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 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: 4330 Post No.: 15624

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Bangla Song in Hindi Films-2
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‘Basu (Bhattacharya) used to be fired up by one-liners. He drew stories from one-line coming from his fertile mind’ thus said Rinki Roy Bhattacharya, daughter of Bimal Roy and the ex-wife of the late Basu Bhattacharya in an interview. After going through the interviews of Rinki Roy Bhattacharya and Gulzar who had been associated with Basu Bhattacharya, I have come with my own one-liner about Basu Bhattacharya. He made high quality films with low budget. His first film as a producer-director, ‘Uski Kahaani’ (1966) was made with a budget of Rs.one lakh only.

How did Basu Bhattacharya managed to produce and direct low budget films? Except the lead actors, he took his close friends as side actors, lyricists, music director and technicians with a tacit understanding that they will work within his low budget. And none of them seems to mind it as they kept their personal friendship above the professional relationship. He did not shoot the film in a studio but hired flats for shooting. For example, he majorly shot ‘Anubhav’ (1971) in Tanuja’s flat. ‘Aavishkar’ (1974) was majorly shot in his own flat at Khar.

Basu Bhattacharya (1934 -1997) was born in a priestly family in Kassim Bazar of Murshidabad district in West Bengal. From his teenage days, he was fond of watching films which led to his interest in film-related works. After watching Satyajit Ray’s ‘Aparajito’ (1956), he developed interest in film making. After the decline of New Theatres, some artists, technicians moved to Bombay (Mumbai) in early 1950s who were mostly accommodated either by Shashidhar Mukherjee of Filmistan or Bimal Roy. Basu Bhattacharya was so much influenced by Raj Kapoor’s films ‘Aawaara’ (1951) and ‘Shri 420’ (1956) that he came to Bombay (Mumbai) in 1956 with the sole intention of assisting Raj Kapoor. When his efforts to get entry into R K Studios failed, he joined Bimal Roy Productions as an Assistant to Bimal Roy for Madhumati (1958) and ‘Sujata’ (1959). He became the second unit Director for Bimal Roy’s film, ‘Parakh’ (1960).

During the making of ‘Parakh’ (1960), Basu Bhattacharya and Rinki Roy, Bimal Roy’s elder daughter developed liking for each other which was resented by her parents. After the completion of ‘Parakh’ (1960), Basu Bhattacharya left Bimal Roy Productions and became a free-lancer. Rinki Roy and Basu Bhattacharya got married in a court some time in 1963. Soon after the marriage, Basu Bhattachraya was entrusted with directing Shailendra’s maiden film, ‘Teesri Kasam’ (1966). With this film, Basu Bhattacharya got opportunity to direct Raj Kapoor to whom 10 years back, he was keen to assist him.

Basu Bhattacharya turned producer with the film ‘Uski Kahaani’ (1966) which he also directed. Thereafter, he concentrated his three films – a trilogy of marital discords in an urban setting – ‘Anubhav’ (1971), ‘Aavishkar’ (1974) and ‘Grih Pravesh’ (1979). All these films portray the struggle of the husband and wife to protect their marriage despite a third person entering into their married life. At the end, it is mutual realization that a happy home is the platform for a happy married life. In between, Basu Bhattacharya produced and directed ‘Tumhaara Kalloo’ (1975) which dealt with the importance of education in a village setting.

Basu Bhattacharya’s next film, ‘Anand Mahal’ (1977) was based on Badal Sarkar’s popular Bangla play, ‘Ballavpurer Roopkathaa’ which he produced and directed. The film was completed but remained unreleased. Dinesh Shankar Shailendra, younger son of the late Shailendra who was assisting Basu Bhattacharya in the film, very recently revealed on his facebook page that after editing work was over, Salil Chowdhury started composing background music. After completing the background music work, Salil Chowdhury told Basu Bhattacharya that it was a bad film which was shot like a play. He said that the release of the film would harm his reputation as a director. After listening to the flaws in the film in detail, Basu Bhattacharya accepted Salil Chowdhury’s advice and decided not to release the film.

During his life time, Basu Bhattacharya produced/directed around 15 films which included, in addition to those mentioned in the preceding paragraphs, ‘Daakoo’ (1975), ‘Sangat’ (1976), ‘Madhu Malti’ (1980), ‘Sparsh’ (1980), ‘Ek Saas Zindagi’ (1991) and ‘Aastha’ (1997) which was his last film. Although some of his films were critically acclaimed, almost all of his films did not fare well at the box office. His films, ‘Teesri Kasam’ (1966) and ‘Anubhav’ (1971) received National Awards for Best Film and the Second-Best Film respectively.

While Basu Bhattacharya produced three films on marital discord, his own married life with Rinki Roy Bhattacharya was in doldrum for domestic violence. There are details available in the interview of his ex-wife in the public domain. I feel that Basu Bhattacharya had split personalities – as a film director and as a husband.

Basu Bhattacharya left for the heavenly abode on 27/08/1997.

‘Anubhav’ (1971) was Basu Bhattacharya’s first film of the trilogy of marital discords. The film was made with the assistance of Film Corporation of India (now National Film Development Corporation). The cast included Sanjeev Kumar and Tanuja in lead roles as married couple with Dinesh Thakur as the third person and A K Hangal as the man servant in the household of the couple.

As per Rinki Roy Bhattacharya’s interview, the film started with Pran and Tanuja in the lead role. Some scenes were already shot with Pran. However, after watching the rushes of shots, Basu Bhattacharya decided that the role of an office going husband did not suit Pran. So, he was replaced with Sanjeev Kumar.

I had watched the film many years back (probably on TV) but I failed to recall sequential progression of the story of the film especially as to how the film ended. Recently, I watched the film with HD quality DVD on one of the video sharing platforms. Wow! What a film. After ‘Pyaasa’ (1957), I have immensely enjoyed watching this film in Black and White photography. I feel that the film would not have looked cinematically great if it was made in colour.

‘Anubhav’ (1971) is the story of Meeta (Tanuja), the lonely wife of the workaholic Amar (Sanjeev Kumar) who is the editor of a newspaper. There is not much time for Meeta for the companionship of her husband as he leaves for office early morning and returns late in the night fully exhausted. The one dialogue of Meeta in the film sums up her position in the house when she says to Amar that she felt as if she has been staying in a hotel with all the comforts but nothing for her to do.

She starts rediscovering herself. The first thing she does is that she removes all her servants except Hari (A K Hangal) so that she can keep herself busy with her household work. Now, she is the real in charge of her home. She is able to persuade Amar to spend more time in the house. He hosts parties in the house. Thus, Meeta is able to make him understand the joy of marital bliss.

When things were moving in the right direction for Amar and Meeta, one day, Shashi Bhushan (Dinesh Thakur) comes to meet Meeta without any prior intimation. He was Meeta’s first lover to whom she has forgotten after her marriage. In fact, he has come to get her recommendation for a job at Amar’s office where he has given an interview. He has no intention of reviving his love interest when Meeta seems to be very happy with her married life. She refuses to recommend his case by telling him that she does not interfere in Amar’s office matters. However, Shashi Bhushan does get a job at Amar’s office and in due course of time, he becomes his right- hand man.

When Amar comes to know about the past of Shashi being a lover of Meeta, his male ego creates a storm in their married life. Some time the discord in their married life is open in the presence of Shashi who often visits Amar in his house for office related work. At last, Amar in the fists of anger asks Shashi to resign from the job. But Shashi has already decided to leave the job when he comes to know that he has become the reason for marital discord between Amar and Meeta. When Amar reads the resignation letter of Shashi, he has change of heart. He rejects his resignation letter and ask him to continue the work.

After the resignation drama, there is an apt dialogue between Shashi and Amar. Shashi says ‘mujhe pataa nahin, beeta huwa kal aaj hamaare beech kaisa aa gaya.’ (I don’t know how our bygone days have come between us in our present-day life). To which Amar says ‘beeta huwa kal aaj hamaare beech tab hi aata hai jab hum aaj ko puri tarah se jee nahi paate’. (Bygone days between us comes only when we are not able to enjoy fully our present-day life). The film ends with a positive note clearing all the misunderstanding between Amar, Meeta and Shashi and Meeta giving news to Amar of her pregnancy.

The film has been nicely produced with excellence in almost all the major aspects of the film – direction, acting, dialogues, photography, music etc. The background music in the film has been innovatively done with signature tune of Aakashvani and songs being played in the radio etc. I could faintly hear a Bangla song and a Hindi film song, taash ke baawan patte as part of background music.

Another highlight of the film is the excellent picturization of 4 melodious songs set to music by Kanu Roy with a minimal orchestration. I liked the picturization of one of the film’s songs, meri jaan mujhe jaan na kaho. It is to the credit of Basu Bhattacharya that such a romantic song has been picturised just at one place – at one of the closed windows of the house with the background of heavy rains outside the house. With this song, he has proved that an intense romantic mood in the song can be picturised without going to outdoor shooting or even to Switzerland as Yash Chopra may have done with similar situation. And what a play of words by Gulzar! The words ‘jaan’ has been used both as ‘love’ as well as ‘life’.

All the 4 songs of ‘Anubhav’ (1971) have been covered in the Blog. But there is one more song, a Bangla song ‘sedin dujone dulechhinu bone’, a Tagore song which is rendered by and picturised on Subir Sen. The occasion is a party hosted by Amar in his house in which Subir Sen, (in the role of Subir Sen, the singer) is also invited. The lyrics and the tune are by Gurudev Rabindranath Tagore which he composed in 1922. In this song, no orchestration has been used except the harmonium.

I have taken the lyrics, Hindi poetic translation and English translation of the song from http://www.geetbatin.com. I was surprised to note that the Hindi poetic translation was composed in the same metre as Tagore Song. So one can sing Hindi translated song in the tune used for Bangla song.

S D Burman has used the tune of this Tagore song in naina deewaane ek nahin maane from the film ‘Afsar’ (1950).

Acknowledgements for the sources of information on Basu Bhattacharya: (1) Interview of Rinki Roy Bhattacharya by Sonal Pandya published in ‘Cinestan’, Feb 04, 2018 and (2) Interview of Gulzar published in a old issue of ‘Filmfare’, republished in https://tanqeed.com/

Video Clip:

Song-Sedin dujone dulechhinu bone (Anubhav)(1971) Singer-Subir Sen, Lyrics-Rabindranath Tagore, MD-Rabindranath Tagore

Lyrics (Sourced from http://www.geetbitan.com)
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sedin dujone dulechhinu bone
phulodore bandhaa jhulonaa
sei sritituku kobhu khone khone
jeno jaage mone bhulo na
bhulo na
bhulo na..aa
sedin dujone dulechhinu bone
phulodore baandhaa jhulonaa
se din baatase chhilo tumi jaano
aamari monero prolapo joraano,
se din baatase chhilo tumi jaano
aamari monero prolapo joraano,
aakashe aakashe aachhilo chhoraano
tomaro haasiro tulona
bhulo na
bhulo na
bhulo na
sedin dujone dulechhinu bone
phulodore baandhaa jhulonaa

jete jete paathe poornima raate
chaand uthechhilo gaagone
dekha hoyechhilo tomaate aamate
ki jaani ki mahalagone
ekhon aamar bela naahi aar….

Lines not covered in the song

bohibo ekaaki birohero bhaar –
Bnaadhinu je raakhi porane tomar se
raakhi khulo na khulo na

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Hindi Poetic Translation
(Sourced from http://www.geetbitan.com)
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वो दिन सुहाना-फुलडोर-बंधे
झूले थे हम वन में झूलना ॥
छोटी-मोटी वो यादें मन में जो जागे
पल वो हम कभी भूले-ना, भूलें-ना ॥

उस दिन हवा में, तुमने भी माना
पागल-वन मेरे, मन का सामाना ।
नीले नीले नभ ने, हरष छा जाता,
तेरे ही हँसी की तुलना ।
भूलो ना, भूलो ना, भूलो ना ॥

राह पे हमराही रात पूनम थी,
चांद चमका नभ में
न जाने वो कौन सी महालगन में
हम ओर तुम थे मिले

(जब) चांद चमकता नभ पे
अब वो बेला बीत चली
बार विरह के सहुं अकेले ।
जो राखी बांधे मैंने प्राण संग तेरे
वो राखी खुले ना, खुले ना, भुले ना ॥

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English Translation (Sourced from http://www.geetbitan.com)
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We had had a swing in the forest on the other day,
It was a swing adorned with garlands.
Wish we do not lose that tiny remembrance which looms about every now and then.

The air was filled with, you know, the meaningless words of my mind,
The sky (was) sprinkled with samples of your smile.
The moon was seen to rise in the sky on the full-moon day while strolling.
Just have no idea of the divine moment on which we had had met each other.

Now I have no time left, and will bear the feeling of solitude alone in myself-

(Please be kind enough) Not to shed the friendship band that (I had) tied with your soul.


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: 4330 Post No.: 15623

Today’s song is from film Aagey Kadam-43. This is an obscure movie, in the sense that no information about its story etc is available anywhere on the Net or Film India magazine issues. However, from the lyrics of its various songs, one can say that the film is about a love story set amidst Patriotic atmosphere. Of course, being British times, such films had to be careful, lest their raw material quota of Raw Film would get into problem, during the wartime controls. Further the tablet of patriotism has to be sugar coated, so as not to get into legal tangle like perhaps”Kismet” of Bombay Talkies !

Among the wartime films, from 1939 to 1945, I feel that the year 1943 was quite significant as many musical, noteworthy and successful films came up during this year. Taking a look at the films of 1943, we find that a total of 105 Hindi films were made in this year. For the 7 year period of 39 to 45, this was the highest number – the lowest being 1945 with just 74 films.

Films like Aabroo, Bhakta Raj, Hamaari baat, Hospital, Hunterwali ki beti, Ishara, Kanoon, Kashinath, Kismet, Mahatma Vidur, Manchali, Mazaq, Nadaan, Nagad Narayan (a remake of Marathi film-‘ पैसा बोलतो आहे ), Nai Kahani (one of the best songs of Hindi film history-” neend hamari, khwaab tumhare ” was from this film), Najma (first film of Mehboob productions), Namaste,, Pagli, Panghat (film Chitchor-76 had the same story), Paapi, Paraya Dhan (The only song by Deena Sanghvi Pathak), Poonji, Prithvi Vallabh (debut in a Bombay film by Meena Shorey), Ram Rajya (super duper Hit film), Sanjog (Suraiya’s playback to Mehtab), Shahenshah Akbar, Shakuntala (First film of Rajkamal Kalamandir of V Shantaram), Tansen (last film of Nagendra Majumdar-father of Ninu Majumdar,MD), Vishwas, Wapas, and Zamin (debut of Khurshid Jr.), made 1943 an year full of content, Music, Acting and entertainment.

Amongst these films, a movie like Aagey kadam-43 was nowhere to be noticed or remembered. The film was made by Acharya Art Production, owned by its director, N R Acharya. This is what Encyclopedia of Indian Cinema says about Acharya….N R Acharya,Hindi director (1909-1993) born in Karachi. Was a government contractor when he joined East India film Company in Calcutta (1934). Later worked as production manager at Bombay Talkies, where he directed the first examples of S. Mukherjee’s new regime, e.g. Bandhan and the Abbas script Naya Sansar. Became producer with KISHORE SAHU’s Kunwara Baap (1942). Continued producing under the Acharya Arts Prod. banner until 1950. Also made Gujarati films, e.g. Lagna Mandap.

FILMOGRAPHY-1940: Bandhan; Azad; 1941: Naya Sansar; 1942: Uljhan; 1943: Aage Kadam; 1949: Parivartan; Shohrat (with K. Amarnath); 1950: Lagna Mandap; 1956: Dhola Maru.

There were two MDs for this film- old timer Madholal Damodar Master and Ramchandra Pal- who was in Bombay Talkies, with Acharya. The cast of the film was Motilal, Anjali Devi, Mubarak, Rajkumari Shukla, Leela Pawar, Narbada Shankar and others. There were 8 songs, but in the absence of individual credit we do not know which song was composed by whom. Lyricist was Kailash Matwala. Out of these 8 songs, I have heard 7 songs and find them good songs with tune and rendition. One song of Motilal is already on the Blog.

The name Anjali Devi, which appears in the cast is not of the famous south actress Anjali Devi ( 8-12-1927 to 13-1-2014 ), who acted in films like Ek the Raja-51( dubbed film), Shuk Rambha-53,Ladki-53, Devta-56, Suvarn Sundari-57 etc etc. This Anjali Devi of the 40s was different. As usual, I find that the filmography of south Anjali devi includes films done by Anjali Devi of the 40s. This is what I call Same Name Confusion.

Miss Anjali Devi’s real name was Durgesh Kumari. She was born at Benaras in 1926 in a respectable Brahmin family. Her education was not much but she was fluent in Hindi, Urdu, English and Sanskrit. At the age of 14 years, she came to Bombay, to fulfil her desire of becoming an actress.

She joined Ranjit Films and worked in film Pardesi in the year 1940. The film was released in 1941. She was credited as Durgesh in this film. She was called to Bombay Talkies to work in film ‘ Punarmilan’-40, directed by Najam Naqvi. When a section of artistes, led by S.Mukherjee, left Bombay Talkies to start Filmistan in 42, one of the BT directors N.R.Acharya also left and started his own company Acharya Art Productions. Anjali Devi also left to join Acharya.

She acted in 3 films of Acharya, Kunwara Baap-42, Uljhan-42 and Aage Kadam-43. She later on acted in Paristan-44, and Parivartan-49. She then got married to N.R.Acharya and settled as a Housewife.

There is one more name-Rajkumari Shukla. There is scant information available on the net about her. Recently, I got her more information from an Urdu book ” Filmi Titlian” 1945, written by Bijli Jampuri from Hyderabad Deccan (that is my hometown). So here is her latest information for our readers…

Raj Kumari Shukla, She was born in a well-known Brahmin family in Calcutta in 1903. Her own life has been quite tragic. She had to join the film industry not so much because of personal choice, but due to tragic personal circumstances. Like most young girls from Indian families, this virtuous lady, well-versed in household chores, got married. But her family life after marriage proved to be extremely unhappy — so much so that one day her husband gave her a brutal beating and drove her from his house.

Finding no refuge anywhere, she went to Jagannath Puri (in Orissa) and lived there in an ashram. Gradually, her family history and marital problems became known to one of the priests there, and he informed her parents. Her elder sister then brought her back to her house.

One theatre actor known locally as Gujarati Baba used to live nearby. Sometimes, she would get some theatre passes from him and go to local theatres to see some plays. This not only helped her to forget her unhappy past but also kindled in her young heart the desire to act in plays. The Gujarati Baba then persuaded her to adopt acting as a profession. Accordingly, in 1933, she joined Maadan Theatre and began her career as a leading lady, Film-goers of those days can still recall her “hilaali abroo, tez aankhen, kushaada peshaani aur siaah zulfen”. She excelled in emotional roles.

Starting her career in silent films, she came into her own with the advent of “Talkies”. Apart from Maadan Theatre, she worked for other film companies too. Her memorable films included “Intezaar”, “Zevar”, “Jagat Mohini”, “Far’yaad”, “Chaandni”, “Sharda”, “Panghat”, Tulsi”, “Swami, “Ek Raat”, “Man Ki Jeet”, “School Master”, Dulhan”, “Badalti Duniya”, “Aankh Micholi”, “Raj Nartaki”, “Jhoola” and “Najma”. She now acted more as a character artiste and vamp. Her realistic emoting in such negative roles makes the audiences shiver in revulsion. Her roles in films like “Ek Raat”, “Swami”, “Jhoola”, “Far’yaad” and “Dulhan” have been specially appreciated by film-goers.

She was only an actor and not a singer. She acted in 31 Talkie films. She also worked in few Gujarati and Bangla films. Her last recorded Hindi film was Nai Maa-46. She did sing just one song in her career. That was in film Panghat-43. It was a duet with Baby Tara. At her times, the other more famous actress-singer Rajkumari Dubey Banaraswali was also very active. In few films both acted, but the songs were only by Rajkumari Dubey Banaraswali. There were two more Rajkumaris also. One was Rajkumari Calcuttewali and another was from south, T.R.Rajkumari. Their details have been described earlier and also in my book” Forgotten artists….”. (Information for the above has been taken from Urdu book,”Filmi Titlian”published in 1945, and Film Directory, with thanks.)

Today’s song is a duet by Anjali Devi and Motilal, with Chorus. This is also a sort of Patriotic song, exhorting friends to be ready for a sacrifice for the country.


Song-Aage kadam badhaana hoga (Aage Kadam)(1943) Singers- Motilal, Anjali Devi (Durgesh Kumari), Lyricist- Kailash Matwala, MDs- Master Madholal and Ramchandra Pal
Both

Lyrics

Doston
naya sabak sikhlaana hoga
naya sabak sikhlaana hoga
dhang zamaane ka badla hai
dhang zamaane ka badla hai
kuchh kar ke
kuchh kar ke dikhlaana hoga
haahaakaar uthha hai jag mein
haahaakaar uthha hai jag mein
peena hai to aaj
peena hai to aaj jagat mein
peena hai to aaj

aage
aage kadam badhaana hoga
aage
aage
aage kadam badhaana hoga
aage
aage

baadhaaon ko door hataana hoga
soyon ko phir aaj jagaana hoga
apne ko apnaanaa hoga
phoolon ko samjhaana hoga
?? nahin hai
?? nahin hai
aage
aage kadam badhaana hoga

aage
aage
aage kadam badhaana hoga
aage
aage

aafaten jo sar pe aayen
unse na daro
shaan se jiyo
shaan se maro
aafaten jo sar pe aayen
unse na daro
shaan se jiyo
shaan se maro
yahi sandesa ?? chali hai
yahi sandesa ?? chali hai
aaj hamen pahunchaana hoga
aaj hamen pahunchaana hoga
aao

aage
aage kadam badhaana hoga
aage
aage
aage
aage
aage kadam badhaana hoga
aage
aage
aage
aage


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:

4325 Post No. : 15615

“Veer Ghatotkach”(1949) was directed by Nanubhai Bhatt. The movie had Shahu Modak, Meena Kumari, Sumiti Gupte, Vasant Pahelwan, Naranjan Sharma, S N Tripathi, Sona Chatterjee, Leela Kumari, Shanta Patel, H Prakash etc in it.

The mythological movie, based on a character of Mahabharat, had nine songs in it. One song has been covered in the past.

Here is the second song from “Veer Ghatotkach”(1949) to appear in the blog. This song is sung by a singer who is uncredited in HFGK. The song is lip synced by Shahu Modak while Meena Kumari looks on.

Saraswati Kumar Deepak is the lyricist. Music is composed by S N Tripathi.

I request our knowledgeable readers to help identify the singer of this song.
PS-Mr Sadanand Kamath believes that it is Shahu Modak himself singing the song.


Song-Jag mein karman ki gati nyaari (Veer Ghatotkach)(1949) Singer-Shahu Modak, Lyrics-Saraswati Kumar Deepak, MD-S N Tripathi

Lyrics

jag mein aen karman ki gati nyaari
jag mein aen karman ki gati nyaari
jag mein karman ki gati nyaari
murjha kar bhi khil jaati hai aasha ki phulwaari ee ee
murjha kar bhi khil jaati hai aasha ki phulwaari ee ee
karman ki gati nyaari
jag mein aen karman ki gati nyaari

hansna rona paana khona
sab is gati ki leela aa aa
sab is gati ki leela aa aa
rang birange sapnon ka hai ye sansaar rangeela
bandhe huye hai karm dor mein
bandhe huye hai karm dor mein saare hi nar naari ee ee
karman ki gati nyaari jag mein
karman ki gati nyaari
karam bhoomi par kaanton ke sang
phoolon ki sej suhani
phoolon ki sej suhani
dukh sukh donon saath saath hai
jag ki yahi kahaani
mat niraash ho khil jaayegi
mat nirash ho khil jaayegi
man ki kesar kyaari ee ee
karman ki gati nyaari
jag mein karman ki gati nyaari

jaisi karni waisi bharni
yahi yahaan ka lekha aa aa
yahi yahaan ka lekha
nahin mitaaye mit sakti jo khhinchi bhaagy ki rekha
saras savera aaya dekho
saras savera aaya dekho
rain gayi andhiyaari ee ee
karman ki gati nyaari
jag mein karman ki gati nyaari


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. 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:

4309 Post No. : 15583

Today’s song is from an old film Duniya kya hai-1938.

Silent films era started from 1912, when 2 silent films were made and exhibited. However, they were not feature films made completely by Indians. The cinematographer was British and the films were processed in England. Thus Dadasaheb Phalke’s totally indigenously produced feature film ‘ Raja Harshchandra’-1913 became the first fully Indian Silent film and it was hailed as the beginning of the Silent film era. In that year one more film ” Mohini Bhasmasur” was also made.

One would think that after this, the silent films were made rapidly by ambitious people. However, the fact is that it took a while to get the momentum in silent film making, for whatever and for various reasons. The following table will show the progress and the ultimate decline of silent films, after Talkie films came.

Year Silent films
1912 2
1913 2
1914 1
1915 2
1916 1
1917 5
1918 4
1919 8
1920 16
1921 45
1922 67
1923 52
1924 63
1925 87
1926 96
1927 93
1928 115
1929 146
1930 201
1931 211
1932 68
1933 42
1934 8

(information from Film Index by Hamraz ji)

Harish Raghuwanshi ji informs that the last silent film was ” Shareef Badmash”, made by Shri Ganesh film company.
Censor Certificate No. B-13975 dated 2-11-1934.

There were hundreds of actors, directors, producers, companies and allied artistes involved in making silent films. The cost of making a silent film was around 20000 rupees only. After the Talkie films started, except the actors, almost all other artistes came over to the Talkie films. However, the actors and actresses now needed a good knowledge of speaking Hindi/Urdu and a reasonable singing (for lead actors). In this test, most Anglo-Indians, Jews, European etc actresses failed miserably. Some actors like Master Vithal too had difficulties. Only a handful of the actresses survived, as they quickly learnt this language and singing. Artistes like Ruby Meyers (Sulochana), Beryl Claessen (Madhuri) and Iris Gasper (Sabita Devi) are such examples, from among others.

Some silent actors spilled over the Talkie era and survived for another 10 to 15 years- a few upto upto the 70s, like Wazir Mohammed khan, for example, ( his first Talkie was Alam Ara -31 and the last film was also Alam Ara-1973 !). As I can remember, P.Jairaj and Lalita Pawar were the notable long survivors in Talkie films, coming from the silent era. Both died 2 years apart in the years 2000 and 1998.

Today’s film Duniya Kya Hai-1938 was produced by Lalita Pawar and directed by her husband G P Pawar. The film was based on Count Leo Tolstoy’s famous novel, ” Resurrection”, published in 1900. The cast of the film was Lalita pawar, Madhav Kale, Indira Wadkar, Begum Fatma, Bipin Mehta and many others. The MDs – Annasaheb mainkar and Kikubhai Yadnik composed songs written by Munshi Aziz.

In the film industry, there were 3 people only, who were called Annasaheb. Incidentally, all were Music Directors. They were Annasaheb Mainkar
(Shankar Vinayak Mainkar), K. Datta (Datta korgaonkar) and C.Ramchandra ( Ramchandra Narhari Chitalkar). Even the prefix ” Masterji’ was used with only 3 MDs, if I remember right.

The composer of this film, Annasaheb Mainkar is not a name known to many people. Born in 1904 at Sangli, Maharashtra, he was trained in classical music at Poona,Baroda,Indore, Mysore and Lucknow. Before joining the film line, he had cut many discs of his songs.

His first film was AWARA SHEHZADA-1933.Incidentally,this was also India’s first film having a double role. Shahu Modak had done the roles of a Rajkumar and a commoner Bholaram in it. It was also the first film of Master Vithal as a Director. He himself was the first to do a double role in a silent film in 1928.

Annasaheb worked for Saraswati cinetone, Imperial, Venus, Huns, Atre and Sunrise films. He gave music to 21 Hindi films, composing 187 songs. His singers were,Master Vinayak, Vanmala, Shahu Modak, Shanta Hublikar, kalyanibai, Sarla Devi, Vatsala Kumathekar etc. His last film was Ashirwad-1943. He died young at 41 yrs.in 1944.

Kikubhai Yagnik was a small time composer from 1933 to 1938 and was not very popular. He had given music to 10 films, composing for 86 songs.

The film Heroine Lalita Pawar was one of a kind artiste. One of the major actors who succeeded in both Silent and Talkie films equally,that too for 70 active years,was LALITA PAWAR.
Today’s generation probably knows Lalita Pawar only as an actress doing crooked Mother in law’s roles only, but in her hay days she was called a ‘ SEX BOMB ‘ !
Born Ambika Laxmanrao Sagun on 18-4-1916, at Indore, her father was a rich person.She started acting very early when she was 10-12 years.Her first silent film was ‘Patitodhar’-1928.

She became a heroine soon and acted in as many as 30 silent films. In the silent and early Talkie era,she did adventurous and stunt films,just like Fearless Nadia did. Because of her boldness she did sexy and romantic roles.I have seen some of her costumes from her early films and those will match any sex-siren of today,I can guarantee !

She was a Heroine till 1942,when while shooting a scene for “Netaji Palkar”-1942, her co-star slapped her during a shot, so hard that she suffered from facial paralysis and damage to her eye.
Inspite of 3 years’ treatment she became unfit for heroine’s roles and at the age of just 25-26,she switched over to character and supporting roles.
She acted in some 7oo Hindi and Marathi films.Some of her roles like the Kelewali in Shri 420,mrs.D’sa in Anari(she won Filmfare award for this role) and Manthara in Ramayana,are quite memorable,though mainly she is known for her wicked roles.
In case of marriage,she competed with Noorjahan(4 marriages) and Meena Shorey(5 marriages).Lalita Pawar’s first husband was Hanuman More,second was G.P.Pawar,her director for stunt films.This marriage went sour when he had an affair with Lalita’s younger sister. Then she married a film producer Rajprakash Gupta, who established Ambika Studios in Bombay.

Her death was tragic. She was found dead-for 2 days-when her husband, son and daughter in law had gone to Mumbai. She was staying alone in her bungalow in Aundh, a suburb of Pune.
She died on 24-2-1998 and it was known on 26th February 1998.

I reproduce here, an obituary as appeared in a Marathi Newspaper of Pune, after her death…(Freeway translation from Marathi)

” Lalita, an actress and a gentlewoman !

Lalita Pawar, the renowned actress of yesteryear who passed away in Pune early this week, enjoyed a most chequered career on the silver screen.

In her seven decades on screen, she has played roles of all variety — from a heroine of the silent era to the squint-eyed mother-in-law of the talkies.

Born as Ambika Laxman Sagun on April 18, 1916 at village Yeole in Nashik district, she made her debut as a child artist in the film Patittodhar. Arya mahila was her first film as a teenaged heroine.

In a career spanning 72 years, she acted in more than 800 Hindi, Marathi, Gujarathi and Bhojpuri films. She was the leading lady of the silent era and, later, a character artiste till she retired from the celluoid.

Her classic silent films include Thugsen Rajputra and Chatursundari. She also tried her hand at the production of Himmat-e-marda and Duniya kya hai. But the films did not do well. Lalita acted as heroine to Baburao Pendarkar’s Netaji Palkar and Jai Malhar. An accident on the sets abruptly ended her career as a leading lady. During the shooting of Jung-e-azadi, Master Bhagwan had to slap her. Her left ear started bleeding profusely. The left part of her face was paralysed and she developed a squint in the left eye.

Talk about courage and turning what would have been a fatal blow to her career into a distinct advantage. That squint alone possibly made her into a famous woman in all her mother/mother-in-law roles.

The Bombay film industry mourned the death of this ‘actress par excellence’ and ‘fine human being’. Shammi Kapoor, with whom she worked in evergreen classics Junglee and Professor said she was a thorough professional. “It is sad that age catches up with people,” Dev Anand said, “We have losta tremendous artist.”

Jairaj, a veteran actor from the silent era, described Lalita Pawar as a capable actress who had a mind of her own. “She expressed herself very well,” he said, “We acted together in Kirtiwhich was remade as Sharda starring Raj Kapoor and Meena Kumari many years later. She also acted as the leading artiste in my home production Mohar.”

The Marathi film Sasurvashin, where Lalitha played the role of a wicked mother-in-law, earned her much popularity. In the Gujarati Mehndi rang laee, which was remade in various languages, Lalitha acted in all the remakes.

In Raj Kapoor’s Shri 420, Lalita was a banana vendor which earned her the Filmfare award. She had this to say about the film: Raj Kapoor gave her a clean and ironed Maharashtrian nine yard saree and dialogues with neat Hindi diction and accent. She told the showman she was prepared to do the role, but would rather do it her way. She improvised the dialogues into the typical Maharashtrian colloquial Hindi and got a very old and shabby saree. Accordingly, she performed the role and won rave reviews.”

The Hero was Madhav Kale. Madhav Kale was born in Nashik in 1903. After his school education at Nashik, he joined Deccan college at Poona and passed Intermediate course. He was interested in playing in dramas, which was opposed by his mother. But he used to take part in dramas while in college. He was a good singer too. Wanting to join films, he sent applications to many companies. Saroj and sharda companies responded. He acted in several silent films like Mukti sangram, kanak kesari etc. He entered the Talkie films with Vikram Charitra-32, Mera Imaan-34 and Vishnu Bhakti-34. During this period, he got married in 1934.

He acted in 21 films. His last film was Gokul ka chor-59. He even directed one film, Sacha Sapna-42. He sang 13 songs in 7 films till 1942.
There is no information about him after this.

After writing this biography of Madhav Kale, I came to know that after the films, Madhav went back to Nashik, where he was active in local politics. He became a Municipal Councillor, but lost Assembly elections, which he was very hopeful of. He died somewhere in 1980.

In the cast there is one more name Indira Wadkar. Hansa 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 sister, Kesharbai, was working in a film made by M.G. Rangnekar and suggested that Wadkar work in films to sustain her family. She acted in 11 Hindi films. She was popular mother in law in Marathi films.

Today’s song is sung by Lalita Pawar herself. I have got it confirmed from Girdharilal Vishwakarma ji. Lalita Pawar sang 10 songs in 3 films. Today’s song is her last song in her career, as a singer.


Song-Yauwan mein rut basant aayi (Duniya Kya Hai)(1938) Singer-Lalita Pawar, Lyrics-Munshi Aziz, MD-Annasahab Mainkar

Lyrics

Yauvan mein rut basant aayi
Yauvan mein rut basant aayi
prem badariya chhaayi
prem badariya chhaayi

priytam aawan ka sandesa
priytam aawan ka sandesa
koyal kook sunaaye

koyal kook sunaaye
sajni basant aayi
Yauvan mein rut basant aayi
Yauvan mein rut basant aayi
sajani prem badariya chhaayi
sajani prem badariya chhaayi
ankhiyaan tarasen tumhre daras ko
ankhiyaan tarasen tumhre daras ko
?? kyun na bhaawe
?? kyun na bhaawe
man ko chain na aaye
man ko chain na aaye
sajani basant aayi
Yauvan mein rut basant aayi
Yauvan mein rut basant aayi
sajani prem badariya chhaayi
sajani prem badariya chhaayi
Yauvan mein rut basant


This article is written by Avinash Scrapwala, a fellow enthusaist 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 :

4297 Post No. : 15554

—————————————————————————
Blog 10-Year Challenge (2010-2020) – Song No. 23
—————————————————————————
I could not send any write-up from my side on Sahir Ludhianvi’s birth anniversary this year on 08th March. However, I had shared few songs and had compiled an excel sheet on Sahir Ludhianvi’s filmography with the respective music directors, which I intend to use for future posts on the blog as and when possible.

While noting down the movies and number of songs from each movie, I came across the today’s songs or rather this ‘couplet recitation’ song from the movie ‘Dil Hi Toh Hai’ (1963). This song has been mentioned in the list of songs by Sahir Ludhianvi in Akshay Manwani’s book ‘Sahir Ludhianvi – The People’s Poet’. HFGK Vol IV (1961-1970) though does not mention this song in the list of songs under this movie. HFGK mentions ten songs in the movie which have already been posted on the blog.

When I searched for the audio/video of this extra song mentioned in Akshay Manwani’s book it was already available. So, we have an opportunity to bring this ‘couplet recitation’ on the blog today under ‘Blog ten-year challenge’ (since one song from this movie was posted on the blog on 23.04.2010). As this movie has already been ‘Yippeeee’ed’ on the blog the today’s song comes as ‘bonus’ for all of us to listen and enjoy.

I am presenting this beautiful song here which is lip synced on screen by the beautiful Nutan. In the movie this song happens just before the song ‘Tum Agar Mujhko Naa Chaaho To Koi Baat Nahin’ or rather it is after this ‘teasing’ song of today by the heroine Jamila Bano (Nutan), that the hero Chand Sahab of the movie (Raj Kapoor) gets ‘provoked’ (or inspired ? 😉) to sing ‘tum agar mujhko naa chaaho’…

The situation is that Jamila Bano is a great fan of singer Chand Sahab but she had not met him and there is a party on the birth anniversary of her friend Pushpa where Chand Sahab is suppose to attend the party. However, incidentally they both came across in shop where they intend to buy the ‘birthday gift’. Jamila Bano and her ‘sahelis’, unaware of who this fellow is misake Chand Sahab for a ‘loafer’ (badmaash, peechhaa karne waala😊 ) and when they see the same fellow also following them at the party venue, and when her friends ask Jamila Bano to say something, she recites this she’r directed at Chand Sahab. After this when Chand Sahab is invited to sing Jamila Bano is surprised but Chand Sahab also took this opportunity and he sings

tum agar mujhko naa chaaho to koi baat nahin,
tum kisi aur ko chaahogi to mushqil hogi
😊

‘Dil Hi To Hai’ was jointly directed by PL Santoshi and CL Rawal for ‘Rawal Films’, Bombay. It was produced by BL Rawal. It had Raj Kapoor, Nutan, Agha, Nazir Husain, Leela Chitnis, Babloo, Padmini Priyadarshani, Sabita Chatterjee, Shivraj, Manorama, Mumtaz, Hari Shivdasani and Pran. The story, screenplay and dialogues of this movie were written by GL Rawal. Editing was done by Pran Mehra.

Lyrics for this movie were written by Sahir Ludhianvi and music was composed by Roshan. Lata Mangeshkar, Mukesh, Manna Dey, Asha Bhonsle and Suman Kalyanpur had given their voices to the songs in this movie.

As mentioned above the movie has total ten songs as listed below and if we include the today’s ‘couplet-song’ it makes eleven songs in this movie.

Song  Posted On
 Tum agar mujhko na chaaho to koi baat nahin  20.07.2008
 Laaga chunri mein daag chhupaaun kaise  03.11.2008
 Nigaahen milaane ko jee chaahtaa hai  16.11.2008
 Parda uthhe salaam ho jaaye  09.05.2009
 Bhoole se muhabbat kar baithaa  23.04.2010
 Tumhaari mast nazar gar idhar nahin hoti  01.05.2010
 Yoonhi dil ne chaahaa thhaa ronaa rulaanaa  12.12.2010
 Churaa le na tumko ye mausam suhaanaa  13.12.2010
 Gusse mein jo nikhraa hai  16.12.2010
 Dil jo bhi kahegaa maanenge  17.12.2010

Ten years back on 23.04.2010 three songs were represented on the blog including a song from this movie.

Song  Movie title-Year  Remarks
 Bhoole se muhabbat kar baithaa  Dil Hi To Hai-1963  All songs covered
 Mukhdaa dekh le praani zaraa darpan mein  Do Behnen-1959
 Bhalaa karne waale bhalaayi kiye jaa  Ghar Sansaar-1958  All songs covered

Let us now enjoy this lovely song for today …

 

Song – Aap Abhi Ishq Ki Tehzeeb Se Aagaah Nahin (Dil Hi To Hai)(1963) Singer – Nutan, Lyrics – Sahir Ludhianvi, MD – Roshan

Lyrics

aap abhi ishq ki tehzeeb se
aagaah nahin
aap abhi ishq ki tehzeeb se
aagaah nahin
aap se mel badhaane ki
hamen chaah nahin

[Dialogues]

aap se pyaar karey koyi
aap se pyaar karey koyi ee
to kyun pyaar karey ae
aap se pyaar karey koyi ee
to kyun pyaar karey ae

aap ki shaql to kya
baat bhi dil-khwaah nahin

—————————————————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————————————————————–

आप अभी इश्क कि तहज़ीब से
आगाह नहीं
आप अभी इश्क कि तहज़ीब से
आगाह नहीं
आप से मेल बढ़ाने कि
हमें चाह नहीं

[संवाद]

आप से प्यार करे कोई
आप से प्यार करे कोई ई
तो क्यूँ प्यार करे ए
आप से प्यार करे कोई ई
तो क्यूँ प्यार करे ए
आप कि शक्ल तो क्या
बात भी दिल-ख्वाह नहीं


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 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 :

4293 Post No. : 15547

Another of those “aa ha” moments, as I was searching for a song to celebrate an anniversary. Sitting on my hard disk for a long time, I just pulled it up and listened to it, as I searched for a song by Khusheed Bano, And wow, what a wonderful creation this one turns out to be. And with a surprise bonus that saved me some extra effort.

Well actually, this post should have come on board yesterday (18 Apr). Having missed the birth anniversary of Khursheed Bano on 14th April, as I checked the anniversaries page, I found that I was still in time for her anniversary of passing away on 18th April. So I started the search and prep for a song sung by her. As luck would have it, I narrowed down to this wonderful song which is such a pleasing listen.

The twist comes in like this. As I checked from the Geet Kosh in my search, and identified this song from the 1941 film ‘Pardesi’, I noted that the GK lists the singer for this song as Khursheed and chorus. But when I played this song, I was taken by surprise to discover that this song is actually a duet, and that too, a delightful romantic duet. To check on the identity of the male voice, I turned to our dear friend, Girdhari Lal ji (of Jodhpur), and requested him for identification. His response was immediate – the male voice is that of Kantilal.

And then another part clicked into place. I immediately went back to the anniversaries list to confirm, and yes my memory was right. 18th April also is the birth anniversary of singer actor Kantilal. And so the celebrations connected and coalesced together into this one song.

Interesting to note that today’s song is one of those rare combinations wherein we have two actor-singers singing together. Yes, there are other pairs that we can list – Surendra – Noorjehaan, Suraiya – Surendra, KL Saigal – Suraiya, KL Saigal – Khursheed etc. Kantilal is also a singer of certain repute, active during the early years Hindi cinema. He has appeared as an actor, and has sung songs that he has performed himself on screen. He has also given playback to other artists. About today’s song, my take is that this song is not performed by Kantilal himself on screen although he himself is also listed as one of the actors in the film. In all probability he has given playback for Motilal. Motilal used to sing off and on. In some films, we find his name listed as singer, and in some films we see him lip syncing other playback singers. In ‘Pardesi’, he is the lead actor, but his name does not appear in the list of singers. And since, in this film, he is paired opposite to Khursheed, and that she is the other singer in this song, it would follow logically that Motilal is lip syncing Kantilal voice in this song.

Now, for the details. We already have a good set of posts giving details about this film and the artists, I will not attempt to re-present that information. However, I will give the links to where these details can be perused.

About the film – ‘Pardesi’, the film synopsis has been posted by our dear Arun ji, in his post for the song “Ab Kahaan Basera Apna”. In the same post, we also can read a brief biosketch about Khursheed Bano.

Our dear Sadanand ji has also presented another brief about Khursheed in his post for the song “Pehle Jo Mohabbat Se Inkaar Kiya Hotaaa”, also from the same film.

Regarding actor-singer Kantilal, I refer to another post by Arun ji, for the song “Dhanwaalon Ki Duniya Hai Ye, Nirdhan Ke Bhagwaan” from the film ‘Holi’ from 1940.

The film ‘Pardesi’ is from the house of Ranjit Movietone, and is directed by Chaturbhuj Doshi. The list of actors, as per Geet Kosh, is – Motilal, Khurshid, Snehprabha, E Billimoria, Durgesh, Keshari, Kantilal, and Bhagwan Das amongst others. The film has 15 songs listed. The songwriters listed for this film are DN Madhok and PL Santoshi. However, specific songwriter for individual songs, is not identified for all songs. As such also for this song – the specific songwriter is not identified. Music for this film is by Khemchand Prakash.

So with this song, we pay our tributes to Khursheed Bano and Kantilal on their anniversaries today. So many things to cherish for, in memory. 🙂

[Author’s Note: The available recording is certainly not the best. I have not been able to decipher one word in the 3rd antraa. I request other readers with keener ears to please help make the correction. Thanks.]

Song – Morey Angna Mein Ambuwa, Ambuwa Ki Daali  (Pardesi) (1941) Singers – Khursheed, Kantilal, Lyrics – [Unattributed], MD – Khemchand Prakash
Khursheed + Kantilal

Lyrics

more angana mein ambuwaa..aa

more angana mein ambuwaa
ambuwa ki daali
daali pe koel bol gayi re. . .
bol gayi re
more angana mein ambuwaa
ambuwa ki daali
daali pe koel bol gayi re. . .
bol gayi re

dol gayi re
dol gayi re
dol gayi re
dol gayi re
duniya dilon ki dol gayi re
duniya dilon ki dol gayi re
more angana mein ambuwaa
ambuwa ki daali
daali pe koel bol gayi re. . .
bol gayi re

dekh sajanwa kaliyan khil gayi. . .
dekh sajanwa kaliyan khil gayi
kaliyon ko bhanwara
bhanwre ko kaliyan
kaliyon ko bhanwara
bhanwre ko kaliyan
mil gayi re
mil gayi re
mil gayi re
mil gayi re
more angana mein ambuwaa
ambuwa ki daali
daali pe koel bol gayi re. . .
bol gayi re

phoolon ki ot sajanwa lag gayi. . .
phoolon ki ot sajanwa lag gayi
kaanton ki meethi kor
kaanton ki meethi kor
?? ras mein ras ghol gayi re
haan haan bol gayi re
ras ghol gayi re
ras ghol gayi re
more angana mein ambuwaa
ambuwa ki daali
daali pe koel bol gayi re. . .
bol gayi re

more angana mein ambuwaa. . .

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

मोरे अंगना में अंबुवा॰॰आ

मोरे अंगना में अंबुवा
अंबुवा की डाली
डाली पे कोयल ॰ ॰ ॰
बोल गई रे
मोरे अंगना में अंबुवा
अंबुवा की डाली
डाली पे कोयल बोल गई रे॰ ॰ ॰
बोल गई रे

डोल गई रे
डोल गई रे
डोल गई रे
डोल गई रे
दुनिया दिलों की डोल गई रे
दुनिया दिलों की डोल गई रे
मोरे अंगना में अंबुवा
अंबुवा की डाली
डाली पे कोयल बोल गई रे॰ ॰ ॰
बोल गई रे

देख सजनवा कलियाँ खिल गईं॰ ॰ ॰
देख सजनवा कलियाँ खिल गईं
कलियों को भँवरा
भँवरे को कलियाँ
कलियों को भँवरा
भँवरे को कलियाँ
मिल गईं रे
मिल गईं रे
मिल गईं रे
मिल गईं रे
मोरे अंगना में अंबुवा
अंबुवा की डाली
डाली पे कोयल बोल गई रे॰ ॰ ॰
बोल गई रे

फूलों की ओट सजनवा लग गई॰ ॰ ॰
फूलों की ओट सजनवा लग गई
काँटों की मीठी कोर
काँटों की मीठी कोर
?? रस में रस घोल गई रे
हाँ हाँ बोल गई रे
रस घोल गई रे
रस घोल गई रे
मोरे अंगना में अंबुवा
अंबुवा की डाली
डाली पे कोयल बोल गई रे॰ ॰ ॰
बोल गई रे

मोरे अंगना में अंबुवा॰ ॰ ॰


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 :

4263 Post No. : 15488 Movie Count :

4269

Today’s song is from a very old film, Moti ka Haar-1937. The song is sung by Ashiq Hussain. The song begins with few sentences in English. The music is by Jaddanbai. The film was produced by Jaddanbai,under the banner of her own Sangeet Film Company, Bombay. It was directed also by Jaddanbai. Though she sang few songs in this film, she did not act in it. However, her daughter Baby Rani aka Fatima Rashid aka Nargis in adult life, acted in this film.Her son, Anwar Hussain also acted in this film. The other cast in the film was Mehtab, Ashiq Hussain, P L Santoshi, Mirza,Yusuf and many more.

Jaddanbai came from a Tawaif family. In the initial stage of the Indian films,whether silent or talkie,it was difficult to get girls from good families and background. Slowly this picture changed. When Talkie started many Tawaifs, singing girls and girls from such families joined films as they fulfilled the requirement of singing and looking good, in addition to their ease on Hindi/Urdu language.
At this time, slowly many educated and girls from high society as well as middle class families started joining films. So,to distinguish these women from each others, a system of nomenclature was followed.

All the Girls coming from Singing families and Tawaif background added the suffix “Bai” to their names, like Jaddanbai, Waheedan bai, Zohrabai,Amirbai etc. The Anglo-Indian and middle class girls took the prefix of ‘ Miss” like,Miss Moti,Miss Rose,MissTara,Miss ajmat,Miss Pearl etc.Those girls who were from high society were called Devi,like Sabita Devi,Kamla Devi,Renuka Devi etc. All Marathi actresses used their full names like Shanta Apte,Minaxi Shirodkar etc.

Another point, this nomenclature was only unofficial and traditional. So some Tawaif actresses took advantage of this to hide their roots.Like, Rampyari who was from a singing family of Hyderabad, sometimes called herself as Miss Rampyari.

Do you know the meaning of the word Kaneez ? Not many may be aware of it. To understand this word,we have to go back in History. There were 565 Princely states in India before Partition. Due to patronising of fine arts like music and dance by these Princes, a new class of Nautch Girls emerged in the 19th century. All Nautch Girls were not the same. Author Michael Kinnear, in his book “The Gramophone company’s first Indian Recordings 1899-1908 “, has explained the classification and Nomenclatures of these Nautch Girls. As per that, there were 4 types…

Lowest Class…..IV Name – Khanki Prostitutes/Sex workers
Class III Name – Kaneez Daasi or servant
Class II Name – Bai ji Singing/Dancing
Class I Name – Jaan Top class singers

They all were called collectively as Tawayafs. The readers will now understand the difference between Amirbai, Waheedanbai, Jaddanbai and Tamancha Jaan, Gauhar Jaan, Malika Jaan, Zohra Jaan etc etc. In the first decade of Talkie films, almost 90% actresses were from Tawayaf families. As the time went by, their percentage went reducing as girls from respectable families started opting for a film career.

Few of these Tawayaf actresses proved to be extraordinary and they set exemplary lifestyles. I would especially mention 4 names of such actresses, who were different from the rest and did an unexpectedly praiseworthy job. They are – Indurani, Mehtab, Gohar Mamajiwala and Jaddanbai. Indurani, was educated in a Convent school in initial years and understood the importance of education. She ensured high quality education to her children and after retirement from films, settled in US with her children. ” Knowledge is the greatest wealth” – her favourite life philosophy is engraved on her Grave stone in America.

Mehtab and Gohar Mamajiwala, both managed their husband’s cine studio companies with great efficiency. Both sacrificed their film careers to be with their husbands in thick and thin and ensured that they remained a great strength to their extended families. Both these women were highly respected in film industry.

The best among the four, however, was Jaddanbai. She was a multifaceted artiste. She was an excellent singer in her early career, where she was in great demand, receiving invitations from various princely states across the Indian subcontinent. In later life, she was a screen writer, Lyricist, Music Director, Actress, Director, producer and owner of a film production company. More than this, she had earned a high reputation in the film industry. She personally knew big guns like Mehboob, Karadar etc. Jaddanbai had undoubtedly earned a special status in the industry.

Her ability to settle complex personal and professional industry disputes, her generous open kitchen for co-workers, her penchant for colourful language and the high premium placed on her advise and recommendation made her a veritable institution in Indian film industry of her times.

Not only she wrote screenplays for all her films, she also helped her estranged son-Akhtar Hussain’s ” Nargis Art Films”, by writing screenplays for his films ” Anjuman-48″ and ” Darogaji-49″. Jaddanbai was proficient in Urdu, Hindi, Bengali, Persian, Arabic and English too. Jaddanbai’s films were made to boost good morals and promote Swadeshi values. Even her first film “Talash E Haq-35” was a story of a wayward actress Feroza, who had many lovers etc, but she finally goes for Search of Truth, denouncing all worldly matters in her life.
JADDANBAI was born in 1892. She was the love child of Motilal Nehru and her mother Daleepabai, who was a beautiful Tawaif. Daleepabai was originally from a Brahmin family,but was abducted and trained as a Tawaif. Jaddanbai was picked up from a mela of kothewalas, when she was only 5 yr. old and was trained as a Tawaif.

A close look at the special feature of Nose in Nargis,Indira Gandhi,Pt.Nehru,Rajiv Gandhi or Rahul Gandhi will confirm the similarity in the Nehru clan feature. Jaddanbai used to tie Rakhi also to Pt. Jawaharlal Nehru. ( from an article by Rajnikumar Pandya ji.)
Jaddanbai started learning music under the Ustad Moinuddin Khan, Barkat ali khan, Chhaddu khan and Laabh khan. For this she shifted to Calcutta in her teens only. Though she was born in Benaras, she grew up in Allahabad, the Nehru’s home town.

She started singing gazals and soon became so famous that she cut several Gramophone records. She was invited by many kings and states like, Rampur, Indore, Gwalior, Bikaner etc. She was very popular. A Lahore based film maker, Hakim Ram Pershad was also charmed by her singing and offered her a film role. At that time she was almost 40 year old, but she was not hired for her beauty but her singing. She did the role of Gopichand’s mother in this film. She was offered a role in film Raja Gopichand-1933, by Play Art Photo tone Co. of Lahore. She did that film and also did Insan ya shaitan, also in 1933, Sewa Sadan, Prem Pariksha and Naachwali, all in 1934 in Lahore and Karachi.

After these films, she decided that she had earned a lot so far and she wanted to enter the film business. She left the well earned fame and riches to relocate to Bombay to do a film career. Those days, Calcutta was for Bangla films, Lahore for Punjabi films and Madras for Tamil/Telugu films, so only Bombay catered to Urdu/ Hindi films. Naturally Jaddanbai’s choice became Bombay.

She started her own company – Sangeet Film Co. and produced ‘Talashe Huq’ in 1935, in which her daughter Baby Rani (later Nargis) made her debut. ( actually Baby Rani had also worked earlier in film Nachwali-34, but it was uncredited ). Jaddanbai was an actor,singer, director and she also gave music to few films. Thus she became the second female music Director(after Bibbo) in India.

As an actress her films were- Raja Gopichand-33, Insan ya shaitan-33, Sewa sadan-34, Prem Pariksha-34, Naachwali-34, Talash e huq-35, Hriday Manthan-36 and Madam Fashion-36.

She also Directed few films-Madame Fashion-36, Hriday Manthan-36, Moti ka Haar-37 and Jeewan Swapna-37.

As a Music Director,her films were-Talash e huq-35, Madame fashion-36, Hriday Manthan-36, Moti ka Haar-37 and Jeewan Swapna-37.
As a singer her famous songs were- pardesiya re jara-Naachwali-34
range mehfil na raha-Prem pariksha-34
Aaina rakh do -Sewa sadan-34
Dil me jabse kisi ka-Talash e huq-35
Khoone dil ka kahin-Hriday manthan-36 and
Ho pyala mad se bhara-Madam Fashion-36.

Her singing was very enchanting and even Saigal was her fan.

She had 3 husbands in three marriages and 1 child each from every one.

First she married Narottamdas Khatri,the financier of her first film.He converted to Islam and became Bachhi Babu to marry her. She got Akhtar Hussain from him.

Her second husband was Ustad Irshaad Meer Khan, from whom she got Anwar Hussain.
Her third husband was Mohan Babu. This Uttamchand Mohanchand Tyagi was an orthodox Mohyal Brahmin from Rawalpindi. He was going to London for studying Medicine. He heard Jaddanbai’s singing and fell for her. Against all resistence from his family, he converted to Islam, became Abdul Rashid and married her. She had at last found true love and till the end, they loved each others. He was known as Mohan Babu. He was handsome,rich and good natured. From him Jaddanbai got a girl child called Fatima Rashid or Baby Rani or NARGIS. It is believed that due to her love for Mohan Babu she adopted a Hindu name of Jaya Devi Tyagi also.
Her elder son Akhtar kept away from the family, became a Director, but later started his own business away from these people. Anwar Hussain and Nargis entered films.

Jaddanbai was very well read, cultured and a social person.

She died on 8-4-1949.

The hero of film Moti ka Haar-37 was Ashiq Hussain. Not much information is available on him, except that he hailed from U.P. and that he was educated up to Matriculation, in those days. He was one of the young and good looking heros of those days. He acted in 25 films, starting with Jaddanbai’s film Talash E Haq-35 and his last film was Utho Jaago-47 – a film produced by actress Shehzadi. After the film was complete, they got married and later migrated to Pakistan. There, Ashiq Hussain turned into a full time producer and made many films. Unfortunately no information about him in Pakistan is also available. Ashiq Hussain sang 32 songs in 13 films in India.

Today’s song is sung by Ashiq Hussain. The song has some English lines in prose, before the actual song starts. Surendra and Bibbo made this style famous, with their popular song “Tumhi ne mujh ko pyar Sikhaya’in film Manmohan-36, in which at the beginning, Bibbo asks ” क्या मैं अंदर आ सकती हूं ? ” This different style of song was liked by public and then some more songs with same style were brought in by other composers. May be this song too was an attempt in this direction. With this song, film Moti ka Haar makes its Debut on the Blog.

( I thank for information used in this article from writings of Jill Nelmes and Jule Seibo from book “Women Screen writers- An International Guide”‘, article by Debashri Mukherji, titled “Screen writing and Feminist Rewriting”, article by Michael Kinnear, site http://www.pak.mag.com, http://www.muVyz.com, Film Directory 1946 and my notes).


Song-Chot maar lyo ghoonghatwa ki oat janiya (Moti Ka Haar)(1937) Singer- Ashiq Ghulam Hussain, Lyricist- Jaddanbai, MD- Jaddan bai

Lyrics

aa aa aa aa
you told me
you told me
to come with your home
tomorrow morning
jab ham wahaan pe gaye to
cheez ka pata nahin mila
I am very much ?
I am very much ??
I love and I do for you

chot maar lyo
chot maar lyo
chot maar lyo
ghoonghatwaa ki oat janiyaa
ghoonghatwaa ki oat janiyaa
chot maar lo

chot maar lo
ghoonghatwaa ki oat janiyaa
o chot maar lo
ghoonghatwaa ki oat jainiyaa
chot maar lo

phooli hai bagiya
ghata lahraayi
sooni sejariya se tu naahin bhaawe
aa jaa sejariya ki oar janiyaa
haan aa jaa jhopadiya ki oar janiyaa
haan raaja jhopadiya ki oar janiyaa
chot maar lo
ghoonghatwaa ki oat janiyaa
chot maar lo

haan
?? joruen pyaari
main shauhar unka laadlaa aa aa
main shauhar unka laadlaa
aur ghar ka numberdaar
in sab joruan ke bech kar
main utaroon ganga paar
chot maar lyo ghoonghatwaa ki oat janiyaa
chot maar lyo


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 :

4258 Post No. : 15479 Movie Count :

4267

Today’s song is from a relatively unknown or rather less known film ‘Vasanti’ (1938). The film was made by Minerva Movietone. The film was given to a novice for direction – KM Multani. He was with Sohrab Modi since his drama days and worked as a cinematographer for Modi’s first two films made by his Stage Films Company. After this first film, Multani also directed 4 more films, namely ‘Virginia’ (1940), ‘Vaseeyat’ (190,) ‘Ujala’ (1942) and ‘Umang’ (1944).

‘Vasanti’ had a pair of music directors. They were Govindrao Tembe and Meer Sahab. Meer Sahab joined Minerva in 1937 and gave music to its first film ‘Atma Tarang’ (1937). Though this film was a flop, he was continued to give music to few more Minerva films like ‘Vasant’, ‘Jailor’ and ‘Divorce’ in 1938, ‘Pukar’ (1939), ‘Main Haari’ (1940), ‘Sikandar’ (1941), ‘Phir Milenge’ (1942). ‘Patharon Ka Saudagar’ (1944) and ‘Lal Haveli’ (1944). either solely or with other MDs.

When Meer Sahab was giving music to an outside film ‘Bahadur Kisan’ (1938), his assistant was C Ramchandra during this period. He became very friendly with Master Bhagwan who was film’s director, hero and a singer too. Meer Sahab was an expert in classical music, but he used to forget tunes. That is why he was best when working with some other MD. In film ‘Vasanti’, his co-MD was Govindrao Tembe. Govind Sadashiv Tembe, popularly known as Govindrao Tembe (5 June 1881 – 9 October 1955), was a harmonium player, stage actor, and music composer. He grew up in Kolhapur and became attached to music early in life. He was largely self-taught as a harmonium player. He has acknowledged the debt of Deval Club for his initial forays into Hindustani classical music.

Tembe learnt his art from Bhaskarbuwa Bakhale and, although he never received direct guidance from Alladiya Khan of Jaipur Gharana, Tembe considered Khansaheb as his guru. He used to accompany Pt. Bhaskarbuwa Bakhale, and would also often perform solo, but later gave up harmonium for most part of his career. He composed music for the drama ‘Maan Apmaan’ in 1910, and also for the first Marathi talkie ‘Ayodhyecha Raja’ (1932). He also acted in both these productions.

He was a personal friend of Late Yuvaraja of Mysore, HH Sri Kanteerava Narasimha Raja Wadiyar. Prof Tembe was part of a large entourage of Yuvaraja during his trip to Europe in 1939. The troupe performed before the Pope and at other places during this trip. As World War II broke out, they stayed at London for a long time and ultimately returned in Jan 1940. Yuvaraja died soon after, at his Palace Anchorage (next to Hotel Taj) in March 1940 and Prof Tembe lost his patron.

Prof Tembe was part-owner of Gandharva Natak Mandali when it was formed in 1913. Two years later, he started his own company named Shivraj Natak Mandali. He wrote dramas and also the padas (songs) in them.

While in film industry, he dabbled in many departments. He was fond of acting. He acted in 6 films, namely ‘Maya Machhindra’ (1932), ‘Ayodhya Ka Raja’ (1932), ‘Seeta’ (1934), ‘Usha’ (1935), ‘Nand Kumar’ (1938) and ‘Krishna Sudama’ (1945). He sang 15 songs in his first 4 films, where he had acted. He directed one film – ‘Raj Mukut’ (1935) and he was a MD in 12 films, from ‘Ayodhya Ka Raja’ (1932) to ‘Saathi’ (1938).

Govindrao’s death was in a strange circumstance. His friend, VH Deshpande has written about it in an article, I found on http://www.parrikar.org, as follows.

Govindrao’s death was unexpected. Of late, he had taken considerable interest in the work of the Central Audition Board of All India Radio. He had gone to Delhi in connection with the work of this Board and suffered a heart attack on 29th September, 1955. Dr. Sumati Mutatkar conveyed the news to the Minister in charge of Information and Broadcasting Dr. B.V. Keskar and Shri P.M. Lad, I.C.S., who took keen personal interest and had Govindrao removed to Wellington Nursing Home. They also arranged for a thorough medical check-up and treatment by expert doctors.

It was felt that somebody from Govindrao’s family should go over to Delhi and stay with him. Shri P.M. Lad, Secretary to Government in the Department of Information and Broadcasting, wrote to Govindrao’s eldest son, Pilunana and called him to Delhi. For the first few days Govindrao was unable to move his hands and feet. But soon he rallied round and was well enough to send a telegram home saying – “I am feeling better. The A.I.R. officers have made excellent arrangements for my treatment. There is, therefore, no need for anybody from the family to come here. There is absolutely no cause for anxiety.”

In the meantime his youngest son, Bhaurao and his eldest daughter-in-law, Indirabai, had left Kolhapur for Delhi; but having seen (at Pune) the reassuring telegram from Govindrao they returned home. Fearing that the telegram might not have reached Kolhapur and that Bhaurao might have started for Delhi, Govindrao pressed Pilunana to go to the Delhi Railway Station to fetch him. Pilunana left the Nursing Home for the station. At 5.35 p.m. Govindrao suffered a heart attack apparently caused by a coughing fit which brought his life to an end in a matter of seconds. When Pilunana returned from the station at 7 p.m. he found that his father had passed away.

Officers of the All India Radio rushed to the hospital on hearing the news. Dr. Keskar too came to pay his respects to the departed soul. He gave
instructions to his officers in regard to the funeral. During this terminal illness of Govindrao, Dr. Keskar, Shri P.M. Lad and Dr. Sumati Mutatkar had
paid personal attention to Govindrao’s treatment and made every effort to make his stay at the hospital as comfortable as possible. They all felt a sense of guilt for the tragedy since it was in response to their invitation that Govindrao had gone to Delhi. “

Minerva Movietone was one of the major and famous film companies. Its initial films were very purposeful and tackled social evils like divorce, alcoholism and incest etc. Minerva was also famous for its grand historical movies and the solid dialogues delivered by Sohrab Modi. All this success did not come to him easily. He learnt through bitter lessons.

In the 30’s, when the talkie films started, there were about 9 big, famous and trend setting film companies. Most companies had graduated to talkie status after they made silent films. Only Bombay Talkies and Minerva Movietone started after talkie films had established a foothold. Let us see when these companies started their film making.

Company Year started
Madon Theatres 1919
Imperial 1926
Ranjit 1929
Prabhat 1929
Sagar 1929
New Theatres 1931
Wadia Movietone 1931
Bombay Talkies 1933
Minerva Movietone 1936

From this chart, it is clear that Minerva was the youngest of all these companies. Modi brothers had started a company called Stage Films Co. in 1935, which shot 2 films from a running stage drama. They were ‘Hamlet’ (1935) and ‘Saeed e Hawas’ (1936). Both were flops. Minerva Movietone was started by Sohrab and brother Rustom Modi in 1936, when they realised that the stage dramas, filmed as feature films did not get the public approval. Production from Stage Films- their first film production enterprise- was suspended till Minerva became successful. ‘Aatma Tarang’ (1937) was the new company’s first film. C Ramchandra was the harmonium accompanist for MD Habib Khan and Bundu Khan. He also did a small role in ‘Aatma Tarang’ and earlier ‘Saeed e Havas’ (1936). 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.

This gave lot of motivation to Modi. It also boosted his self confidence. As such he was sure of his success in films, but now he knew that he must make films on subjects of interest of the public and not his own philosophy, if he wants to succeed commercially. His second film was ‘Khan Bahadur’ (1937), based on the bravery and generosity of a Muslim king who became famous for his bravery. The English rulers gave him the title of Khan Bahadur. The film did a reasonable business.

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’ (1938)), husband-wife separation (‘Divorce’ (1938)) and incest (‘Bharosa’ (1940)). 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.

In those days, every film company had its own committed audience. In addition, the language used in every studio’s films had a special touch e.g. Prabhat film language (i.e. dialogues and song lyrics) had a Poona Marathi influence, Ranjit films were Gujarati oriented and New Theatre’s language was ‘Bhoyankor and Bhishon’ – all words were rounded. Bombay Talkies brought in a day to day simple Hindi language. Minerva used Urdu and Farsi influenced words and pronunciations. It suited the long and forceful dialogues of Modi in his historical movies.

The cast of film ‘Vasanti’ was Naseem Banu, Navin Yagnik, Putli, Kusum, Sadiq Ali, Jamshed ji, Ghulam Hussain and many more. Something about the unusual name in the cast – Jamshed ji. His full name was Jamshed ji Bairam ji Khan Saheb. In some films, he was credited as Khan Saheb also. He was born in Bombay in 1889 as a typical Parsee. He was one of the oldest and most experienced actors having worked with several directors and over 25 years of acting.

He started with Silent films like ‘Pyaari Mamta’, ‘Madhuri’, ‘Sohni Mahiwal’, ‘Pooran Bhagat’, ‘Gulshan e Arab’, ‘Hoor e Baghdad’ and ‘Indira’. His first talkie film was ‘Daulat Ka Nasha’ (1931) and ‘Noorjahan’ (1931). He acted in about 50 films. His last known film was ‘Andaz’ (1949).

Jamshed ji, also gave music to 3 films- ‘Naya Zamana’ (1935), ‘Zaate Shareef’ (1936) and ‘Jagat Kesari’ (1937).

Hero of film ‘Vasanti’ was Navin Yagnik. Navin was a well known stunt film actor who did social films also with the same ease. Navin was born in Calcutta on 3-10- 1912. His father was from UP and mother from Bengal. During school days, he was more interested in sports, dramas and oratory. He did not complete his Matriculation, but ran away to Bombay, to become an actor-against the wishes of his family. He joined Sagar Films in 1930, as an extra, without salary. After few months he got Rs. 35 pm, but no credited roles. After a year or so, he left Sagar and joined Mohan Bhavnani’s Ajanta Film company. He first worked in film ‘The Mill ‘ (1934). Unfortunately, this film was banned for 2 years. The film was based on a story by Munshi Premchand and depicted the poor conditions of mill workers in Bombay. The Mill Owners’ Association brought pressure on Government and got the film banned. After 2 years, the film was released as ‘Ghareeb Parvar’ (1936) aka ‘Daya Ki Devi’. Two more films and Navin became hero in film ‘Pyar Ki Maar’ (1935).

In her autobiography, actress Hansa Wadkar says,”My hero in this film was one Navin Yagnik, a handsome boy from UP. He was very shy and after the shootings, he would quietly sit in one corner reading something. He never joined our drink parties, nor he participated in any other group activity. I was attracted towards him but he gave no response. He sent me invitation card of his marriage, when it was fixed.”

He also worked in Minerva Movietone, Prakash pictures, Filmistan and other good banners. Some of his well known films were, ‘Zambo-The ape Man’ (1937), ‘Meri Bhool’ (1937), ‘Divorce’ (1938), ‘Vasanti’ (1938), ‘Son of Zambo’ (1939), ‘Main Haari’ (1940), ‘Vasantsena’ (1942), ‘Raja Rani’ (1942), ‘School Master’ (1943), ‘Prithvi Vallabh’ (1943), ‘Chal Chal Re Naujawan’ (1944) etc. His last recorded film was ‘Bhagwat Mahima’ (1955). In all, he worked in 30 films.

Navin Yagnik died on 28-10-1977.

Today’s song is probably composed by Govindrao Tembe, but HFGK does not credit any song to individual MD in the duo. With this song, film ‘Vasanti’ makes its debut on this Blog.


Song – Roop Anoop Wahi Hai Sajani (Vasanti) (1938) Singer – Naseem Banu, Lyricist – Abdul Baqi, MD – Govindrao Tembe and Meer Saheb

Lyrics

roop anoop vahi hai sajani
roop anoop vahi hai sajani
jo preetam ko bhaave ri sajani
jo preetam ko bhaave ri sajani
jo saajan ko lubhaave sajani
jo saajan ko lubhaave sajani
roop anoop wahi hai sajani
roop anoop wahi hai sajani
jo preetam ko bhaave ri sajani
jo preetam ko bhaave ri sajani
jo saajan ko lubhaave sajani
jo saajan ko lubhaave

prem mein mann aisa kho jaawe
prem mein mann aisa kho jaawe
apna dhyaan na aawe ree sajni
apna dhyaan na aawe ree sajni
sab sudh budh bisraawe sajni
sab sudh budh bisraawe

yaad mein jeewan unke bita doon
yaad mein jeewan
aa aa aa aa aa
yaad mein jeewan unke bita doon
prem ki aag suhaave sajani
prem ki aag suhaave sajani
prem mein mann sukh paave sajani
prem mein mann sukh paave sajani
roop anoop wahi hai sajani
roop anoop wahi hai sajani
jo preetam ko bhaave ri sajani
jo preetam ko bhaave ri sajani
jo saajan ko lubhaave sajani
jo saajan ko lubhaave

——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————

रूप अनूप वही है सजनी
रूप अनूप वही है सजनी
जो प्रीतम को भावे री सजनी
जो प्रीतम को भावे री सजनी
जो साजन को लुभावे सजनी
जो साजन को लुभावे सजनी
रूप अनूप वही है सजनी
रूप अनूप वही है सजनी
जो प्रीतम को भावे री सजनी
जो प्रीतम को भावे री सजनी
जो साजन को लुभावे सजनी
जो साजन को लुभावे

प्रेम में मन ऐसा खो जावे
प्रेम में मन ऐसा खो जावे
अपना ध्यान ना आवे सजनी
अपना ध्यान ना आवे सजनी
सब सुध बुध बिसरावे सजनी
सब सुध बुध बिसरावे

याद में जीवन उनके बिता दूँ
याद में जीवन
आ आ आ आ आ
याद में जीवन उनके बिता दूँ
प्रेम की आग सुहावे सजनी
प्रेम की आग सुहावे सजनी
प्रेम में मन सुख पावे सजनी
प्रेम में मन सुख पावे सजनी
रूप अनूप वही है सजनी
रूप अनूप वही है सजनी
जो प्रीतम को भावे री सजनी
जो प्रीतम को भावे री सजनी
जो साजन को लुभावे सजनी
जो साजन को लुभावे


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4257 Post No. : 15478 Movie Count :

4266

———————————————–
Hindi Songs in Bangla Films – 22
———————————————–

‘Banarasi’ (1962, Bangla film) was produced by Ruma Guha Thakurta and was directed by her husband, Arup Guha Thakurta. The film was based on a story written by novelist Bimal Mitra (he also wrote the story of the film ‘Sahab Bibi Gholam’).  The main actors in the film are Soumitra Chatterjee, Ruma Guha Thakurta, Tulsi Chakraborty, Tarun Kumar, Asha Devi, Maneka Devi, Shyam Laha etc. The film is available on a video sharing platform with English sub-titles.

I had heard of Ruma Guha Thakurta (Ruma Devi for Hindi film audience) as an occasional actor in Hindi films and an ex-wife of Kishore Kumar. Finding her name in the Bangla film under discussion, that too not only as an actor-singer but also as a producer of the film, I thought I need to know more about her than what I had the impression about her in my mind. Fortunately, information about her is available on-line including her interview on Doordarshan.

Ruma Devi (03/11/1934 – 03/06/2019) was born as Ruma Ghosh (later known as Ruma Guha Thakurta after her second marriage) in a family of talented vocalists. She was the niece of Satyajit Ray.

Ruma Devi started as a dancer in Uday Shankar’s troupe in Almora. Later, she shifted to Bombay (now Mumbai) and worked as a child actor in her first film, the Bombay Talkies’ ‘Jwaar Bhata’ (1944). She worked in three more Hindi films – ‘Mashaal’, 1950 (’Samar’ in Bangla), ‘Afsar’ (1950) and ‘Raag Rang’ (1952). She got married to Kishore Kumar in 1951. After the birth of their son, Amit Kumar in 1952, Ruma Devi stopped working in the films.

In 1958, Ruma Devi and Kishore Kumar parted amicably. Ruma Devi shifted to Kolkata and set up Calcutta Youth Choir (CYC) in collaboration with her maternal uncle, Satyajit Ray and Salil Chowdhury. Throughout her life, she was actively involved with CYC. In 1974, she led a troupe of singers and dancers of CYC to participate in Copenhagen Youth Festival where CYC won the first prize.

In 1959, she worked in her first exclusive Bangla language film, ‘Ganga’ (‘The River’, 1960) as a supporting actor. Her role in the film was critically acclaimed. She worked in about 60 Bangla films from 1950 through 1998 during which she was associated with the renowned  directors like Satyajit Ray in ‘Abhijan; (1962) and ‘Ghanashatru’ (1989), with Tapan Sinha in films like ‘Atithi’ (1959) and ‘Nirjon Saikote’ (1963) and with Tarun Majumdar in films like ‘ Palatak; (1963) and ‘Balika Bodhu’ (1967). She also worked in Bangla films as a playback singer and did choreography in a couple of Bangla films. Her last film as an actor was Mira Nair’s English film ‘The Namesake’ (2006).

In 1960, Ruma Devi got married to director Arup Guha Thakurta with whom she has a son, Ayan and a daughter, Sromona Chakroborty who is a singer.

Ruma Devi passed away in her sleep on 03/06/2019 at her Kolkata residence due to old age-related problems.

The story of ‘Banarasi’ (1962) is as under:

Ratan (Soumitra Chatterjee) works as a draftsman in the railways and stays in an old man’s house in Kolkata as a paying guest. The only person with whom he shares his personal matters and who also help him financially in case of need is his close friend, Monty (Tarun Kumar). One day, while returning from watching a play in the theatre, Ratan sees a girl who has stopped her horse driven coach to buy a paan. The girl’s face resembles that of his childhood friend, Sona (Ruma Guha Thakurta) who was kidnapped at the ghats of River Ganga in Banaras. He watches her until she gets down from the coach and enters a building. Ratan wants to meet her but Monty discourages him by saying that the building houses courtesans. But Ratan is anxious to visit her to ascertain whether she is really Sona, his childhood friend to whom he was to marry later.

One day, without the knowledge of Monty, Ratan visits Sona and comes to know that the girl he saw earlier was indeed Sona whose life has now changed after her kidnapping and she has become a courtesan with a new name ‘Banarasi’. Ratan tells her that he wants to marry her and both of them can still start a life afresh by shifting to a place away from Kolkata where no one would know their background. After much persuasion, Sona agrees. Ratan arranges his transfer to a remote village where Railway is lying new tracks. Sona runs away with Ratan in the night.  Both of them get married in a temple at Kalighat and travel by train to their new place of work in a remote village.

The station master of the village railway station accommodates him in his house until he gets the staff quarters. Both Ratan and Sona are happy. However, their happiness is short lived as Ratan comes across a calendar with her picture as a courtesan in a shop. Now Sona’s past haunts him and there is some tension between husband and wife. Their tension is further compounded when one of Sona’s old clients who has halted in the village on a business trip, recognises Sona. She and Ratan are humiliated in the presence of villagers. Sona decides to leave her husband as she feels that it was due to her past that Ratan has to face the humiliation in the society. She leaves the house in the dead of the night. Ratan, on not finding her wife in the house, goes out searching for her. He meets Sona halfway and promises her that no matter what the society says, he would always be with her. With these words, Ratan accompanies Sona to an uncharted place leaving everything behind in the house.

The film was critically acclaimed but did not do well on the box office front. Probably, the theme of the story was familiar. The extent of sympathy which the director of ‘Umrao Jaan’ (1981) created for the character of the courtesan was missing in the character of courtesan in ‘Banarasi’ (1962). However, both Soumitra Chatterjee and Ruma Guha Thakurta have given sensitive performances as per the demand of their respective roles.

By now, I have come to know that Bangla films with courtesan’s theme or scenes have a couple of Hindi songs. In ‘Banarasi’ (1962) also, there are 3 Hindi songs of which two are mujra songs and the third is a partial holi song in Bhojpuri dialect. I am presenting one of the two mujra songs, “Shabnam To Royi Royi” sung by Ruma Guha Thakurta who is singing for herself as a courtesan. The song is written by Nyay Sharma which is set to music by Ustad Ali Akbar Khan.

Song – Shabnam To Royi Royi, Taare Bhi Roye Bairi (Banarasi)(Bangla) (1962) Singer – Ruma Guha Thakurta, Lyrics – Nyay Sharma, MD – Ustad Ali Akbar Khan

Lyrics

shabnam to royi royi
taare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja
shabnam to royi royi
taare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja
 
taare bhi royen
meri raahen bhi royen
nigaahen bhi royen
meri duaa’en bhi royen
taare bhi royen
meri raahen bhi royen
nigaahen bhi royen
meri duaa’en bhi royen
manzil to khoi khoi
saathi bhi khoye bairi
ab to tu aaja aaja
jaanewaale aaja
jaanewaale aaja
 
royen muraaden apni
aanchal nahin hai
samjhi hum jisko saahil
saahil nahin hai
kashti to soi soi
kinaare bhi soye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja

shabnam to royi royi
taare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja
 
palkon ne haar piroye
kis ko pehnaa’en
hichki malhaar gaaye
kis ko sunaa’en
palkon ne haar piroye
kis ko pehnaa’en
hichki malhaar gaaye
kis ko sunaa’en
hasrat to royi royi
nazaare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja. . .
jaanewaale aaja

——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————

शबनम तो रोई रोई
तारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा
शबनम तो रोई रोई
तारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा

तारे भी रोएँ
मेरी राहें भी रोएँ
निगाहें भी रोएँ
मेरी दुआएं भी रोएँ
तारे भी रोएँ
मेरी राहें भी रोएँ
निगाहें भी रोएँ
मेरी दुआएं भी रोएँ
मंज़िल तो खोई खोई
साथी भी खोये बैरी
अब तो तू आजा आजा
जानेवाले आजा॰॰आ
जानेवाले आजा

रोएँ मुरादें अपनी
आँचल नहीं है
समझी हम जिनको साहिल
साहिल नहीं है
कश्ती तो सोई सोई’
किनारे भी सोये बैरी
अब तो तू आजा आजा
जानेवाले आजा॰॰आ
जानेवाले आजा

शबनम तो रोई रोई
तारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा

पलकों ने हार पिरोये
किस को पहनाएँ
हिचकी मल्हार गाये
किसको सुनाएँ
पलकों ने हार पिरोये
किस को पहनाएँ
हिचकी मल्हार गाये
किसको सुनाएँ
हसरत तो रोई रोई
नज़ारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा


This article is written by Arunkumar Deshmukh, a fellow enthusaist 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 :

4249 Post No. : 15468 Movie Count :

4262

Today’s song is from film Amanat-43. There were 4 films with the same title, made in 1943, 1955,1975 and 1994. The films of 1955 and 1975 have already been yippied on the Blog. Amanat-43 makes its Debut with today’s song. The song is sung by Tara Harish.

When I had heard this name first time, somewhere in the late 40s, I had thought that this was some lady’s name. Later I thought that it was a joint name of two persons – one female and one male. However, after I read about ‘him’, his name mystery was solved. Harish, also known as Tara Harish, was born on 23-10-1916 at Delhi. His real full name was Tarachand Anand Biharilal Mathur. He was distantly related to Motilal and Mukesh. His father died when he was just 3 year old. He was brought up by his brothers and uncle. He graduated in 1937. After trying and failing in a second hand car business, he decided to enter film world and joined Sagar Movietone, where Motilal was getting established.

His first foray into films was in film ‘ 300 days and after ‘-38. In this film, however, he was uncredited. He got roles in other films like Postman, Ladies only, Service Ltd, Hum,Tum aur Voh, Ek hi Rasta, Civil marriage, Aurat, Nai Roshni, Vijay, Haqdar etc etc. He used to sing also in the films. As a Hero his last film was Amanat-43.

Harish took up Direction with film Beda Paar-44, a stunt C grade film, but soon he directed many social films also. In his career he directed 21 films. Some of his films are Toote tare-48, Ustad Pedro-51, Malhar-51 ( originally Harish was to be the hero, but he gave chance to Arjun), Daku ki ladki-54, Lalten-56, kali Topi laal rumaal-59, Do Ustad-59, Burmah Road-62. His last film, as a Director, was Awara Abdulla-63.

Harish acted in 21 films. He sang 39 songs in 16 films ( stats by MuVyz). He established his own production company- Omar Khayyam Films. When he was directing film Ustad Pedro-51, he changed the name of actress Nargis Rabadi to Shammi, since another more famous actress of same name- Nasrgis- was existing already in films.

Tara Harish died sometime in 1970.

Film Amanat-43 was made by N R Desai Productions and it was directed by Lalit Chandra Mehta. Earlier, Mehta had directed 2 films, namely, Nai Roshni and Lalaji, both in 1941. After Amanat-43, he directed one more film- Azadi ki raah par-48, before disappearing from films, as I did not find his name in any film later on.

The film had music by Ninu Mujumdar. There were 8 songs, written by Neelkanth Tiwari, MA. This Sahitya Academy award winner hailed from Madhya Pradesh. He was a very well known poet and a writer and was highly respected in film industry. He was a friend of Dilip kumar and Kishore kumar. He even acted in films like Nirdosh and Apna paraya in 1941. Both films were made by National studios. Tiwari also tried his hand at singing a song in film Nirdosh-41.

As a lyricist, he wrote 140 songs in 36 films. His last film as a lyricist was Hameer Hath-64. First song of Mukesh-“Dil hi bujha hua ho” from film Nirdosh-41 as well as the first yodelling song of Kishore kumar from film Adhikar-54 were written by him.

In addition to film songs, he also wrote many Jingles for advertising companies, for various products. After films he returned to M.P. and continued writing. He died on 11-2-1976, leaving behind wife Rama Devi, 2 daughters and one son.

The cast of film Amanat-43 was Harish, Husn Bano, Sankata Prasad, Bhudo Advani, Jyoti, Dulari, Nawab, Master Badri and many more. Actress Jyoti, besides acting in the film had also sung 2 duets in the film, one with the composer Ninu Mujumdar and the other with Dulari. This Dulari does not seem to be the one who acted in film Shehnai-47 and on whom the famous song “aana meri jaan Sunday ke Sunday” was filmed. She also became a popular character artiste in later films. She could neither sing nor dance, according to her interview published in Blog Beete hue din run by Shishir krishna Sharma ji. This singer Dulari may be Shama Dulari who later on had a 3 year contract with Shalimar Pictures, Poona and acted/sang in 3 of the films under this banner. Before Amanat, she seems to have sung songs in film Jhankar-42 also.

JYOTI ( real name Sitara Begum) was born in 1921 in a professional singer’s house in Agra-UP. Waheedan Bai was her elder sister. She was Nimmi’s aunt also.
She grew up in a musical atmosphere. She learnt the classical music of Agra Gharana.
Her entry into films was easy due to elder sister already being in films. Anil Biswas gave her first opportunity in Comrades-39 to act and sing 2 solo songs.
Then came Ek hi Rasta and Sadhana. She had done also Uski tamanna and Bhole Bhale in 1939.
Actually, she became famous after Aurat-40,in which she had 5 songs. Same year Pooja and Sanskar also added to her fame. In Sanskar,she sang with sister Waheedan Bai and also with Harish. Thus 1940 was a very lucky year for Jyoti.
In 1941,Darshan and Radhika, Jawani-42, Amanat-43. During 1942, there were rumours of bombing in Bombay. Jyoti got scared and stopped working for about 3 years. After much cajoling by Mehboob and Kardar she started working in 1945. Thus films Devar and Saathi in 46 saw her in films.

Her voice had some resemblance to Parul Ghosh. She was not a great singer, but Anil Biswas supported her very much.
Jyoti was married earlier, but her husband had left her. In Bombay she fell in love with G M Durani.
She married G.M.Durani-MD,Singer and Actor. Their married life was happy and long.
Jyoti acted in 19 films. Her last film was Sati Vaishalini-59. She sang 38 songs in 12 films. Her last songs were in film Devar-46.

Today’s song is sung by Harish. I have listened to other few songs of this film, but the music was very disappointing. This must be Ninu Mujumdar’s poorest film music easily. I selected this song as I felt, this was the best among other songs. After listening to this song, you can imagine about other songs.


Song-Chhoo gayi Chhoo gayi koi mera mann (Amaanat)(1943) Singer-Harish, Lyricist- Neelkanth Tiwari, MD- Ninu Mujumdar

Lyrics

Chhoo gayi Chhoo gayi koi mera mann
chhoo gayi
Chhoo gayi Chhoo gayi koi mera mann
murli bana gayi koi mera mann

mere hi honthhon se murli banaay ke
mere hi honthhon se murli banaay ke
koi baja gayi mera bhola mann
murli bana gayi koi mera mann
chhoo gayi

praanon mein bhar gayi koi nayi dhun
praanon mein bhar gayi koi nayi dhun
kaanon mein bhar gayi nayi run jhun
kaanon mein bhar gayi nayi run jhun
sapnon se
sapnon se
sapnon se bhar gayi mere nayan
murli bana gayi koi mera mann
chhoo gayi

soyi thhi mere aangan mein raat
soyi thhi
soyi thhi mere aangan mein raat
aayi wo kirnon ki le kar baaraat
aayi wo
aayi wo kirnon ki le kar baaraat
kamal sa khil gaya
kamal sa khil gaya angna ??
murli bana gayi koi mera mann
Chhoo gayi Chhoo gayi koi mera mann
murli bana gayi koi mera man
Chhoo gayi Chhoo gayi koi mera mann
chhoo gayi


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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 ELEVEN years. This blog has more than 15600 song posts by now.

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

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