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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 Sudhir, 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.

Blog Day : 3681 Post No. : 14576

Greetings to all friends and readers, as India celebrates another anniversary of its freedom from foreign domination.

A lot can be and has been said and debated about this theme, in the press, in the media, in personal conversations. . . there is never a perfect closure to these discussions. Yes, the honor of the nation is an emotion that should and almost always does, transcend all other emotions. I say almost, because, at least in my evaluation of an individual’s relationships with the surroundings and the society, the matters of culture and humanism would at times weigh in more than national pride. In my mind, the definitions of national boundaries are quite artificial. They are more often than not, drawn by vested and many a times malicious intentions. Humanism, on the other hand, has no boundaries, period, none whatsoever across the planet. And culture – well it is defined more by environmental forces and the flow of historical compulsions. Culture grows. It develops and spreads driven by natural boundaries, and human acceptance of that which correctly conforms to the natural affinities and tendencies.

History, they say, is always written by the victorious. And they also say, that the Gods favor the righteous. One would thus expect the flow of human experience should be more correct and righteous. But it is not. The history of the human experiences is fraught more with misery and evil, than anything else. In the circumspect analysis, one would then conclude contrary to “. . . the Gods favor the righteous”, that might is right. Because more often than not, the victorious generally are the stronger contender, and also, more often than not, they are ruthless in their beliefs. And if not, the victory brings them to that point where they become so. Power corrupts – invariably.

Of all the good and bad topics in the history of what we call the struggle for independence of India, for me, the most punishing act inflicted on our nation, and more importantly, our culture, was the partition of our land. And lest we forget, our nation was partitioned more than once, and quite surreptitiously, before the much celebrated and bloody events of 1947.

First, in 1896, the Durand Line was drawn that created Afghanistan. For millennia before that, even before the Muslim and Mughal clans invaded India, the kings of this subcontinent had ruled over the land of Afghans and beyond, and had the regions of Samakkand and Bukhara in their regime. That was the first cut.

Then, in 1914, a conference was held in Simla. The McMahon line was announced and the Tibetan regions were delinked from India, formally by creating an international boundary. The next cut came in 1937 – the boundaries on the east were redrawn and Burma was carved out as a state, separate from India. And then, of course the cruelest cut of all, came in 1947 with the adoption of the Radcliffe line and the creation of a separate nation of Pakistan in two parts, the West and the East. Over a period of just about 50 years, a grand continent nation with its grand culture, that stretched from the Pamirs in Central Asia, to as far as Siam (now Thailand) and Cambodia in the Far East, was reduced to half its original spread.

Going across a vast region of land, having a variety of geographies – plains, mountains and deserts, having people speak more than a thousand dialects, having people with a plethora of contrarian food habits – still this vast expanse of land was united by a single seminal culture that arose from the earth of this sub-continent.

Couple of days back, when I was doing some research on ‘Urvashi’ and Ramdhari Singh Dinkar, for the post by Bharat Bhai, my eyes caught another related reference – a historical treatise of major proportions, authored by the same Dinkar. The title – ‘संस्कृति के चार अध्याय’ (‘Sanskriti Ke Chaar Adhyaye’ – a history of our culture in four chapters). In this path break historical thesis, Dinkar has charted the course of evolution of the culture of this subcontinent. The first segment talks about the Vedic origins of our culture. The second segment examines the rise of Buddhism and Jainism – the conflict and then the subsequent coming together in a single society. The third segment documents the advent of Islam, the reign of the Islamic dynasties – once again, the conflict and then the subsequent genesis of the Ganga-Jamni culture of peaceful co-existence. The fourth segment studies the invasion by the European kingdoms and the associated arrival of Christanity to the shores of this nation. Yet once again, discusses the conflict and the eventual prevalence of the merged society.

Over the ages, the culture of this land has exhibited a remarkable resilience to external influences, even potentially destructive influences. In the four phases of the history researched and documented by Dinkar, each phase establishes the thought supremacy of the tolerant and humanist culture of this land, that imbibed all that came to it, accepted them as different and yet the same, allowed a peaceful coexistence outside of the political machinations, and made the foreigners love it, and blend into it. That, in my opinion, is the superlative strength of this culture. And just because of this strength, I believe this culture will never be, it cannot be – destroyed. No wonder, our forefathers called it the ‘सनातन संस्कृति’ – a culture that is timeless, without a beginning and without an end.

I have a dream. Generally it is said – dreams are dreams. And nothing more. But still – I have a dream. And the dream comes from my desire to be able to go back to the land of my familial ancestors, to the places where my parents and grandparents were born and where they lived and thrived. The partition of 1947 was a disaster of proportions much greater than the Holocaust that was wreaked upon Europe by Hitler and his Germany. The number of people who suffered at the hands of the Third Reich is of the order of 5 million. The 1947 partition consumed anywhere between 10 to 20 million people on both sides of the border. And yet, the world historians do not discuss this monumental human tragedy as what it really is.

That is the power of subjugation and slavery that our self serving political leadership has always accepted and acquiesced to. There are many examples in world history, where nations have been partitioned and separated, and then they have come together once again, because the people wanted it to be so. The US has seen its own flavor of this partition during the Civil War (1861 – 1865), but they fought to bring it back together. Germany was partitioned in 1945 and the people finally toppled the Berlin Wall in 1989. Vietnam was divided and it fought the greatest superpower for decades, so it could be one once again. And now the efforts for Korea are beginning to be heard.

I have a dream, which I am quite sure will always remain a dream.

The song I present today is from a film that needs not introductions. Three songs of this musical bonanza are already showcased on our blog. I picked this film and this song for this post, because this film, as recently as 14 years ago, made a very courageous attempt to call out a spade, a spade. It is this and other similar literary and cultural expressions that give a breath of life to the dream I have. And the thing that I simply love about this film and this song, is the unabashed expression that confirms that the two neighbors are the same land and the same culture.

aisa des hai mera
ho oo
jaisa des hai tera

Ah yes, this song confirms my dream. But I also know that my dream will always remain a dream. . .

The film is ‘Veer Zaara’ from 2004. It has been a popular hit in its time, and I am sure I do not need to cover more details – friends and readers are likely already familiar. The song is written by Javed Akhtar. The music has been adapted from the unused tunes created by the late Madan Mohan, which are now in the collection of his son, Sanjeev Kohli. The singing voices are those of Udit Narayan, Lata Mangeshkar, Pritha Majumdar, and the famous Punjabi folk singer and actor Gurdas Maan, who makes a brief cameo appearance in this song itself.

Today morning, I read an article written by Anupam Sinha, that was carried in the Indian Express newspaper. Readers will be familiar with this name – he is the director of ‘Mulk’, the Rishi Kapoor starrer that is released just recently – on the 3rd of this month itself. In the film and the in the article, Anupam Sinha is raising many uncomfortable questions about the direction of the destiny of this nation and this land. Questions that today are becoming more and more difficult to articulate in the evolving ethos of the culture of this sub continent. That says quite a bit, doesn’t it. Yes, it is becoming more and more difficult to raise such questions.

That is the source of my fears – that my dream is always going to remain a dream. . .

Song – Aisa Des Hai Mera (Veer Zaara) (2004) Singer – Gurdas Mann, Udit NarayanLata Mangeshkar, Pritha Majumdar, Lyrics – Javed Akhtar, MD – Madan Mohan
Female Chorus
Male Chorus

Lyrics

oo ooo oo oo
ooo oo oo oo oo
oo ooo ooo ooooo

amber hethaan
dharti vasdi
aithe har rut hasdi
ho oo oo oo

kinna sohna
des hai mera
des hai mera
des hai mera. . .
kinna sohna
des hai mera
des hai mera
des hai mera. . .

dharti subehri ambar neela. . . ho oo
dharti subehri ambar neela
har mausam rangeela
aisa des hai mera
ho oo aisa des hai mera
aisa des hai mera
haan aisa des hai mera
boley papiha koel gaaye..ey..ey..ey
boley papiha koel gaaye
saawan ghir ke aaye
aisa des hai mera
ho aisa des hai mera
aisa des hai mera
haan aisa des hai mera

mundere mere
kaaga boley wey
chithi mere maahi di
chithi wich mera naam wey
chithi mere maahi di

gehun ke kheton mein
kanghi jo karen hawaayen
rang birangi kitni
chunariya ud ud jaayen
panghat par panihaaran
jab gagri bharne aaye
madhur madhur taanon mein
kahin bansi koi bajaaye
lo sun lo
kadam kadam pe hai mil jaani..ee..ee
kadam kadam pe hai mil jaani
koi prem kahaani
aisa des hai mera
ho aisa des hai mera
aisa des hai mera
haan aisa des hai mera

ooo oo oo oo oo oo
oo oo oo oo oo oo
oo ooo ooo oooo oooooo
ho meri jugni de taaghe pakke
jugni os de munh to fabbe
jinun satt ishq di lagge
o saain mere..aa o jugni
(hooo oooo  ooooye)
veer mere..aa o jugni kehndi ai
o naam saain da lendi ai

hoyyye hoyyye
hoyyye hoyyye
hoyyye hoyyye
hoyyye hoyyye
oy dil kadd litta ee jind meri..aa

baap ke kandhe chadh ke
jahaan bachche dekhen mele
melon mein nat ke tamaashe
kulfi ke chaat ke thele
kahin milti meethi goli
kahin churan ki hai pudia
bhole bhole bachche hain
jaise gudde aur gudiya
aur inko
roz sunaayen daadi naani..ee..ee
ho oo
roz sunaayen daadi naani
ik pariyon ki kahaani
aisa des hai mera
ho aisa des hai mera
aisa des hai mera
haan aisa des hai mera

sadke sadke jaandi e mutiyaare ni
kanda chuba tere pair baanki e naare ni
oy
ni adee e

kanda chuba tere pair baanki e naare ni
kaun kadde tera kaandra mutiyaare ni
kaun sahe teri peed baanki e naare ni
oy
ni adee e

kaun sahe teri peed baanki e naare ni

ho oo
ho ho
ho ho ho ho ho
mere des mein mehmaanon ko
bhagwaan kaha jaata hai
wo yahin ka ho jaata ha
jo kahin se bhi aata hai

aaa haa aaa aaa aaa aaa
aaa aaa aaa aaa
tere des ko maine dekha
tere des ko maine jaana
aaa aaa aaa aaa
tere des ko maine dekha
tere des ko maine jaana
jaane kyon ye lagta hai
mujhko jaana pehchaana
yahaan bhi wahi shaam hai
wahi savera..aa..aa ho oo
wahi shaam hai wahi savera
aisa hi des hai mera
jaisa des hai tera
waisa des hai mera
haan
jaisa des hai tera

aisa des hai mera
ho oo
jaisa des hai tera

aisa des hai mera
haan
jaisa des hai tera

aisa des hai mera
ho oo
jaisa des hai mera

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ओ ओss ओ ओ
ओss ओ ओ ओ
ओ sओ ओ ओss ओssss

अम्बर हेठां
धरती वसदी
ऐथे हर रूत हसदी
हो ओ ओ
किन्ना सोह्णा
देस है मेरा
देस है मेरा
देस है मेरा॰ ॰ ॰
देस है मेरा
देस है मेरा
देस है मेरा॰ ॰ ॰

धरती सुनहरी अम्बर नीला॰ ॰ ॰
हो ओ
धरती सुनहरी अम्बर नीला
हर मौसम रंगीला
ऐसा देस है मेरा
हो ओ ऐसा देस है मेरा
ऐसा देस है मेरा
हाँ ऐसा देस है मेरा
बोले पपीहा कोयल गाए॰॰ए॰॰ए॰॰ए
बोले पपीहा कोयल गाए
सावन घिर के आये
ऐसा देस है मेरा
हो ऐसा देस है मेरा
ऐसा देस है मेरा
हाँ ऐसा देस है मेरा

मुंडेरे मेरे
कागा बोले वे
चिट्ठी मेरे माही दी
चिट्ठी विच मेरा नाम वे
चिट्ठी मेरे माही दी

गेहूं के खेतों में
कंघी जो करें हवाएँ
रंग बिरंगी कितनी
चुनरिया उड़ उड़ जाएं
पनघट पर पनिहारिन
जब गगरी भरने आए
मधुर मधुर तानों में
कहीं बंसी कोई बजाए
लो सुन लो
कदम कदम पर है मिल जानी
कदम कदम पर है मिल जानी
कोई प्रेम कहानी
ऐसा देस है मेरा
हो ऐसा देस है मेरा
ऐसा देस है मेरा
हाँ ऐसा देस है मेरा

ओss ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ
ओ ओss ओss ओsss ओsssss
हो मेरी जुगनी दे तागे पक्के
जुगनी ओस दे मुंह तो फब्बे
जिनूं सट्ट इश्क़ दी लग्गे
ओ साईं मेरे॰॰आ ओ जुगनी
(हो॰॰ओ॰॰ ओए)
ओ साईं मेरे॰॰आ ओ जुगनी कहंदी ऐ
ओ नाम साईं दा लैंदी ऐ

होय्ये॰॰ होय्ये॰॰
होय्ये॰॰ होय्ये॰॰
होय्ये॰॰ होय्ये॰॰
होय्ये॰॰ होय्ये॰॰
ओ दिल कड्ड लित्ता ई जिंद मेरी॰॰आ

बाप के कंधे चढ़ के
जहां बच्चे देखें मेले
मेले में नट के तमाशे
कुल्फी के चाट के ठेले
कहीं मिलती मीठी गोली
कहीं चूरन की है पुड़िया
भोले भोले बच्चे हैं
जैसे गुड्डे और गुड़िया
और इनको
रोज़ सुनाएँ दादी नानी॰॰ई॰॰ई
हो ओ
रोज़ सुनाएँ दादी नानी
इक परियों की कहानी
ऐसा देस है मेरा
हो ऐसा देस है मेरा
ऐसा देस है मेरा
हाँ ऐसा देस है मेरा

सड़के सड़के जानदी ए मुटियारे नी
कंडा चुब्बा तेरे पैर बाँकी ए नारे नी
ओय नी अड़ीए

कंडा चुब्बा तेरे पैर बाँकी ए नारे नी
कौन कड्डे तेरा कांडड़ा मुटियारे नी

कौन सहे तेरी पीड़ बाँकी ए नारे नी
ओय नी अड़ीए
कौन सहे तेरी पीड़ बाँकी ए नारे नी

हो ओ
हो हो
हो हो हो हो हो

मेरे देस में मेहमानों को
भगवान कहा जाता है
वो यहीं का हो जाता है
जो कहीं से भी आता है

आs हाs आs आs आs आs
आs आs आs आs
तेरे देस को मैंने देखा
तेरे देस को मैंने जाना
आs आs आs आs
तेरे देस को मैंने देखा
तेरे देस को मैंने जाना
आs आs आs आs
जाने क्यों ये लगता है
मुझको जाना पहचाना
यहाँ भी वही शाम है
वही सवेरा॰॰आ॰॰आ हो ओ
वही शाम है वही सवेरा
ऐसा ही देस है मेरा
जैसा ये देस है तेरा
वैसा देस है मेरा
हाँ
जैसा देस है तेरा

ऐसा देस है मेरा
हो ओ
जैसा देस है तेरा

ऐसा देस है मेरा
हाँ
जैसा देस है तेरा

ऐसा देस है मेरा
हो ओ
जैसा देस है मेरा

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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.

Blog Day : 3678 Post No. : 14569

“Draupadi”(1944) was directed by Baburao Patel for New Hans Pictures Limited, Bombay. The movie had Susheela Rani in the role of Draupadi who had also written the screen play. Other actors in the film were Chandramohan, Mazhar Khan, Surekha, Rani Bala, K N Singh, David, Badri Prasad, Kanhaiyalal, Leela Mishra, Nandu Khote, V G Pusalkar, D M Vaideshi, Madukar Gupte, Radhapyari, Premlata Dongre, Anant Marathe,Dixit, Raj Biswas, P R Joshi, Vasant Kanse, Ram Gopal, Janki etc.

The move had 9 songs in it. One song has been covered in the past.

Here is the second song from “Draupadi”(1944) to appear in the blog. This song is sung by Susheela Rani. Pt Indra Chandra is the lyricist. Music is composed by Hanuman Prasad.

Only the audio of the song is available. It is clear that the song was picturised on Susheela Rani herself.

I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-Baandh ke rakhoongi tohe nainon mein Kaanha(Draupadi)(1944) Singer-Susheela Rani, Lyrics-Pt Indra, MD-Hanuman Prasad

Lyrics

baandh ke rakhoongi tohe nainon mein kaanha
baandh ke rakhoongi tohe nainon mein kaanha
main jaanewaale ko jaane na doongi
main jaanewaale ko jaane na doongi
baandh ke rakhoongi tohe nainon mein kaanha

chhup na sakoge ab gwaalan ke ghar mein
chhup na sakoge ab gwaalan ke ghar mein
?? gokul banaaungi kaanha
?? gokul banaaungi kaanha
baandh ke rakhoongi tohe nainon mein kaanha

neg chukaao ?? bahan ka
neg chukaao ?? bahan ka
na maanoongi tumko sunaaungi kaanha
na maanoongi tumko sunaaungi kaanha
baandh ke rakhoongi tohe nainon mein kaanha

mat jaa re kaanha
?? hathheele
mat jaa re kaanha
?? hathheele
angna ko madhuban banaaungi kaanha
angna ko madhuban banaaungi kaanha
baandh ke rakhoongi tohe nainon mein kaanha

laakh jatan chaahe kariyo kanhaiyya
laakh jatan chaahe kariyo kanhaiyya
gaye to phir se bulaaungi kaanha
gaye to phir se bulaaungi kaanha
baandh ke rakhoongi tohe nainon mein kaanha
baandh ke rakhoongi tohe nainon mein kaanha


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 : 3676 Post No. : 14564

Today’s song is from film Watan-1938.

This was a film made by Sagar Movietone. Those days, Sagar was a powerful film making company. They had the best of directors, big stars and MDs. Directors like Mehboob. Sarvottam Badami, Chimanlal Luhar, Ramchandra Thakur, Zia Sarhadi, Ezra Mir ( real name Edwyn Meyers), Virendra Desai,Nanubhai Vakil etc gave famous and popular films. However, not all films made by Sagar were High Class. Film ” Watan” was also one such film, which probably worked as a ‘ filler ‘ for Sagar. 1937 and 1938 were the Golden years for Sagar, in which the company gave popular films like Jagirdar-37, Mahageet-37, Gramophone singer-38 and 300 days and after-38.

Film Watan-38 had a cast of Kumar, Bibbo, Sitara Devi,Maya Banerjee, Yakub and other regulars of Sagar. The film also included Ram Marathe ( credited as Ramchandra), who became a very famous classical singer in later years. The film was directed by Mehboob and the music was by Anil Biswas. Initially Sagar had their favourite MD, S.P.Rane, who was a Maharashtrian from Gujarat. Out of Sagar’s first 18 films, Rane was MD for 15 films. Anil Biswas was associated with Sagar from film Manmohan-36, as an assistant to Ashok Ghosh. Independently, his first film was Jagirdar-37. Later he gave music to 11 more films of Sagar and 2 films of National Studios. he and director mehboob Khan teamed up in 6 films and were very good fiends-till a misunderstanding cropped up, after Sagar merged into National Studios. After this they never worked as a Team.( In 1956, Anil Biswas gave music to film Paisa hi Paisa, made by Mehboob Productions . However, the film’s director was Mehrish- who had insisted for Anil Biswas- and not Mehboob. During the film’s making, Mehboob avoided meeting AB and even left on foreign tour without meeting him even once ! ).

The Hero of the film Watan-38 was Kumar. Actually his real name was Syed Hasan Ali Zaidi. The change of his name to Kumar was part of an interesting story. Anyway, one can easily say that Kumar was the pre-cursor to the unlimited crop of various Kumars that we saw in the decades of 50s onwards.

In Hindi film industry, changing the name of the artiste was nothing new. One thing is sure. This trend of changing names was started by Kumar only. Many actresses changed their names after coming in films. Some did it because they wanted to hide their religion and some did it as there were artistes with the same name already in films. For example, Shyama. There were already 2-3 Khurshids in the films and her real name was Khurshid, so she changed it. Similarly, Meena Shorey’s name was also Khurshid. Some of the actresses who changed their names were, Jyoti, Renuka Devi, Purnima, Meena kumari, Madhubala, Rattanbai, Madhuri, Pramila, Sabita Devi, Bimla kumari, Indira Devi, Latika, Seeta Devi, Manorama, Nadira, Meera etc etc.

In case of male actors, the name changing percentage was mush less. Few cases like Ashok kumar, Kishore kumar,Ranjan,Dilip kumar,Manhar Desai and some more can be counted. Male name changing was seen in as late period as the 80s and 90s too. Cases in point are Rajesh khanna, Akshay kumar etc etc.

Actor KUMAR was born in the prestigious family of Syed s of Lucknow-UP in India,on 23-9-1903.His real name was SYED HASSAN ALI ZAIDI.
His family used to call him MIJJAN Miyan.

He was a handsome and tall person.He was keen on joining cinema,so he came to Calcutta and joined New Theatres. After doing side roles in Subah ka Tara and Zinda lash,he was hero in PURAN BHAGAT in 1933.Even Saigal was also in the film.The film was about to be released and suddenly communal riots broke out in Calcutta.The new Theatre management found it difficult to announce a muslim name of the hero of PURAN BHAGAT,in the tense atmosphere of Calcutta.The director of the film was kumar Debaki Bose,a person from a Royal family.He took a dicision and told Mijjan,” from today,I am giving you a part of my name.You will become KUMAR now.”This solved the film release problem and thus his name became KUMAR,then onwards.Truly enough,Debki Bose,thereafter, never used his name Kumar again in his life !

After doing Yahudi ki Larki,Kumar came to Bombay. First he worked in Sagar ( 5 films) , Imperial (2 films)and then joined Ranjit Studios.
In 1939,he married another actress PRAMILA ,who was actually a Jew, Esther williams. Pramila was later India’s FIRST Miss India in 1947.They got a son and a daughter Naqi Jehan(who too became a Miss India in 1967,exactly 20 tears after her mother. Naqi acted opposite Rajesh Khanna in Akhari Khat,as a Heroine.Later she married into the business family of Kamdar of Bombay and became mrs.Nandini Kamdar. Kumar had 3 sons from his earlier marriage.

Kumar did many films in Ranjit,but in 1942,he was removed from Ranjit.At the same time,his friend,CHANDRAMOHAN also left Minerva Movietone( reason-despite PUKAR-39 being a blockbuster,his salary was not increased inspite of a promise by Sohrab modi).They both decided to lauch own company and on 16-3-1942,SILVER FILM CO. was launched.Its first film was Jhankaar.They produced Bhalai,Bade Nawab Saab,Devar,Naseeb,Dhun and Bahana.Kumar acted in these films.he also directed Dhun and Bahana.

He produced and directed Aap-Beeti-1948 under his company,Kumar Studios.Then under Shama prodn. he made Nahle pe dehla,Dhoom Dham and Dilbar.
later in life he made badal aur bijlee and jungle king under Artists United films. Kumar worked in 73 films as an actor from 1932 to 1963.

From Najma in 1943,Kumar did only character roles in films like bhishm pratigya,Dayara,mahal,Shri 420,khiladi,Maalik,Baiju Bawra,yahudi ki ladki. His memorable role was in Mughal e Azam,that of the sculptor and a famous song-‘Aye mohabbat zindabad’ was shot on him. His last film was Raat aur Din (released in 1967)

In 1963, Kumar migrated to Pakistan, and started to work in Pakistani films without any delay. His son, S. A. Hafiz, who made Tauba, later became one of the best and well known directors of the country. Later he settled in USA. Kamal and Zeba played the lead in Tauba, which became a grand success. Kumar worked in quite a few Pakistani films, including Head Constable, Azad, Shabnam, Naela, Saiqa, Sajda (his own film), Hum Dono, Nadya Ke Paar, Ik Musaflr Ik Hasina, Baalam etc. Kumar died in 1982.

Film Watan-38 was directed by Mehboob Khan. He directed 8 films for Sagar and 1 (Aurat) for National Studios. This film, with a Muslim cultural backdrop, was released on the day of Eid. The film was dominated by grand sets and costumes. The story was usual. Conflict between Kazak and Tatar communities, lasted many generations. The film was a complete entertainment package, consisting of Dances, songs, war scenes, Enemity, Revenge, overwhelming costumes and love scenes, in a proportionate manner.

The music was composed by A.Biswas. All songs were written by Wajahat Mirza. Today’s song, ” Kyun hum ne diya dil ” by Sitara Devi was the most popular song of the film. There were total 10 songs. One of the songs-a duet by Anil Biswas and Bibbo was based on the tune made by kazi nazrul Islam ( Nazrul Geeti).

Today’s song is extremely enchanting and I would list it as the best song of Sitara Devi ( she sang 100 songs in 33 films). It truly sounds as a sad and remorseful song. The words of the song remind me of a duet by Surendra and Shamshad begum ” Kyun unhe dil diya” from film Anokhi Ada-48, composed by Naushad.


Song-Kyun hamne diya dil (Watan)(1938) Singer-Sitaara Devi, Lyrics-Wajahat Mirza, MD-Anil Biswas

Lyrics

Kyun ham ne diya dil
thha kiska ishaara
Kyun ham ne diya dil
thha kiska ishaara
aur kis ne kaha thha
ham tumse kahen kya
aur kis ne kaha thha
ham tumse kahen kya
Kyun ham ne diya dil
tha kiska ishaara
Kyun ham ne diya dil

wo khwaabon mein aana
dil mera churaana
wo khwaabon mein aana
dil mera churaana
aur deke ye jaana
aur deke ye jaana
kyun kaisa liya dil
aur keh ke ye jaana
kyun kaisa liya dil
kyun hamne diya dil
aankhon ka ishaara
kyun hamne diya dil

parwaana na aata
kyun shola jalaata
parwaana na aata
kyun shola jalaata
kabhi ishq bulaata(?)
kabhi ishq bulaata(?)
kaahe ko diya dil
ab ishq bulaata
kaahe ko diya dil
donon ne diya dil
aashiq(?) ka ishaara
kyun hamne diya dil


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 : 3673 Post No. : 14556

“Aaina”(1944) was directed by S M Yusuf for D R D Productions. This movie had Trilok Kapoor, Husn Bano, Kaushlya, Yakub, Gope, Yashodhara Katju, Rajkumari Shukla, Sulochana Chatterji, Mirza Musharraf, Leela Mishra, Sayyad Ahmad, Bibi, Sultan Bawa etc in it.

The movie had eight songs in it that were composed by two music directors viz Fatah Ali Khan and Gulshan Soofi. HFGK mentions three songs as composed by Fateh Ali Khan and two songs as composed by Gulshan Soofi. Music directors for three remaining songs are not known.

Six songs have been covered in the past.

Here is the seventh song from “Aaina”(1944). This song is sung by Kaushalya. Pt Phaani is the lyricist of this song. Music director for this song is not known. I have provisionally considered Gulshan Soofi to be the composer of this song.

Since Kaushalya has acted in the movie, so it is clear that the song was picturised on her as well.


Song-Kuchh bol bol panchhi (Aaina)(1944) Singer-Kaushalya, Lyrics-Pt Phaani, MD-Gulshan Soofi

Lyrics

kuchh bol bol panchhi
kuchh bol bol panchhi
ho o
par khol khol panchhi
ho o
par khol khol panchhi
kuchh bol bol panchhi

?? sej tujhko
par dekh
ud na jaana
par dekh
ud na jaana
moh lega man kisi ka
tera ye chahchahaana
tera ye chahchahaana
ho o
par khol khol panchhi
ho o
kuchh bol bol panchhi
kuchh bol bol panchhi
ho o
munh khol khol panchhi
ho o
kuchh bol bol panchhi
kuchh bol bol panchhi

aazaad aaj hai tu
kal ki magar na jaane
kal ki magar na jaane
kar lega qaid koi
kitne bhi kar bahaane
kitne bhi kar bahaane
ho o
mat dol dol panchhi
ho o
kuchh bol bol panchhi
kuchh bol bol panchhi
ho o
par khol khol panchhi
ho o
kuchh bol bol panchhi
kuchh bol bol panchhi
kuchh bol bol panchhi
kuchh bol bol panchhi
kuchh bol bol panchhi
kuchh bol bol panchhi
kuchh bol bol panchhi


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 : 3672 Post No. : 14552

Today’s song is from film Jailor-1938, made by Minerva Movietone and directed by Sohrab Modi.

Thousands and thousands of actors, directors and musicians worked in this film industry, since films started. Not all of them are known or remembered by people. 95 % of these people are not remembered today. Most names had no faces. They were in the films without any specific personal identity. 5% names are known to many, but it is the special few names which became permanently etched in the minds of people.

You can ask 10 persons to list out 10 names of film personalities, who gave their major contribution or were famous so much that they can not be forgotten. On checking this list of 100 people, you will find certain names repeated in almost every list. Names like Saigal, Dilip kumar, Dev Anand, Rajkapoor, Ashok kumar and Sohrab Modi are certain to be in all the lists. Their contribution to Hindi cinema is unmatched.

Sohrab Modi is remembered fondly by the film buffs for his towering personality, solid voice and his forceful dialogue delivery. Actually, Modi was much more than that. He was the first and the only film maker who took up Historical subjects to make films that left a long lasting impression on the film goers. He loved to do the roles of Historical persons ( actual or mythical) and deliver long dialogues in his resonant voice, clear diction and superb voice modulation.

Sohrab Modi developed these qualities from his stage acting days. In his growing up age at Rampur, he had spent hours in the library of the local Nawab, where his father worked as a Superintendent. This gave him a command on Urdu language. Added to this was his brother Rustom’s drama company ” The Arya Subodh Natak Mandali” in which he acted. In 1935, the brothers set up the ” Stage Films ” to film the two dramas, namely Hamlet aka Khoon ka khoon and Sayeed E Hawas, based on Shakespeare’s play King John, as movies. However, these movies did not do too well, as the audience had seen them on stage several times.

Modi’s Minerva Movietone was established in 1936 by Sohrab Modi and his brother Rustom. It emerged from Stage Films, set up in 1935 to film the stage repertoire of Rustom’s group, Arya Subodh Natak Mandali. Renowned for big-budget historicals, the studio benefited from the Modi family’s existing distribution interests in Gwalior, expanded by the third brother, Keki Modi, into Western India Theatres, owning a chain of 27 theatres in 10 cities. Set up the first Technicolor laboratory (1952) with Film Group and made Jhansi Ki Rani (1953). From 1936 to 1960 Minerva made 28 films. A very impressive score indeed. Modi directed 20 of them. In all Modi acted in 32 films and directed 27 films.

In 1937, Modi made a film ‘Atma Tarang”…..which was a disaster at the box office with just 20 persons in the audience. He was devastated and decided to quit making films. After the show, 4 persons from the audience came to him and congratulated him for making this nice film. They wished him all the best for his future films and left. Later Modi came to know that they were Bombay High court judges. This incident infused him with new hopes and enthusiasm. This changed his life. Initially he focused on making films on social evils like Drinking (Meetha Zehar-38), Husband-wife separation ( Divorce-38) and Incest ( Bharosa-40 ).

However, making film Pukar-39 changed his outlook and set his goals for the future’ for Historical films. Pukar-39 was actually shot in real courts and Mughal Palaces to give it authenticity. For his next film Sikander-41, he brought in Prithwiraj Kapoor for the role of Sikander and he himself took the role of Porus. The film employed high values of Costumes and Props of that era. The entire film was , however, shot with only one camera. His third film was Prithvi Vallabh-43, which was an adaptation of K.M.Munshi’s novel. In this film Modi enacted a dangerous stunt scene of being trampled to death by an Elephant.

His last Historical film was “Jhansi ki Rani”-53. he had hired the best Hollywood technicians. it was shot directly on 35 mm film, and was in technicolor. Modi had borrowed real weapons from Defence ministry, for the shootings. His next film ‘ Mirza Ghalib-54’ won President’s Gold medal ( now called the National Awards), to become the First Hindi film to win it. However this and his next film ‘ Nausherwan E Adil’-57 could not save Minerva’s from running into loss. It made only 2 more films- Jailor-58 and Mera Ghar mere bachhe-60, before closing down production.

Sohrab Modi was probably the only film maker in Hindi films, who handled many genres like Historical, religious, musical, Costume, Social, Action, Reformative, War, psycho Analytical etc etc.

Sohrab Modi was born in Parsi family on 2nd November, 1897. His parents were Parsi civil Servants. For few years he stayed among Parsi community in Bombay. Sohrab Modi childhood was spent with lot of activities. As he grew up, he displayed more interest in exercise and sports. He was seriously sick several times during his childhood and he had to be hospitalized a few times as well. All that led to his tall but thin physique. Later on he was very active. In school he was an average student, he never got hooked to History subject. Many times teacher complained to his his parents for lagging behind in history subject. His parents left no stones unturned to make him study but it all those efforts went in vain.

But Sohrab was good in sports and from childhood he was interested in exercise which helped him to develop his personality in stage acting. Later he shifted with his family to Rampur in Uttar Pradesh. At the age of 14 -15 his mind absorbed many interesting things in acting as he watched silent movies. Soon his mind got diverted toward stage acting.

Sohrab Modi only acted as an extra or side role which was not very helpful to him in furthering his career. But Sohrab was bidding for his time looking for the opportunity where he could act as a leading actor. Very soon he got an opportunity and made his breakthrough. Soon He earned the reputation as Shakespearean actor. Sohrab Modi’s elder brother Rustom helped him in stage acting and people appreciated Sohrab Modi’s acting.

As Sohrab grew up, his personality kept developing. His personality suited the role of king. His portrayal of King in his two plays ‘Khoon Ka Khoon’ and ‘Saed-E-havas’ were additional feathers in his acting cap.

Sheesh Mahal was one of the better movies by Sohrab Modi. It was observed that even blind people were sitting on booked seats. But they put there head down and heard the voice and dialogues of Sohrab Modi. It was for first time in history of cinema that Blind people had tears in there eyes while hearing the dialogues of Sohrab Modi. When one Blind man wasa asked how he enjoyed movie without watching the set up, the Blind man replied that he watched the movie from his heart and heard the dialogues which enabled him to visualise what was going on and so he was able to understand the movie. Ticket Money of these audience were refunded.

In 1976 Sohrab had complained about weakness and headache which were cured by common home remedies and he kept acting in the roles of father and grandfather. Sohrab Modi health kept deteriorating and he had to be hospitalised in 1979 but the true cause of his sickness could not be diagnosed. Sohrab Modi himself never believed that he was sick and he never allowed any Doctor to do any proper diagnosis of his ill health. His common dialogues to doctors were ‘Sher kabi bimar nahi padta Aur agar main bimar Hu to mai jald theek ho jaunga’. His heavy voice was enough to reassure Doctors that all was well and he was discharged within two days.

Soon after completing Razia Sultan, he had started new movie ‘Guru Dakshina’. But unfortunately this film was never completed. In 1981 or 1982 he was again hospitaled.Whole Kapoor Family visited the hospital to convince him to get all checking done. Doctors were 90% sure that Sohrab had Cancer since the symptoms of Sohrab indicated that. Sohrab Modi was soon found to have cancer and immediately medications were bought from other countries. His condition led to his frequently hospitalisation. His kept losing weigh. He tried to involved himself to complete his ‘Guru Dakshina’ but his health did not allow him to do that.

On 2nd November 1984, at the age of 86, Sohrab Modi took breathed his last.

Today’s song is ” kahe ko byahi bides”. This was a famous song by Amir Khusro. This has been used in several films like, Jhankaar-42, Heer Ranjha-48,Nadir Shah-68,Suhag Raat-48, Maang bharo sajna-80 and Umrao Jaan-2009, in addition to today’s song from film Jailor-38. It is also sung as a NFS by many famous singers. Mostly in films, the original song is mixed with some new lyrics and the credit is given to film’s lyricist. In film Jailor-38 too, the lyricist’s name is given as Kamal Amrohi.

Amir Khusrow ( 1253 to 1325 ) was a Sufi mystic and a spiritual disciple of Nizamuddin Auliya. He lived for 72 years, out of which 60 years he lived in the courts of as many as ten different rulers of the Delhi Sultanate. He was a poet as well as prolific musician. His primary language to write poems was Persian but he composed almost half a million verses in Persian, Turkish, Arabic, Braj Bhasha, Hindavi as well as the Khadi Boli. His Khaliq-e-bari, which is known as oldest printed dictionary of the world deals with Hindi and Persian words. He is regarded as the “father of qawwali”. He is also credited with enriching Indian classical music by introducing Persian and Arabic elements in it, and was the originator of the khayal and tarana styles of music. Khayal later reached to its zenith during the times of Mohammad Shah Rangile and today is integral part of Hindustani classical music. His association with various sultans enabled him to travel and stay in various parts of India and this gave him exposure to various local traditions. This helped him to assimilate diverse musical influences. He was patronized by three Khilji rulers successively.

Today’s song is a mixed song, but HFDGK shows it as 2 different songs in its list. The male singer is Eruch Tarapore and the female singer-seen in the video also- is Roshan Ara begum. 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.
( credits- Cinestaan, Flash back-Isaq Mujawar, Hindi filmon ke geetkar, upperstall.com,MuVyz, HFGK and my notes.)


Song-Kaahe ko byaahi bades…Prem ka ek sansaar basaayen (Jailor)(1938) Singers- Eruch Tarapore, Roshan Ara Begum, Lyrics-Kamal Amrohi, MD-Meer Sahab

Lyrics

kaahe ko byaahi bades
??
baabal mora
kaahe ko byaahi bades
??
ham to baabul tore dhaabe(??) ki chidiya
ham to baabul tore dhaabe(??) ki chidiya
?? re
?? re
baabal mora
kaahe ko byaahi bades

prem ka ek sansaar basaayen
prem ka ek sansaar basaayen
apne soye bhaag jagaayen
apne soye bhaag jagaayen
madad karen ??
madad karen ??
prem ka ek sansaar basaayen
prem ka ek sansaar basaayen
prem ka ek sansaar basaayen
prem ka ek sansaar basaayen


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 : 3670 Post No. : 14548

“Ban Phool”(1945) was directed by Dhiren Lahiri for P R productions, Calcutta. The movie had Kanan Devi, Krishnkant, Debi Mukherji, Ahin Chaudhary, Roy Mohan, Shyam Laha, Dev Bala, Bijli, Hiralal etc in it.

This movie had nine songs in it. Three songs have een covered in the past.

Here is the fourth song from “Ban Phool”(1945) to appear in the blog.

This song is sung by Kanan Devi. Pt Madhur is the lyricist. Music is composed by Dhiren Mittar.

I have not been able to note down the lyrics to my entire satisfaction. I request our readers with keener ears to blanks/ help fill in the corrections wherever applicable.

With this song, 200 HFM songs from movies released in 1945 have been covered in the blog.


Song-Kali tu hi bata de hawa tu hi bata de(Ban Phool)(1945) Singer-Kanan Devi, Lyrics-Pt Madhur, MD-Dhiren Mittar

Lyrics

kali tu hi bata de
hawa tu hi bata de
chaman mein kaun aaya
kaun gaya aa aa
kali tu hi bata de
hawa tu hi bata de
kaise pyaar ho gaya
kaisi bahaar de gaya aa
kaise pyaar ho gaya
kaise pyaar ho gaya
kaisi bahaar de gaya aa
kali tu hi bata de
hawa tu hi bata de

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

hai pal mein badal gayi duniya
hain badal gayi pichhli kaliyan
aur naach uthhi jeewan ghadiyaan
ab chamak rahi mann phuljhadiyaan

mann phool raha
mann phool raha
mann pyaasa raha
mann doob gaya
mann phool raha
mann phool raha
mann pyaasa raha
mann doob gaya

paayal ki ab sun kar dum
tan man naache chham chham chham
duniya kehti tham tham tham
iqraar kiya to laaj hansi
inkaar kiya to pyaar hansa
iqraar kiya to laaj hansi
inkaar kiya to pyaar hansa


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

Blog Day : 3670 Post No. : 14547

Is Raj Kapoor singing a song for himself?

That was my reaction (to myself) when I heard for the first time, the song ae duniya ke rahne waalon bolo kahaan gaya chitchor from ‘Dil Ki Raani’ (1947) on the Blog. I could not believe that it was Raj Kapoor’s voice. This happened just a few days after I joined the Blog in July 2011. At that time, I felt that this could be a case of giving credit to the actor on the gramophone record label on whom the song was picturised instead of accrediting the real playback singer who could be someone else. At that time, I was not even aware of Har Mandir Singh ‘Hamraaz’ saab’s publications, Hindi Films Geet Kosh (HFGK).

During early 1970s, I used to spend almost every week-end with my friends who were the admirers of the old Hindi film songs. I do not recall any conversation about Raj Kapoor (or for that matter, Dilip Kumar, Nalini Jaywant and Meena Kumari) singing the songs in the films for themselves. Of course, Ashok Kumar’s singing was well known because of the popularity of his songs from films like ‘Achhut Kanya’ (1936), ‘Jhoola’ (1941) etc.

Since then, a lot of water has flowed under the bridge. The publication of HFGK in the 80s and the advent of Internet have disseminated a lot more information relating to Hindi films and songs which were hitherto not known to most of us. Also, there are now film information sharing platforms like Recorded Music Indian Music (RMIM), Society of Indian Record Collectors (SIRC) and many other informal Groups. Also, we have our own Blog to revalidate the information on the Hindi film songs.

Coming back to Raj Kapoor as a singer, I have heard his voice in two other songs also – one each from ‘Jail Yatra’ (1947) and ‘Gopinath’ (1948). In my view, Raj Kapoor had a good singing voice worthy of becoming an actor-singer. His renditions were very close to that of the professional playback singers. As a testimony of Raj Kapoor as a good singer, watch this video as to how he has rendered the song ‘ae bhai jara dekh ke chalo’ from ‘Mera Naam Joker’ (1970) in a stage show presented by Raj Kapoor for the Indian Navy a few days before the release of his film in December 1970. In this show, while a few other songs from the films were rendered by Mohammed Rafi and Mukesh, Raj Kapoor had to sing this song as Manna Dey could not attend the stage show.

It is a well-known fact that Raj Kapoor was a musically inclined producer-director. He personally supervised all aspects of song compositions especially in the films which he produced and directed under R K Banner. Lata Mangeshkar in her chat with Indian Express has recently said:

Raj saab was a complete musician. He played the tabla, the harmonium and the piano. He composed songs and sang them in his own voice before handing them over to professional playback singers. He could have easily scored the music in his films. But he chose not to take credit for the music in his films.(Indian Express, March 20, 2018).

An old article written by Journalist Lata Khubchandani, which was reproduced in ‘Cineplot’, also confirm the musical inclination of Raj Kapoor. Later, she also wrote and published a book – ‘Raj Kapoor – The Great Showman (2005). In the words of Raj Kapoor, quoted by Lata Khubchandani:

From the earliest days, I have been interested in music. In fact, my first ambition was to be a music director. I even sang in my earlier films like Chitchor (probably, meant ‘Dil Ki Rani’), Chitor Vijay, Jail Yatra and Gopinath. When words fail, it is music that conveys much more than all words put together.

I wonder as to why Raj Kapoor did not become an actor-singer and left his ambition of becoming the music director in the back burner which he could have done easily for the films he was the producer-director-actor. I have also no idea as to when Raj Kapoor got interested in music. Probably his biographies should throw some lights in these matters. Since I do not have his biographies in my collections and they are not available online, I have relied on ‘circumstantial evidences’ to draw some conclusions.

When Prithviraj Kapoor was associated with the New Theatres, Calcutta (Kolkata) during 1933-39, the young Raj Kapoor was with him. He may have been influenced by the singing of K L Saigal. The autobiography of Kidar Sharma mentions that K L Saigal was a regular visitor to Prithviraj Kapoor’s house for musical soirees. Probably, the young Raj Kapoor may have also exposed to R C Boral who was composing songs for the films of New Theatres in which Prithviraj Kapoor acted. These environments may have attracted him towards the music.

Sometime in 1946, Raj Kapoor was put under the tutelage of Pandit Jagannath Prasad (a cousin of music director Khemchand Prakash). Mukesh was also learning the classical music from him. One day, when Mukesh was practising a particular raag , Raj Kapoor loved his voice and felt that his own voice paled in comparison with Mukesh’s voice. At that time, Mukesh had said to Raj Kapoor that he can take his voice. (Ref: The Hindu, June 16, 2003). How true it was to become in the later days. Although Mukesh sang 4 songs in Raj Kapoor’s first film in a lead role, ‘Neel Kamal’ (1947), none of these songs were picturised on Raj Kapoor. It was in ‘Aag’ (1948) that Mukesh became the voice of Raj Kapoor for the first time.

Just before his marriage in May 1946, Raj Kapoor was appointed as an Assistant in Prithvi Theatres and was associated with the production of one of its popular plays ‘Deewar’ (1946). In the review of the play, which appeared in May 1946 issue of ‘Filmindia’, the reviewer praised Raj Kapoor’s acting as a family servant in the drama and devoted one full paragraph on it. In addition to acting, he was the Art Director and assisted in light and sound arrangements and also to Ram Ganguli, the music director. Perhaps, all round experience gained from the play, ‘Deewar’ seemed to have encouraged him to produce, direct and act in the first film ‘Aag’ (1948) under his own banner. With this, Raj Kapoor appears to have decided to concentrate as director-actor and fulfil his ambition of becoming music director with a ‘back seat driving’.

As far as I know, Raj Kapoor sang 4 songs as an actor-singer out of which only one song as mentioned above has been covered in the Blog. The remaining 3 songs are as under :

SN Song Co Singer Movie
1. Piya milne naveli nadi jaaye re Solo Jail Yatra (1947).
2. Lehraaye mori laal chunariya with Nalini Mulgaonkar Jail Yatra (1947)
3. Jab se Dekha hai tumhen Solo Gopinath (1948)

In Lata Khubchandani’s article referred to above, the name of ‘Chittor Vijay’ (1947) has propped up in which Raj Kapoor has reportedly sung a song. However, none of the songs of the film is available on line as far as I know.

I am presenting today, one of the rarest songs ‘piya milne naveli nadi jaaye re’ from ‘Jail Yatra’ (1947) sung by Raj Kapoor. The song was not available on YT until about 4 months back. The video was uploaded from the mp3 clip provided by Saregama. Since it was wrongly captioned, I have uploaded a new video of the song made by me by downloading mp3 clip from the Saregama website (with a small price). The song was written by Rammurty Chaturvedi and wa sset to music by Ninu Mazumdar.

Enjoy the song in the voice of Raj Kapoor which is probably based on one of the folk songs from Gujarat.


Song-Piya milne naveli nadi jaaye re(Jail Yatra)(1947) Singer-Raj Kapoor, Lyrics-Rammurty Chaturvedi, MD-Ninu Majumdar

Lyrics

piya milne naveli nadi jaaye re…ae
piya milne naveli nadi jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re
piya milne naveli nadi jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re

kaale baadal ghumad ghir aaye re..e
kale baadal
kaale baadal ghumad ghir aaye re
naache mor man mor ghabraaye re..ae
naache mor man mor ghabraaye re..ae
choom kaliyon ko
choom kaliyon ko bhanwra geet gaaye re
na aaj saha jaaye re
choom kaliyon ko
choom kaliyon ko bhanwra geet gaaye re
na aaj saha jaaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re

lata pedon se lipat laharaaye re
lata pedon se lipat laharaaye re
dekh-dekh ke umang lalchaaye re..e
dekh-dekh ke umang lalchaaye re..e
lata pedon se
lata pedon se lipat lahraaye re
mujhe chaaron oar soona dikhlaaye re
mujhe chaaron oar soona dikhlaaye re
kisi ki yaad aaye re
mujhe chaaron oar soona dikhlaaye re
kisi ki yaad aaye re
main akela chala dard dabaaye re
jiya mein liye haay re
jiya mein liye haay re


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 : 3668 Post No. : 14543

Today’s song is from a very old film of the 30s decade, ” Industrial India”-38. This is the first song from this film which makes its debut on the Blog.

When the Talkie films started in India, the enthusiasm of the film makers was such that they went on making a large number of films. In the first 10 years ( 1931 to 1940) of Talkie, a total of 924 Hindi films were made, an average of 92 films per year. This created a shortage of stories and film titles. The stories were made on same subjects and even in film titles, we find that some special words were used repeatedly for films. Here, I am not talking about common words like Tere, Mere, Shri, Bhakt, Alibaba, Allaudin, Aurat, Maa etc etc.

Let us take the word INDIA, for example. There were film Tiltles like Fashionable India-35, Romantic India-36, Industrial India-38 ( incidentally all these three films were directed by Mohan Sinha) and India in Africa-39. When I realised this, I went through the lists of films from 1931 to 1940 and I found that the word Jeewan was usde in * film Titles, like Jeewan Natak-35, Jeewan Naiya-36, Jeewan Lata-36,Jeewan Sangram-36, Jeewan Jyoti- 37, Jeewan Prabhat-37, Jeewan Saathi-37 and Jeewan Swapna-37. I also found that 3 words-Kaala,My, and Noor appeared in 7 film Titles. It was followed by Ghareeb and Song in 5 film titles each, Bhedi, Bulbul, Fairy, Bahadur and Gay- n4 film titles each and then 3 film titles with several words like Bharati, Chaar, Daaku, Lehri, Laal etc etc.

We find that from 1941 onwards, there was a variety in titles as well as in stories. Many new genres were tried by adventurous film makers. Romantic musicals became a popular genre from mid 40s. Films like Geeta-40 and Kismet-43 brought in light crime stories and from Sangram -50 onwards Crime films became bolder. The 50s decade was that of softer stories, musicals and mythologicals. The Film Wagon rode on and on with variety thereafter.

Coming back to today’s film Industrial India-38, it was directed by Mohan Sinha. He was born on 2-12-1903 at Indore. he studied upto matriculation in Indore. His uncle was General Bhavnani Singh, who was in the Indore state army. With his help, Mohan got in state army as a Lieutenant. However, he did not continue for long and left the army. In 1933, he started a film company at Indore-Navyug films. But due to lack of opportunities in Indore, it was closed soon.

Mohan came to Bombay, floated Krishna Films and made and directed a film ” Fashionable India”-35. It was a hit film and he got offers from Rajputana films,General FPictures, Circo and National. He worked with all of them. Sinha went to Calcutta and started Murli pictures. he made ” Swaraj ke sipahi”-37, which was a flop. he came back to Bombay and directed Industrial India-38, for General films. Then came Swastik-39, Laxmi-40,Anuradha-40 and Vanmala-41. He floated Murari Pictures in 1942 and made badlati Duniya-43 and krishnarjuna yudha-45 ( This film was appreciated by Dr. Rajendra prasad, Dr. Shamaprasad Mukherji, Veer Savarkar and Acharya kriplani also)

In 1946, Mohan Sinha directed K L Saigal in Omar khayyam and Surendra in 1857, Raj kapoor in Dil ki Rani-47 and Dev Anand in Jeet-49. Mohan Sinha directed in all 32 films. He wrote lyrics for 62 songs in 7 films. His last film was Shaan E Hind-60. He died in 1984. Mohan Sinha’s granddaughter Vidya Sinha was an actress.

The cast of the film consisted of Prem Adib, Shobhana Samarth, R Wasti, K N Singh, Mirza Musharaff etc.etc. Prem Adib and Shobhana Samarth paired first time in this film. Later they acted together in 11 more films. Their pair attained unprecedented fame and popularity when they were cast as Shri Ram and Seeta Mai- first in film Bharat Milap-42. Their popularity reached a zenith after film Ram Rajya-43 was released. Prakash pictures had struck Gold with this film They tried for the same magic by pairing them in film Raam Baan-48 and later in film Ramayana-54 ( it was made with parts of their earlier films).

Flush with fame and popularity, Prem Adib too jumped on the wagon and made a film Ram Vivah-49- under his own banner, Prem Adib pictures. However, the magic of Ram Rajya was waning and the later films did not have that kind of audience response anymore.

I have not seen this film, Industrial India-38, but my guess is that it was a social film with stress on developing industries in India. As in any social film, the comedian’s role was present and Mirza Musharff did it.

Through Mr. Ramesh Advani(son of Bhudo Advani), I got into contact with Mirza Musharraf’s daughter, who stays in Versova itself,where I too stay. I contacted them. Her husband Muneer Khan, a production manager of Feroze khan earlier gave me some information on Mirza Musharraf Agha. Together with my notes, his mini bio is here.

The name of MIRZA MUSHARRAF AGHA may not ring any bells in the newer generation, as he was a comedian in the 30s and 40s-till the late 60s.

During the 30s and 40s there were quite a few real comedians,who regaled the audiences with their humour.Comedians like V.H.Desai, Ghory and Dikshit (the jodi like Laurel and Hardy),Mirza Musharraf,Bhudo Advani,Noor Mohd.Charlie,Yakub (he had travelled to 15 countries including UK and USA, before joining films) and Gope, Fatty Prasad and Durga Mota were much in demand for comic roles in the films.With the times,one by one,all went behind the curtains,giving way to newer set of comedians like Bhagwan, Sunder, Radhkishen, Mukri, I.S.Johar, Majnu, etc.

Artists fading away is a natural phenomena, but out of the above comedians,the end of Durga Mota was very pathetic and touching.

Durga Mota or Durga Prasad was very fat and this fatness which fetched him name and fame in the industry also became the cause of his death.In 1947,there were riots everywhere.Durga was in Lahore.He wanted to come back to India like other thousands.He came to Lahore station and boarded the train.just then a frenzied mob came to the station and started killing thepassengers.People ran helter skelter and saved themselves,but due to his fatness Durga Mota could not run and he was slaughtered on the station of Lahore itself.

Mirza Musharraf was born in a sophisticated educated family, on 12-6-1912, at Shujanabad-Punjab His father was an inspector of Police and claimed to be a scion of the Royal Mughal family. He matriculated from Lahore in 1930. he was keen on becoming a Journalist, so he worked in Daily Zamindar,Tariyaq and Shahid. He was a Nationalist, joined Congress and became Secretary of Lahore Congress committee. He was imprisoned but father got him released. he decided to change profession.

He was very fond of writing Lyrics.he came to Bombay to write film songs and was employed by General films.Those days educated persons were eagerly employed by film studios.He first wrote Lyrics for A.R.Kardar’s film “Baghbaan”-1938.During shootings kardar required an artist and Mirza was called to fill up the slot,as per the studio norms.Mirza had no dialogues,but he exhibited excellent use of facial expressions and comic timing.This actually killed his dream of becoming a lyrics writer,because after that he was made a comedian and got several films.As a comedian,Mirza worked from 1938 to 1972,working in over 400 films.His last film was Roop tera Mastana-1972.

When he was on the peak of his career,a happy producer gave his Bungalow at Versova free to him for living.Though Versova was then quite far off and sparsely populated,Mirza lived there like a king.The marriages of both of his daughters took place there.

Mr.Sanjeet Narwekar-the famous Film historian/journalist writes in his book, The story of Hindi Film comedy,about Mirza-“His specialty was interspersing his Hindi dialogues with English words-quite a curiosity in the pre-independence days. He was almost a permanent with V.M.Vyas and played cameo roles in a fairly long career.” According to Saadat Hasan Manto in his book, stars of another sky, -whichever film he acted in, he used to be the darling of the Heroes. He was particularly liked by Kardar, K.Asif and Rafik Gaznavi. In many films Mirza lip synched songs, but it was only in ONE film that he got a few lines to sing himself. That was the film CAPTAIN KISHORE-1957.He sang along with Mohd.Rafi and Tun Tun.

Film Industrial India-38 had 3 Music Directors- H C Bali, Anil Biswas and Mushtaq Hussain. As per HFGK, out of 10 songs, 5 songs were composed by Anil Biswas and one was by H C Bali. Looks like the rest were composed by Mushtaq Hussain. All songs were written by the director Mohan Sinha. This song is sung by Prem Adib and chorus.

( Credits- Film Directory, Flash Back by Isaq Mujawar, HFGK, MuVyz and my notes )


Song-Ladne waalo katne waalo (Industrial India)(1938) Singers-Female voice, Prem Adib, Lyrics-Mohan Sinha, MD-Anil Biswas
Chorus
Female Voice + Chorus

Lyrics

ladne waalo
katne waalo
aapas mein jhagadne waalo
talwaaren roko
suno suno ek nayi baat
nayi baat
haan nayi baat
dekho ye firangi aaya
nayi nayi cheezen ye laaya
rail car motor ye laaya

mazdooron ko kaam dilaaya
mazdooron ko kaam dilaaya
itna hua
phir bhi ham bhookhe
bharat mein laakhon bhookhe
bharat mein laakhon bhookhe

daudo
daudo
gandhi aaye
gandhi aaye
gandhi aaye
gandhi aaye
gandhi aaye
haan haan
bolo kya ye laaye
charkha laaye
charkha laaye
bekaaron ko kaam dilaaya
ablaaon ka jeewan laaya

itna hua
phir bhi ham bhookhe
itna hua
phir bhi ham bhookhe
bharat mein laakhon bhookhe
bharat mein laakhon bhookhe

main hoon asha
main hoon asha
main hoon industry

daudo daudo
aasha aayi
aasha aayi
aasha aayi
achcha bolo kya ab laayi
ek naya sandesha laayi

dhanwaanon rupayon ki thhaili kholo
naye naye kaarkhaane kholo
bharat naya basega
bharat naya basega
mazdooron o kaam milega
dhanwaanon ko maal milega
bharat naya basega
bharat naya basega
saari cheezen yahin banegi
daulat saari yahi rahegi
bharat naya basega
bharat naya basega
bharat naya basega
bharat naya basega


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.

“Aaina”(1944) was directed by S M Yusuf for D R D Productions. This movie had Trilok Kapoor, Husn Bano, Kaushlya, Yakub, Gope, Yashodhara Katju, Rajkumari Shukla, Sulochana Chatterji, Mirza Musharraf, Leela Mishra, Sayyad Ahmad, Bibi, Sultan Bawa etc in it.

The movie had eight songs in it that were composed by two music directors. HFGK mentions three songs as composed by Fareh Ali Khan and two songs as composed by Gulshan Soofi. Music directors for three remaining songs are not known.

Four songs have been covered in the past.

Here is the fifth song from “Aaina”(1944). This song is sung by Husn Bano. Tanveer Naqvi is the lyricist of this song. I have provisionally considered Gulshan Soofi to be the composer of this song.

Seeing that Husn Bano acted in the movie, it is easy to guess that the song was picturised on Husn Bano herself.


Song-Khushi ke taraane sunaata chala jaa (Aaina)(1944) Singer-Husn Bano, Lyrics-Tanveer Naqvi, MD-Gulshan Soofi

Lyrics

khushi ke taraane sunaata chala ja
khushi ke taraane sunaata chala ja
chala jaa aa
chala ja yahi geet gaata chala ja
khushi ke taraane sunaata chala ja
chala ja aa aa aa
aa aa aa aa aa aa

muqaddar ne kisko sataaya nahin hai
muqaddar ne kisko sataaaya nahin hai
kise aasmaan ne mitaaya nahin hai
aahahahahaha
hansi apne gham ki udaata chala ja
hansi apne gham ki udaata chala ja
chala jaa aa
chala ja yahi geet gaata chala ja
khushi ke taraane sunaata chala ja
khushi ke taraane sunaata chala ja
chala jaaaa

sambhal zindagi tujh ko samjha aa rahi hai
sambhal zindagi tujhko samjha aa rahi hai
jawaani teri ee ee
tujhko bahka aa rahi hai
jawaani teri
tujhko bahka aa rahi hai
jawaani se daaman bachaata chala ja
jawaani se daaman bachaata chala ja
chala jaa aa
chala ja yahi geet gaata chala ja
khushi ke taraane sunaata chala ja
khushi ke taraane sunaata chala ja
chala ja aa
chala ja yahi geet gaata chala ja
khushi ke tarane sunaata chala ja
chala jaaa aa aa aa


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

Blog Day : 3667 Post No. : 14541
Blog Day : 3667 Post No. : 14540

“Ban Phool”(1945) was directed by Dhiren Lahiri for P R productions, Calcutta. The movie had Kanan Devi, Krishnkant, Debi Mukherji, Ahin Chaudhary, Roy Mohan, Shyam Laha, Dev Bala, Bijli, Hiralal etc in it.

This movie had nine songs in it. Two of these songs have een covered in the past.

Here is the third song from “Ban Phool”(1945) to appear in the blog.

HFGK mentions this song as sung by Kanan Devi and chorus. But listening to this song, it becomes clear that the song is a duet sung by a male voice and Kanan Devi, with the male voice in fact singing bulk of the song. Uploader of the song mentions this sopng as sung by Dhirendra Chandra Mittar and Kanan Devi, where the male voice is the same as the music director. I have gone with that name for the male voice. I request our knowledgeable readers to throw light on the picturisation of this song as well as on the identity of the male voice.

Pt Madhur is the lyricist. Music is composed by Dhiren Mittar himself.

I have not been able to note down the lyrics to my entire satisfaction and there are words that I feel need correction. I request our readers with keener ears to suggest corrections in the lyrics wherever applicable.


Song-Ye dil hai tumhen pukaare (Banphool)(1945) Singers-Dhirendra Chandra Mittar, Kanan Devi, Lyrics-Pt Madhur, MD-Dhirendra Chandra Mittar
Both

Lyrics

Ye dil hai tumhen aen aen aen aen pukaare
Ye dil hai tumhen pukaare
Ye dil hai tumhen pukaare
jis din tumse milna hoga
haan chamkenge andhiyaare
chamkenge andhiyaare
chamkenge andhiyaare
chamkenge andhiyaare

aandhi aur toofaan mein
shaayad ham tum honge saath
phoolon ki sundar duniya mein
ham tum karenge baat
phoolon ki sundar duniya mein
ham tum karenge baat
ham tum karenge baat

tumko roz bulaane jaate
tumko roz
tumko roz bulaane jaate ae ae
aashaaon ke taare
aashaaon ke taare
aashaaon ke taare
aashaaon ke taare
Ye dil hai tumhen pukaare
Ye dil hai tumhen pukaare

yahaan nahin to
wahaan milenge
milna hamen zaroor
milna hamen zaroor
nahar kinaare khojoon main ke
paar ho ya door
nahar kinaare khojoon main ke
paas ho ya door
paas ho ya door
jeet hamaari aakhir hogi
jeet hamaari aakhir hogi
chaahe duniya haare
chaahe duniya haare

Ye dil hai tumhen pukaare
Ye dil hai tumhen pukaare


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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 over TEN years. This blog has over 14500 song posts by now.

This blog is active and online for over 3600 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14576

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Movies with all their songs covered =1143
Total Number of movies covered =3980

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