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

Prahlad Keshav Atre, popularly known in Maharashtra as Acharya Atre (1898-1969) was a multi-talented personality of Maharashta. He was a writer, a playwright, a poet, an educationist, a journalist, a politician and producer-director-screen play & dialogue writer. During his association with Hindi films, Acharya Atre produced films like ‘Charnon Ki Daasi’ (1941), ‘Raja Rani’ (1942), ‘Vasantsena’ (1942), ‘Tasveer’ (1943), ‘Dil Ki Baat’ (1944), ‘Parinde’ (1945) and ‘Dulha’ (1946) under the banner of Atre Pictures.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Baburao Patel, the fiery editor of ‘Filmindia’ magazine ( later known as ‘Mother India’) was associated with Hindi film industry since 1931. During 1931-35, he directed 5 films – “kismet’ (1931, Silent film), ‘Sati Mahananda’ (1933), ‘Maharani’ (1934), ‘Bala Joban’ (1934) and ‘Pardesi Saiyaan’ (1935) . However, with the starting of his monthly film magazine ‘Filmindia’ in 1935, Baburao Patel appeared to have taken a long sabbatical from Hindi film industry to concentrate on his editorial work. He again joined Hindi film industry in 1944 as producer and director of the film ‘Draupadi’ (1944), to promote Susheela Rani as actor-singer. This was followed by another film ‘Gwalan’ (1946).
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

I am aware that Begum Para and Paro Devi are two different actresses. There is no same name confusion. Yet momentarily, I tend to get confused with the names of these two actresses. If someone to ask me as to which one of these two actresses was in the film ‘Neel Kamal’ (1947), I may have to think for a while before giving the correct answer, that is Begum Para.
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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Internet allows us to share information as never before in history. Internet, if used properly and with care has the potential to add tremendously to our knowledge base. At the same time, we must guard against incorrect information that often gets spread on internet.

Coming to HFM, the subject of interest to us, a vast ocean of HFM is publicly available for us to enjoy. Thanks to HFM, we also know about the songs that we are missing.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

What is the main feature in three sets of songs given below?
1(i). do dilon ko ek dil milaakar banaana yaad hai – Kamala (1946)

(ii). kat rahi hai bekasi mein har ghadi tere baghair – Deewaani (1947)

2(i). wo dekho udhar chaand nikla gagan mein – Roopkumari (1956)

(ii). nigaahon mein tum ho khayaalon mein tum ho – Jaadoo Nagri (1961)

(iii). ye tan man watan par nichhawar karenge – Kunwaari (1966)

3(i). aaj mausam ki masti mein gaaye pawan – Banarasi Thug (1962)

(ii). ek chameli ke mandve tale – Cha Cha Cha (1964)
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

… a lilting voice […]
falling softer than petals from blown roses on the grass,
and then lingering on and echoing endlessly…

(excerpted from an article by Anup Kumar Pande, published in the Hindu dated December 17, 2004).

A description more decent, more appropriate, I have not been able to find, or even be able to conjure up. The word ‘grace’, characterizes this persona, in ways more than one. And in all ways, nothing more appropriate would appeal – the ‘grace’ of the Almighty, that was gifted to her; the ‘grace’ with which she carried this gift through a lifetime that can only be described as matchlessly supreme; and the ‘grace’ with which she conducted her life, and herself, in an era wherein being blemish-less is a dream accomplishment.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

In the 1930s and 1940s, there was a producer and director by the name of Kikubhai Desai. He had produced and directed many mythological films in the silent era. With the advent of talkies in 1931, Kikubhai Desai switched over to talkies. His expertise lay in producing talkies of stunt, costume and magical genres. He also directed a few of these films produced by him under these genres. Some of the films he produced under the banner of Paramount Pictures were ‘Chalta Purza’ (1934), ‘Khooni Kanjhar’ (1935), ’Jaadui Danda’ (1935), ‘Burkhawali’ (1936), ‘Guru Ghantal’ (1937), ‘Alladdin Aur Jaadui Chiraag’ (1938), ‘Aflatoon Aurat’ (1940) etc. These films were meant for mass entertainment only. The films were produced at his own Paramount Studio, now known as Filmalaya Studio.
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today’s song is from the film Hamara Hindustan-50, made and directed by a German-Paul Zils. The film is making its debut, so not much will be known about this German- Paul Zils.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Recently, Tommydan55 has uploaded the film PREM KAHAANI (1937) with some cleaning and restoration works relating to both the video and the audio. The full film is here. The result was that I got motivated to watch the movie without much of the strain on my eyes. What a film! As against my expectation of a slow moving story of the film which was my experience in most of the films of the 30s, this film was different. The slick editing of the film ensured that the story moved in a pace comfortable for viewing. This may be the reason as to why I could watch the movie in one sitting which I seldom do especially in respect of old classic Hindi films of 30s and 40s. The DVD/VCD of the movie is of 1 hour 30 minutes which means that the film has been heavily edited for DD/VCD including a couple of songs. But I did not find much issue with the continuity of the story.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Ever since talkies came in to being in 1931, there have been some classical and semi-classical female singers who got attracted to Hindi film industry as actor-singers and playback singers in the 1930s and the 1940s. Begum Akhtar, Mukhtar Begum, Indubala, Roshanara Begum, Mallika Pukhraj, Saraswati Rane etc were some of the names that come to my mind. However, their filmy careers was short and soon they returned to the concert singing as their main vocation.

One of the lesser known names in this category of singers was Sundarabai of Poona.
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What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 12400 song posts by now.

Total number of songs posts discussed

12401

Number of movies covered in the blog

Movies with all their songs covered =814 Total Number of movies covered =3476

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