes-in different categories of film making- who migrated to Pakistan, no one became as successful as Noorjehan. Not because she was extraordinary, but because there was an aura of fame and awe about her singing.

During 1980,Zia Sarhadi, who too had migrated to Pakistan, visited India. While in Bombay, he was asked ” How is our Noorjehan ?” He replied,” the most successful artiste who came from India was Noorjehan in Pakistan.”
” How is her singing?”
” you call it singing because she is singing, otherwise there is no charm in her singing anymore. Shreiking is what she does now, instead of singing. People in India are nostalgic about her. And why not ? Her best songs finished in India only. What she is doing in Pakistan , I wont call that singing ! ”
These words from a poet who wrote songs for her, like ” Diya jalakar aap bujhaya ” and ” Aaa intezar hai tera “,speak a lot about Norjehan’s singing in Pakistan.( from the book ” From Noorjehan to Lata” by Isak Mujawar).

I am not a fan of Noorjehan. In fact, except Mohd. Rafi, I dont consider any singer ( that includes Lata too) versatile and heart touching singer. Of course this is my personal opinion. Every person has his own likes and dislikes. When the tune is lovely, music is appropriate and Lyrics are meaningful, any song by any singer-in general- can become popular, but when Lyrics are meaningless, music is average and the tune is ordinary, to render a song that will touch your heart makes a singer immortal-like Rafi.

Film Lal Haveli-44 had some less known artistes namely Alaknanda and Brij Rani. Let us know more about them.

Brij Rani was born in 1921 at Shikarpur, Sindh province, in a well to do business family. She studied up to Matriculation and also qualified as a Middle School Teacher. However, she opted to join films as an actress. Her first film was Jeewan Jyoti-37, doing an un credited small role to get the feel, followed by Calcutta after Midnight-37, Aurat-40, Wayda-40, Ulti Ganga-42, Daughters of the Jungle-43, Bhagta Bhoot-43, Circus Girl-43 etc . She was getting roles only in stunt films and C grade films. Being from a business community, she started her own company- Bharat productions and herself made stunt films.
Meanwhile she continued acting in films like Lal Haveli-44 and acted and directed film Circus King-46 and film Sajni-47. Then there was a gap. probably she looked after her family. In 1951, she directed film Daamaad-51.

You will find one more name in the cast-Alaknanda. In Hindi films, there were many sister-pairs who worked as actresses, but in the history of Hindi films-both Silent as well as Talkie- there have been only 3 sets of 3 sisters who worked as actresses in the same periods. The first set was of Zubeida, Sultana and Shehzadi in the early 30s. Then in the 40s came the second set of Alaknanda, Tara and Sitara Devi. In the 50s, the last Trio of Padmini, Ragini and Lalitha worked in same period. After this, to my knowledge, no such Trio of actresses came on the screen. If you count step-sister also, then Mehtab was the step sister of Zubeida, Sultana and Shehzadi trio. This made them the only Quartet of Sister Actresses in Hindi Film History ever ! Even their mother Fatima acted, directed and Produced films, to boot !! Alas ! Their father did not join films !!!

Alaknanda was born in or around 1910 in a Banares situated Mishra family. Her clan had a tradition of singing in temples for the last 5 centuries. The family had close relations with Nepal and its Royal family. Her Grandfather was a court singer. Her grandmother and mother were from Nepal, so Alaknanda called herself as ‘ half Nepalese ‘.

When her father wanted to train her and her younger sister Tara, in Dancing and music, there was opposition from their society. Therefore the family moved to another corner of Banares and he started a Music school and trained children of Royal families from Bengal. In one of their visits to Calcutta, Sitara Devi was born in Calcutta. Alaknanda’s first Talkie film was Suryakumari-33. She worked in 37 films till late 40s. All three sisters worked together in film Haiwaan-40. She had sung 15 songs in 7 films. She got Cancer and died sometime in or around 1947. Not much information is available about her or her sister Tara/Tara Devi/Tarabai. Vithal Pandya, in his book mentions that in her last days, Tara stayed in Bombay slums and worked as extra in films in her old age( Famous dancer Gopi krishna was her son). Sitara Devi, on the contrary,lived a famous,rich and majestic life, with several marriages. That’s life, anyway.

Film Lal Haveli-44 story was nothing new. It was spun around an old time Thakur- beautiful daughter- cruel creditor etc type story. The story was-

Thakur Ramchand lives in his ancestral Haveli, of which he is very proud. His sister has eloped with an ordinary soldier. He had objected to their love story as the boy was from a lower caste. The soldier dies in war and his sister commits suicide. Thakur is very sad. His daughter Mukta (Noorjehan) is in love with her childhood friend Anand (Surendra). Thakur’s haveli is already mortgaged with seth Laxman singh. When thakur knows about Mukta’s love, he bans Anand from coming to their house, but the lovers meet secretly. Mukta is sent to attend the marriage of the daughter (Maya Banerjee) of Laxman singh. There, Laxman Singh’s son Jawahar (Ulhas) sees Mukta and desires her. On Mukta’s return to Thakur, Laxman singh proposes her marriage with Jawahar in return of his Haveli.
Mukta, to save family pride, agrees to this marriage. Anand is upset and joins Army and goes to the war front. Anand is injured severely. In the meantime Thakur dies and the marriage gets cancelled. Enraged, Jawahar decides to burn the Haveli as a revenge. Anand returns to the village, comes to know this. There is a confrontation of Jawahar and Anand. Finally, Jawahar has a change of heart, seeing the true love of Mukta and Anand and he blesses their marriage with Lal haveli as a Marriage Gift. So, all is well, happy ending.

In today’s video, see Noorjehan, Ulhas, Maya Banerjee, dancing- singing girls and enjoy this melodious song.


Song-Bhaiyya hamaaro jee (Laal Haweli)(1944) Singers-Unknown female voice, Noorjahaan, Lyrics-Shams Lucknowi, MD-Meer Sahab
Chorus

Lyrics

bhaiyyaa humaaro ji ee
bhaiyaa humaaro ji
aayi hain bahne aas lagaaye
aayi hain bahne aas lagaaye
dekho khadi hain duaar
dekho khadi hain duaar
bhaiyaa humaaro ji ee
bhaiyaa humaaro ji

haathon mein pahnungi sone ke kangan
haathon mein pahnoongi sone ke kangan
heere kaa pahnoongi haar
haar

heere kaa pahnoongi haar
bhaiyaa humaaro ji
bhaiyaa humaaro ji
bhaiyaa humaaro ji

pahanoongi main to dhaake ki saadi
pahanoongi main to dhaake ki saadi
bambay kaa gotaa kinaar

bambay kaa gotaa kinaar
bhaiyaa humaaro ji
bhaiyaa humaaro ji
bhaiyaa humaaro ji

na mohe chaahiye kangan naa saadi
na mohe chaahiye kangan naa saadi
naa teraa gotaa kinaar
naa teraa gotaa kinaar
ik bol kehde ae mere bhaiyaa
ik bol kehde ae mere bhaiyaa
pyaar se behna pukaar
pyaar se behna pukaar
bhaiyaa humaaro ji ee
bhaiyaa humaaro ji
bhaiyaa humaaro ji
aayi hain behnen aas lagaaye
aayi hain bahnen aas lagaaye
dekho khadi hain duaar
dekho khadi hain duaar
bhaiyaa humaaro ji
bhaiyaa humaaro ji


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(© 2008 - 2019) 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.

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 TEN years. This blog has over 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15070

Number of movies covered in the blog

Movies with all their songs covered =1171
Total Number of movies covered =4135

Total visits so far

  • 11,800,356 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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