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

Archive for the ‘Actor-Singer song’ Category


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

“Shagoofa”(1953) was produced under the banner of P N Films ( Premnath’s home production) and it was directed by H S Rawail. The movie had Premnath, Beena Rai, Bipin Gupta, Sundar, Purnima, Yashodara Katju, Baby Naaz etc in it.

Four songs from this movie have been discussed in the blog in the past. Here is the fifth song from this movie to appear in the blog. This song is sung by Sundar and Geeta Dutt. Rajinder Krishan is the lyricist. Music is composed by C Ramchandra.

Only the audio of this song is available. This light hearted romantic song is a parody of the well known song-“Maine laakhon ke bol sahe sanwariya tere liye ” from “Leela”(1947), which was also composed by C Ramchandra.

This song was clearly picturised on Sundar and a lady playing his romantic angle in the movie. I request our knowledgeable readers to help identify this lady.

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


Song-Kaise khel muhabbat mein khele(Shagoofa)(1953) Singers-Sundar, Geeta Dutt, Lyrics-Rajinder Krishan, MD-C Ramchandra

Lyrics

dil kabhi apnaa thhaa
lekin ab paraaya ho gaya
ae ji ho
dil to dil thhaa
moochh daadhi kaa safaaya ho gaya
haay

kaise khel mohabbat mein khele ae ae
kaise khel mohabbat mein khele
sitamgar tere liye
kaise khel mohabbat mein khele
sitamgar haan haan
sitamgar haan haan
sitamgar tere liye
maine kyaa kyaa naa paapad bele
sitamgar tere liye
maine kyaa kyaa naa paapad bele

ae ji ho o
husn pe ho gayi kurbaan hamaari daadhi
ae ji haan aan
husn pe ho gayi kurbaan hamaari daadhi
alvidaa
alvidaa
alvidaa
alvidaa
alvidaa
marhoom bechaari daadhi

khoon-e-naahak(?) ki sazaa khwaab mein tum paaoge
bhoot ban ban ke daraayegi tumhaari daadhi

sukh chhod ke ye dukh jhele ae ae
sukh chhod ke ye dukh jhele sitamgar tere liye
sukh chhod ke ye dukh jhele
sitamgar haan haan
sitamgar haan haan
sitamgar tere liye
maine kyaa kyaa naa paapad bele

kaise khel mohabbat mein khele sitamgar tere liye
maine kyaa kyaa naa paapad bele

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

“Bijli”(1950) was directed by Sushil Sahu for Hindustan Chitra, Bombay. This “social” movie had Rehana, Ramesh Gupta, Sitara, Vilas Mohbe, Paro, Badri Prasd, Sushir Sahu, Amirbai Karnataki, Satya Narayan, Narbada Shankar, C L Shah, Kanta, Kazmi etc in it.

This movie had eight songs in it that were sung by five singers. Four songs from the movie have been covered in the past.

Today (10 august 2017) is the 67th remembrance day of Khemchand Prakash ( 12 december 1907- 10 august 1950). On this occasion, here is a song from “Bijli”(1950).

This song is sung by two female singers. HFKG mentions them as Geeta Roy and Paro, whereas the uploader of the song mentions them as Shamshad Begam and Paro. But I think that the voices in the song are of two singers who are not Geeta Roy (alater Dutt), Shamshad Begam or Paro devi, three singers whose voices are quite distinctive and different from the voices in the song. I request our knowledgeable readers to help identify this voices that sound familiar.

PS-Now Sudhir Jee has fished out a clearer version of this song from his collection. There the voices are very clear and they unmistakably belong to Paro and Geeta Roy. I thank Sudhir Jee for helping clarify matters.

Bharat Vyas is the lyricist. Music is composed by Khemchand Prakash. This is and lovely song which sounds like a stage performance song where a city slicker lady complains that she is uncomfortable in the village of her beue and she asks him to take her to Bombay. Very cute and justifiable feelings that most people can readily identify with. I too used to groan like this when I found myself going to my native place (a village) during my younger days. 🙂


Song-O mora jiya ghabraaye tere chhote se gaaon mein(Bijli)(1950) Singers-Paro Devi, Geeta Dutt, Lyrics-Bharat Vyas, Khemchand Prakash

Lyrics

mora jiya ghabraaye
uf mora jiya ghabraaye
tere chhote se gaanv mein
bambai ki sair kara de
balam mohe bambai shahar dikha de
na na na na na na
o mora jiya ghabraaye
tere chhote se gaanv mein
bambai ki sair kara de
balam mohe bambai shahar dikha de

tere is chhote se gaanv mein
na motor na rail
ghaas phoos ki jhonpdi mein
kaatoon jeewan jail
balam is jail se chhuda de
balam is jail se chhuda de
dhuaan gaadi pe baitha de
chhuk chhuk chhuk chhuk pahuncha de
o mora jiya ghabraaye
tere chhote se gaanv mein
bambai ki sair kara de
balam mohe bambai shahar dikha de

na na na
are wahaan dhaan par ration gori
kapdon par control
kamron par pagdi ka ragda
kamron par pagdi ka ragda
paani bikta mol
wahaan ke log hain rangeele
wahaan ke log hain rangeele
chup chhail chhabeele
tera bhola jiya bharma den
ho mera kaha maan
mat kar gumaan
gori bambai ki baat bhula de

balam mohe bambai shahar dikha de

arre ae
kya likhi karam ki rekha aa
haaye
ab tak na saneema dekha
ab tak na saneema dekha
kaisa thha saawan aaya re
kaisi thhi chandralekha
ab tak na saneema dekha
o mere laadle balam
tohe raam ki kasam
chaupaati ki chaat khila de
haaye mora jiya ghabraaye
tere chhote se gaanv mein
bambai ki sair kara de
balam mohe bambai shahar dikha de

ghaas phoos ki jhonpdi meri
jamuna jee ke kinaare
chaand aur sooraj aur ye sitaare
jiske aage bambai tera
pada pada jhak maare
ho gori ye chaandni raaten
aur pyaar ki baaten
zara ghoonghat ki oat muska de
ho mera kaha maan
mat kar gumaan
gori bambai ki baat bhula de

balam mohe bambai shahar dikha de


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

During the last two years or so, I have been working on a major exercise of presenting rare songs from films released in the 1940s on the Blog. In the process, I became aware of some of the productions houses (called banners), producers, directors, actors, singers, lyricists and music directors etc that were unknown to me earlier. One of the little known banners which I came to know about during the last few months was Sunrise Pictures. But I had no idea about the owner/s of this banner.

A notable feature of Sunrise Pictures was that they produced on an average 2-3 film per year during 1940s. The films under this banner were mostly directed by V M Vyas. In most of the films produced under this banner, the lead actors would be the top stars of that time. With this kind of background, I thought that the owner of Sunrise Pictures must be a wealthy man – a film financier/distributor who has now turned producer. But as I came to know later, it was not so.

The owner of Sunrise Pictures was none other than V M Vyas who had directed most of his films. I was surprised to know that V M Vyas did not have any filmy connection nor was he a wealthy man. He did not have any godfather in the film industry. His was one of those rags-to-riches stories who made a place for themselves in the Hindi film industry by hard work despite having some weak points. He had a very peculiar personality. He was a lean and fragile looking man. His friends – both personal and filmy – used to feel that he was half crank if not full. And above all, he was miser to the core. Let me unfold his interesting but inspiring life story.

Vishnukumar Maganlal Vyas (4/10/1905 -24/01/1962) was born in Ahmedabad. He did his schooling in Native High School Ahmadabad. During his schooling days, he did all sorts of odd jobs. After completion of schooling, he started working as a tabla-player and singer during the screening of silent films in theatres. Later on, he decided to become a photographer. His photography work was not generating enough money in Ahmedabad. Through his friends working with M/S J K Pathak & Co, machinery dealers in Ahmedabad, he got a job in their Bombay (Mumbai) Office which was located opposite Majestic Cinema. So the young V M Vyas commenced his journey to Mumbai some time in 1925.

Every day, V M Vyas used to see from the balcony of his office, the week-end crowd of filmgoers coming out from Majestic cinema. Perhaps, he was day dreaming that one day a much bigger crowd would come to see his films. But for his friends, V M Vyas was nothing less than half-crank. He soon managed to get a billet in terms of a job as an Assistant to Bhogilal Dave, the boss of Sharda Film Company. Here, he clandestinely learnt the film camera operation.

Soon V M Vyas left Saroj Films and joined Kohinoor Film Company as Cameraman. He was the Cinematographer for the silent movies like ‘Ulfat-e-Mohammed’ (1929), ‘Roaring Lion’ (1929), “Punya Prabhav’ (1929) and ‘Lutaru Lalna’ (1929). He was promoted to direct Kohinoor’s silent movie ‘Dukhiyari’ (1930).

With the coming of talkies in 1931, V M Vyas turned producer with setting up his own banner, Kumar Movietone. His first film under this banner was ‘Saubhagya Laxmi’ (1934) which he himself directed. He produced about 10 more films under this banner some of which were box office success some were not. When some of his pictures failed at the box office, he had problems with his financiers. So he was kept out of his own banner, Kumar Movietone.

But V M Vyas was not a man who would easily concede defeat. He formed another banner called Prince Movietone. Under this banner he produced and directed some films which were not well received at the box office. He soon found himself on a financial crunch. To come out of it, he joined Tarun Pictures and took some directorial assignments. It was a period of transition for him to evaluate himself as to what went wrong with his business strategies. As a director, films which brought him once again into the focus was ‘Kanyadaan’ (1940), ‘Niraali Duniya’ (1940) and ‘Prabhat’ (1941) which did well at the box office.

With his directorial successes, V M Vyas got bitten by bug of producing films in his third attempt. He formed his new banner called ‘Sunrise Pictures’. The first film under this banner, ‘Ghar Ki Laaj’ (1941), directed by him was completed in less than six weeks. The film became a box office hit. With this film, V M Vyas had a long and a successful filmy career as producer and director under his new banner.

With the success of ‘Ghar Ki Laaj’ (1943), V M Vyas became a pioneering film maker with social themes. Some of the reviews of his films which I have read in ‘Filmindia’ magazines indicate that his success formula was based on poor-rich conflicts. In such films, hero is shown as poor who loves a rich girl. And sometime, it is vice-versa. Baburao Patel, the editor of ‘Filmindia’ called V M Vyas’s films as ‘Vyas-Dave concotion’. Mohanlal Dave was a story, screen-play and dialogue writer in almost all the films produced and directed by V M Vyas who was associated with him since his days in Kohinoor Movietone. Mohanlal Dave always got the prominent place as M G Dave, the story writer in the advertisement of all the films.

Under Sunrise Pictures, V M Vyas produced and directed around 20 films out of which as many as 12 films were silver jubilee hits. He capitalised this factor for financing his films. He always used financiers/distributors’ money to produce the films. According to Manto, V M Vyas’s strategy was to sign only those actors whose current films have become box office success. While making his film ‘Naukar’ (1943), he signed Shobhna Samarth, Chandra Mohan and Nur Jahan who were in demand due to the box office successes of their respective films. With thse names, the financiers and distributors would come running to him to finance and distribute the films.

Normally, V M Vyas would direct his own films. But in case of ‘Naukar’ (1943), he signed Shaukat Hussain Rizvi as director knowing that he had developed a crush for Noor Jahan while directing her in ‘Khandaan’ (1942). Actually, at the time of planning ‘Naukar’ (1943), they were not on talking term. When they patched up, more monetary demands were made by both of them which V M Vyas successfully thwarted. The film failed at the box office but after the completion of the film, Noor Jahan and Shaukat Hussain Rizvi got married.

V M Vyas was known for not only about his cranky behaviour, he was also known to be miser to the core. During the shooting, he would advise his actors to rehearse well before the actual shot because he would like to complete the shot in a single take to save cost on raw film stocks and also to save time. Even the lighting on the sets would be low while taking the shot as this would save cost. Being a cinematographer himself, he knew the technique of taking shots in low light.

V M Vyas was a Vaishnavist Brahmin and as such he would offer simple vegetarian lunch to his actors and technicians during the lunch break. For additional items and for non-vegetarian, actors were required to bear the cost on their own account. And this was applicable even to the stars like Noor Jahan, Veena, Nazir, Chandra Mohan, Yakub, Raj Kapoor, Nargis, Premnath etc.

During his talkie filmy career, V M Vyas had produced/directed around 40 Hindi films. Some of his notable films were ‘Prabhat’ (1941), ‘Ghar Ki Laaj’ (1941), ‘Ghar Sansar’ (1942), ’Apna Ghar’ (1942) ‘Maa Baap’ (1944), ‘Ghar’ (1945), ‘Dhanwaan’ (1946). ‘Pyaar’ (1950). ‘Sanskaar’ (1952), ‘Ghar Sansaar’ (1958), ‘Ghar Ki Laaj’ (1960), ‘Maa Baap’ (1960). ‘Apsara’ (1961) was his last Hindi film which he directed. From 1958 onward, V M Vyas did not produce any films under his banner but took directorial assignments.

V M Vyas was also involved with Gujarati films. His first Gujarati film was ‘Raanakdevi’ (1946) in which he introduced Nirupa Roy. In all, he directed 12 Gujarati films which included ‘Bhaabi Na Het’ (1948), ‘Guniyal Gujaraatan’ (1949) and ‘Naag Devata’ (1955) etc. His last Gujarati film was ‘Narsaiya Ni Hundi’ (1961).

At the time of making his second film ‘Maalan’ (1942) under ‘Sunrise Pictures’, he was the owner of at least 10 buildings in Mumbai city. Being a man of simple habit and thrift, he had saved a lot of money. When the life had become good for V M Vyas to relax and enjoy the fruits of his hard work, an Income Tax raid in his house sometime in 1961 shocked him to such an extent that he was hospitalised. He never recovered from the shock and left this world on January 24, 1962.

V M Vyas produced and directed “Maalan’ (1942), his second film under the banner of Sunrise Pictures. The star cast included Shanta Hublikar, Balwant Singh, Ratan Bai, Jagdish Sethi, Mirza Musharaf, Kalyani Bai, But Kashar, Alaknanda etc.

The film had 9 songs, all written by Ehsan Rizvi which were set to music by Shyam Babu Pathak. I am presenting the first song ‘haan saajan aaye shobhe rain sukh chhaaye’ from the film to appear on the Blog. The song is rendered by Ratan Bai. Since the name of Ratan Bai appears in the cast, it is apparent that she sang the song for herself in the film.

I like this song for having a poignant touch on a happy occasion. And because of this attribute, I remember a song of similar mood tum aaye to aaya mujhe yaad gali mein aaj chaand nikla which is also my favourite. How aptly the lyricists have used metaphors of ‘Deewaali’ and ‘Chaand’ respectively for the arrival of beloved/husband.

With this song, the film ‘Maalan’ (1942) makes its debut in the Blog.

——————————————————————————————————————————

Sources of information for the article:

1. The relevant information on Sunrise Films and V M Vyas gathered from the various issues of ‘Filmindia’ magazines of 1937-49 including a short write-up on V M Vyas which appeared in December 1941 issue.

2. Sadat Hasan Manto’s book ‘Stars from another sky’ (2014) – Chapter on ‘Noor Jahan’ in which the author discusses the making of V M Vyas’s film ‘Naukar’ (1943).

3. I am grateful to Harish Raghuwanshi ji, the film historian who provided me with a copy of his article on V M Vyas written in Gujarati andpublished on April 24, 2009. His article enabled me to provide some missing links to the filmy career of V M Vyas.


Song-Haan saajan aaye (Maalan)(1942) Singer-Ratan Bai, Lyrics-Ehsan Rizvi, MD-Shyam Babu Pathak

Lyrics

haan saajan aaye..e
ae
haan saajan aaye..e ae
sohe rain sukh chhaaye
deewaali aaj aayi
deewaali aaj aayi
aashaaon ne deep jalaaye
aashaaon ne deep jalaaye
haan saajan aaye..e
ae
haan saajan aaye..e
sohe rain
sukh chhaaye
deewaali aaj aayi
deewaali aaj aayi

man darpan hai ab ujiyaara
man darpan hai ab ujiyaara
preetam bin kyaa roop hamaara
preetam bin kyaa roop hamaara
haan preetam jeewan laaye
haan preetam jeewan laaye
shobhe rain
sukh chhaaye
deewaali aaj aayi
deewaali aaj aayi

roothhe huye ko main ghar laayi
roothhe huye ko main ghar laayi
man ki jeet huyi hai aaj
man ki jeet huyi hai aaj
haan aaye
saajan aaye..e ae
haan
aaye saajan aaye..e
sohe rain
sukh chhaaye
deewaali aaj aayi
deewaali aaj aayi
haan saajan aaye..e
ae
haan saajan aaye..e
sohe rain
sukh chhaaye
deewaali aaj aayi
deewaali aaj aayi


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

What is common among Sulochana (real name: Ruby Mayer), Rose (Rose Musleah), Pramila (Easther Victoria Abraham), Sabita Devi (Iris Gasper) and Ramola Devi (Rachel Cohen)?

They all were Jews (almost all of them being Baghdadi Jews) hailing from Calcutta (Kolkata) and were star actresses in Hindi films during 1930s and 40s. Barring Ramola Devi, all of them started their filmy career with silent films. It is surprising that those days when oriental women were mostly relegated to the four walls of their homes, how these Baghdadi Jew actresses found their way to the film industry which was not regarded as a respectable profession even in their Middle-East culture. To understand this, it is necessary to go into the genesis of Baghdadi Jews in India.

Some Baghdadi Jews migrated to India sometime in the beginning of 18th century from Iraq and other Middle-East countries to escape religious persecution and for better business opportunity. Once in India, they quickly adapted to the British culture. The children were educated in convent schools run by Christian missionaries. Over a period of time, they switched over from Arabic to English as language of communication within the families. By virtue of education and a good command over English, Baghdadi Jews got the employment opportunity with British companies and Government organisations. The woman folks mostly worked as teacher, nurse, telephone operators and secretaries.

During the early stage of film industry in India, the producers found it hard to get female actors as those days joining film industry was not regarded as a respectable profession by most of the Hindus and Muslim families. On the other hand, the Baghdadi Jews families living in Calcutta were liberal in this respect. Moreover, the Indian audiences’ weakness for the fair skin was a favourable proposition for film producers to get the Baghdadi Jews and Anglo-Indians as actress for their films.

In this article, I am discussing one of star actresses belonging to Baghdadi Jew family of Calcutta. And the star actress is Rose Musleah, who was known as Rose or Miss Rose in the film industry.

I had given a short profile of Miss Rose in my article hamen kyaa ab khizaan jaaye na jaaye. Arun ji had also given a short profile of her in his article aayenge saajna aayenge. Sometime back, I had read a detailed interview of Rose taken by Susheela Rani Patel in November 1941 issue of ‘Filmindia’ Magazine. But the thought of writing an article on her came to my mind now only as I have mp3 clips of a couple of her rare songs.

I also used information on Rose that was available in the other featured sections of ‘Filmindia’ in its various issues from 1937 to 1945. For Baghdadi Jews in India, some of the information has been taken from the articles appearing on the internet in connection with production of a documentary film ‘Shalome Bollywood – The Untold Story of Indian Cinema’ in which the contributions of Indian Jewish artists would be covered. The documentary is yet to be released.

Rose was born on June 19, 1911 in a wealthy Baghdadi Jew family in Calcutta (Kolkata). Her father was the private secretary to Sir B B Banerjee, the Consul General of Costa Rica who was the son-in-law of Maharaja Jatindra Mohan Tagore. At the age of 15, Rose passed Senior Cambridge examination and was set to become a doctor. However, her father was not in favour of her further studies and instead at the age of 16, he got her married to a boy from Ezra family. The marriage ended in a divorce by which time she had two daughters from him.

Like father, Rose became a private secretary in a British company. Side by side, she also became an instructor for Ball Room dancing. Because of her flair for dancing and acting apart from being an attractive looking girl, her friends suggested her to take up the acting career. This prompted her to join the stage under Agha Hashr Kashmiri, the famous poet and playwright of that time. Under his tutelage, Rose learnt to speak fluent Hindustani and improved her acting skill.

After getting experience of acting on the stage, Rose met J F Madan of Madan Theatre with a letter of recommendation from the owner of Tollywood Studio and joined the banner. [I, however, find her first film to be the silent film ‘The Culprit’ aka ‘Apraadhi’ (1931) produced under the banner of Barua Film Unit]. Her first talky film with Madan Theatre was ‘Pati Bhakti’ (1932). Thereafter she worked in ‘Hindustan’ (1932), ‘Alladin Aur Jaadui Chiraag’ (1933), ‘Turki Sher’ (1933) and other 5-6 films.

In 1935, Rose shifted to Bombay (Mumbai) and joined Imperial Film Company for a two-year contract. ‘Hamaari Betiyaan’ aka ‘Our Darling Daughters’ (1936) was her first film with Imperial in which she shared the star cast with her cousin Pramila. This was followed by ‘Ghulam Daaku’ (1936) and ‘Do Auraten’ aka ‘Two Women’ (1937).

After the end of the contract, Rose joined Saroj Movietone and worked in their films ‘Kal Ki Baat’ (1937) and ‘Rifle Girl’ (1938). After her stint with Saroj Movietone, Rose seems to have become a freelancer as she did Sagar Movietone’s ‘Hum Tum Aur Who’ (1938), Saraswati Cinetone’s ‘Sach Hai’ (1939), National Studios’ ‘Sanskaar’ (1940), ‘Kasauti’ (1941) and ‘Garib’ (1942), Ranjit Moveitone’s ‘Adhuri Kahaani’ (1939) and ‘Aaj Kaa Hindustan’ (1940), Kishore Sahu’s ‘Bahurani’ (1940), Prakash Pictures’ ‘Maala’ (1941) and Prabaht’s ‘Nayi Kahaani’ (1943).

In the interview, Rose had said that since she had two growing daughters, she wanted to have the flexibility of working in the films according to her convenience and as a freelancer she could get that freedom. However, it would appear that in trying to balance her career with family responsibilities, she missed her career in the later years as I find that in 1944, she did not have any films for release. In 1945, she had only one film ‘Ramayani’ (1945). Her filmy career ended with ‘Daasi Yaa Maa’ (1946).

Rose worked in 28 films during 1931 to 1946. Unfortunately, only one of her film, ‘Nayi Kahaani’ (1943) is available for viewing. From the reviews of some of her films of 1940 and thereafter, it appears that she had done mostly the role of an educated and sophisticated girl.

I could not get the information as to how Rose spent her life after her ‘retirement’ from the films. All I know is that during 1940s, she was staying in Keval Mahal at Marine Drive. And those days, it was a status symbol for successful film stars to stay in Marine Drive in buildings like, Keval Mahal, Kapur Mahal, Zaver Mahal, Krishna Mahal (all these buildings are adjunct to each other).

Rose had two daughters – Marjorie and Cynthia. Cynthia was 87 when her interview was taken in her apartments in Las Angles (USA) sometime in 2015 in connection with the documentary film I referred to above. I guess Marjorie remained in Mumbai until her death if I go by a comment of her daughter Rachel Reuben, the super model and now a film editor, in an article which appeared in ‘Outlook’, July 2006.

Coming to the song, I have selected a rare song ‘qismat mein koi sukh nahin’ rendered by Rose from an obscure film ‘Daasi Yaa Maa’ (1946). The film was produced under the banner of Star Productions (Ratanbai’s film production company) and was directed by Ramnik Desai. The star cast included Rose, Shahu Modak, Durga Khote, Shantarin, Chandabai, Majeed, Zillo etc. The film had 9 songs written by Wahid Qureshi which were set to music by Mustaq Hussain (Ustad Mustaq Hussain Khan of Bareilly), probably based on Raag Malkauns.

With this song, the film ‘Daasi Yaa Maa’(1946) makes its debut in the Blog.


Song-Qismat mein koi sukh nahin (Daasi Ya Maa)(1946) Singer-Miss Rose, Lyrics-Wahid Qureshi, MD-Mushtaq Hussain

Lyrics

qismet mein koi sukh nahin
dil mein koi khushi nahin
qismet mein koi sukh nahin
dil mein koi khushi nahin
mere liye to zindagi
maut hai zindagi nahin
mere liye to zindagi
maut hai zindagi nahin

hansna bhi chaahoon main agar
aansoo nikal paden abhi
hansna bhi chaahoon main agar
aansoo nikal paden abhi
honthon pe aaye kyon hansi
qismet mein jab hansi nahin
honthon pe aaye kyon hansi
qismet mein jab hansi nahin

maut ki aur baat hai
maut ki aur baat hai
maut kathin sahi magar
maut kathin sahi magar
jab ke na koi aas ho
jeena bhi dillagi nahin
jab ke na koi aas ho
jeena bhi dillagi nahin
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
क़िस्मत में कोई सुख नहीं
दिल में कोई खुशी नहीं
क़िस्मत में कोई सुख नहीं
दिल में कोई खुशी नहीं
मेरे लिए तो ज़िन्दगी
मौत है ज़िन्दगी नहीं
मेरे लिए तो ज़िन्दगी
मौत है ज़िन्दगी नहीं

हँसना भी चाहूँ मैं अगर
आँसू निकाल पड़ें अभी
हँसना भी चाहूँ मैं अगर
आँसू निकाल पड़ें अभी
होठों पे आए क्यों हंसी
क़िस्मत में जब हंसी नहीं
होठों पे आए क्यों हंसी
क़िस्मत में जब हंसी नहीं

मौत की और बात है
मौत की और बात है
मौत कठिन सही मगर
मौत कठिन सही मगर
जब के ना कोई आस हो
जीना भी दिल्लगी नहीं
जब के ना कोई आस हो
जीना भी दिल्लगी नहीं



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

Hullo to all in Atuldom

At the outset let me post my usual disclaimer: I am no encyclopaedia as regards the birth and death anniversaries of my favourite Bollywood actors, actresses, singers, music directors, lyricists, choreographers etc. I am assisted in keeping track of the dates by the list on our blog and the good old trust-worthy Vividh Bharati services of All India Radio. And today (27 july 2017) also I am writing this after looking up the list on our blog and listening to “Aaj Ke Phankaar” on radio.

Has anyone forgotten Saudagar Singh, Wajid Ali Shah, Dilawar, Hawaladar Sher Singh? Ok does the name Bishan or Bholaram ring a bell in anyone’s head? Ok all these are characters played by a person who is the son of a well-known yesteryear actor. The person I am talking of made his debut as a child star in the 50s and went on to do theatre on attaining adulthood. He had to wait for a while after his debut in 1973; to play a dacoit in a movie that ran in a single movie hall in Bombay (back then, called Mumbai now) continuously for almost 10 years.
Ahh! Now I am sure that the light of recognition has lit up in the minds of the readers. Yes, I am talking of Amjad Zakaria Khan alias Amjad Khan alias Gabbar Singh; son of actor Jayant. They were Pashtun with Afghan ancestry and Amjad Khan was born in Peshawar. He had his education in Mumbai.

He was seen in “Nazneen” in 1951 and “Ab Dilli Door Nahin” in 1957 as a child star. He is said to have made minor appearances with his father in a few films, done theatre and assisted K. Asif in the 60s during the making of “Love and God”. His debut as adult actor came in 1973 in the Raj Kumar starrer “Hindustan Ki Kasam”.

His next release “Sholay” made him a household name. He went on to play Saudagar Singh in “Hum Kisise Kum Nahin”, Nawab Wajid Ali Shah in “Shatranj ke Khiladi”, Dilawar in “Muqaddar Ka Sikandar”, Hawaldaar Sher Singh in Kumar Gaurav starrer “Love Story”. The last-mentioned character was a deviation from the villainy roles that he used to essay at that time. It was a comic character complete with a funny moustache and he had a sweet way of saying- “Ek ludka ek ludki”. He played a cop who is assigned duty of tracking down the run-away children of rich parents- Danny and Rajendra Kumar.

He played a straight forward cop in Feroz Khan’s Qurbani. There his character was the bubble-gum chewing Inspector Amjad Khan who is on the trail of two thieves who decamp with jewels from Amrish Puri’s house. Amjad as Dilawar in “MKS” was a local goonda in love with a nautch girl who is misled to believe that Sikandar (Amitabh) is also a contender for the nautch girl which eventually leads to both killing each other.

Personally speaking, I have not seen the movie “Shatranj Ke Khiladi” but I have heard that he made a very good Wajid Ali Shah. I have seen Nasir Hussain’s “Hum Kisise Kum Nahin” n-number of times and every time his Saudagar Singh act has managed to startle me. These are only a few of the characters that Amjad played, I will not sit to analyse his act in all the 130+ movie he has acted in. His grey shaded characters of Damu (Damodar) in “Naseeb”, Mangal Singh in “Parvarish”, Avatar Singh (Bhoot Singh) in “Des Pardes”, Fazlu in “Dada”, Bholaram in “Hum Se Badkar Kaun” etc always interspersed his villainous roles. And no, I will not go on to describe my most love-to-hate character that Amjad Khan ever played- Gabbar Singh. The world knows a lot more about this act of his, how he prepared for it etc. than I can write about.

It is 25 years since Amjad khan passed away due to heart failure. And I was spoilt for choice as to which song to play/ post to remember him by. He was one of those multi shaded character actors like Pran who had a few songs filmed on him. Then I remembered that when I was browsing Hindigeetmala.net for some song last month I chanced upon a recital of a thumri which our Sadanandji has mentioned in a post of his. I feel this is as good a time as any to post it. It is from Satyajit Ray’s “Shatranj Ke Khiladi”- Sadanandji has given a very detailed insight into the movie in his post. I will just add that this is in Amjad Khan’s voice and Satyajit Ray himself has set the thumri written by Wajid Ali Shah to tune.


Song-Tarap tarap sagri rain gujri (Shatranj Ke Khilaadi)(1977) Singer-Amjad Khan, Lyrics-Wajid Ali Shah, MD-Satyajit Ray

Lyrics

tarap tarap sagri rain gujri
kaun des gayo o o saanwariyaa
ho bhar aayi ankhiyaan aan madwaari ee
tarap tarap gayi chunariyaa

tumhre ghodan more dwaare se jo nikase
sudh bhool gayi main baawariyaa aa

tarap tarap sagri rain gujri
kaun des gayo o o saanwariyaa


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

“Vakil Sahab” (1943) was directed by Mohan Sinha for Pradeep Pictures, Bombay. This movie, described as a comedy movie in its advertisements of those days, had Trilok Kapoor and Madhuri in lead roles, supported by Miss Shahzaadi, Rajkumari Shukla, Gulam Rasool, Badri Prasad, Khan Mastana,Munshi Khanjar, Malti Pande, Mumtaz Begam etc.

The movie had seven songs in it that were composed by two music directors, viz. Anna Sahab Moinkar and P Madhukar. But the distribution of songs among them is not known. The lyricists of these songs are not known either.

Here is the first song from “Vakil Sahab” (1943) to appear in the blog. This song is sung by Khan Mastana. The lyricist and music director are not known as mentioned earlier.

Seeing that Khan Mastana figures in the cast, it would seem that this song was picturised on himself.

I request our knowledgeable readers to throw light on this movie.

With this rare song, “Vakil Sahab” (1943) makes its debut in the blog.


Song-Thahar jaa thhahar jaa jhhoothh bolne waale (Vakil Sahab)(1943) Singer-Khan Mastana

Lyrics

Thhahar ja
Thhahar ja
Thhahar ja aa aa aa aa
jhhoothh bolne waale
jhhoothh bolne waale
Thhahhar ja
Thhahhar ja
bachke kidhar tu jaayega
tu kab tak jhoothh chupaayegaa
bachke kidhar tu jaayega
tu kab tak jhoothh chupaayegaa

jhoothhh bol kar baniya dekho
ek ka do banaata hai
jhoothhh bol kar baniya dekho
ek ka do banaata hai
nahin sharam hai usey kisi ki
nahin sharam hai usey kisi ki
nahin police se ghabraata hai
din dahaade thhagta sabko
o o o o o
o o o o o
din dahaade thhagta sabko
jhoothhi kasmein khaata hai
lambi chaudi baat banaa kar
dhan wasool kamaata hai
phir ik din aisa aata hai
ye joda dhan rah jaata hai
phir ik din aisa aata hai
ye joda dhan rah jaata hai
usey sipaahi maut ka aa kar
r r r r
r r r r
usey sipaahi maut ka aa kar
saath pakad le jaata hai
saath pakad le jaata hai
aankh khol kar dekh le jhoothhe ae ae
aankh khol kar dekh le jhoothhe
jhhoothh bol kya paayegaa
jhhoothh bol kya paayegaa
bach ke kidhar tu jaayegaa
tu kab tak jhhoothh chhupaayegaa
bach ke kidhar tu jaayegaa
tu kab tak jhhoothh chhupaayegaa


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

Today (23rd July 2017) is the death anniversary of one of the most popular comedian artistes of yesteryear, Mehmood (29 September 1932 – 23 July 2004).  On this occasion I’d like to pay a humble tribute to him.

To call Mehmood just a comedian is not to do him full justice. For, apart from doing very popular comedy roles, he was also a producer and director in his own right. And he also did playback for some songs Not just that, he even wrote for a couple of films  – so, all things considered, he must be considered quite an all rounder. Of course his comedy roles are what made him a big star in the industry and these are what he is best known for.

Mehmood was the son of the famous stage and film actor-dancer of yesteryear, Mumtaz Ali . He was one of eight children – one of his sisters was Minoo Mumtaz, is well-known for her dances and character roles in the 50s and 60s. Mehmood started as a child artiste in a few films – I remember seeing him in Kismet (1943). He did several odd jobs, like selling eggs and poultry products, being a driver. He even taught Meena Kumari table tennis – as a result of this association, he ended up marrying her sister, Madhu.

In films, it took him a while to get recognition and significant roles. He can be seen in small roles in ‘Do Bigha Zameen’ (1953), in ‘CID’ (1956), and in ‘Pyaasa’ (1957). He had somewhat more significant roles in ‘Chhoti Bahen’ (1959),  ‘Shriman Satyavaadi’ (1960) and ‘Miya Biwi Raazi’ (1960), suggesting that his career graph was definitely on the up. And then come 1961 and Mehmood struck gold with the Prasad Productions film ‘Sasuraal’. Not only was the film a huge hit but Mehmood got a Filmfare nomination for Best Supporting Actor. His comedy in the film was hilarious and much-appreciated.

‘Sasuraal’ was also a trend-setter in that it triggered the famous Mehmood-Shubha Khote pairing. And the famous Mehmood-Dhumal partnership. Film after film in the 1960s would feature them, often with success. ‘Sasuraal’ also had two popular songs picturised on Mehmood-Shubha Khote.  They were “Apni Ulfat Pe Zamaane Ka Na Pehra Hota” and “Jaana Tumhaare Pyaar Mein”. Clearly with this film, if not earlier, Mehmood had made his stamp on the industry – as a comedy actor. He never looked back. The screen name Mahesh, that he had in ‘Chhoti Bahen’ (1958) and now in ‘Sasuraal’ (1961) was like a lucky charm for him. He would have that name in at least fifteen films thereafter.

The 60s was a golden decade for Mehmood. He went from strength to strength as producers realized his growing popularity. Much like Johnny Walker who would invariably have a song picturised on him, Mehmood too would get at least one song picturised on him. Often this would be sung by Manna Dey. Sometimes Mehmood, with his antics, would even overshadow the hero of the film. In ‘Gumnaam’ (1965), his screen performance of “Hum Kaale Hain To Kya Hua” stole the show. Even ‘Aulaad’ (1968) is best-remembered for his Charlie Chaplin act opposite Aruna Irani in the song “Jodi Hamari”. And that brings me to his other partnership – with Aruna Irani. This was another successful pairing for Mehmood – one that went well into the 70s.

Among Mehmood’s many films of the 60s, I would like to mention two here. ‘Pyar Kiye Jaa’ (1966) and his home production, ‘Padosan’ (1967). In both these films Mehmood scaled new heights of comedy – and firmly established himself (if any further confirmation was necessary at all) as the leading comedian of the times. By then Johnny Walker was also in decline, so Mehmood was THE most sought-after comedian.

Oh, before I forget, I must mention his partnership with IS Johar, the other well-known maverick comedian.  Mehmood teamed up with him to act in a couple of films,  ‘Johar Mehmood in Goa’  (1965) and ‘Johar Mehmood in Hong Kong’ (1971).

Mehmood continued to be a popular actor through the 70s. Though he did act thereafter, his career slowed down. However, any discussion on Mehmood would be incomplete without referring to his direction and production endeavors. Back in 1961, when he was still not an established actor, Mehmood chose to make a film ‘Chhote Nawab’, directed by his brother Usman Ali. This was the film which gave RD Burman his break.  The film, with Mehmood in a lead role, unfortunately did not do well at the box-office.

In 1965, Mehmood would again team up with RD Burman for a home production for ‘Bhoot Bangla’. The producer was officially his brother Usman Ali, Mehmood was the director.  This film, again with Mehmood in the lead role opposite Tanuja, did well – and brought RD Burman a lot of credit for its music. RD Burman himself had a small role in the film, including possibly the only song he lip synced on screen, in his own voice. This further cemented the Mehmood-RD Burman friendship. They would  go on to work together in ‘Padosan’ (1968), a film that was a hit in its time and continues to be popular to this day as one of the finest comedies ever. This film brought RD Burman huge recognition, while also getting Mehmood a lot of plaudits for his acting.

Throughout his career, Mehmood acted in a number of films for South Indian producers.  And many of these films did well at the box-office, thanks in no small measure to Mehmood himself. Or he would do a remake of a South Indian film, using a South Indian director. Unlike many other actors, he had no qualms or airs about working with anyone. Some prominent films come to mind – ‘Sadhu Aur Shaitan’ (1968), ‘Lakhon Mein Ek’ (1971), ‘Main Sundar Hoon’ (1971),  ‘Bombay to Goa’ (1972), ‘Do Phool’ (1973).

In 1974, Mehmood directed a landmark film of his career ‘Kunwara Baap’. It was a sensitive film, serious in its message – something we were not used to seeing from Mehmood. This gave us a glimpse into another side of his personality. Then in 1976, Mehmood made two films that were noticed. One was ‘Sabse Bada Rupaiya’, which although it didn’t do well at the box-office, was known for its popular songs. And the other was ‘Ginny Aur Johnny’, which fared better, and starred Mehmood’s own daughter, Ginny.

After this, Mehmood began fading away from the scene. By then he had already become a living legend in his own right and didn’t need any industry validation. He would still appear in the odd film but he wasn’t a selling point for a film anymore.

Much later, in the 90s, he made a film, another serious film, called ‘Dushman Duniya Ka’ (1996) starring his own son, Manzoor Ali. This was a hard-hitting film about drugs – I remember seeing it.

That is my last memory of a Mehmood film.

So, quite a career! And much of it during my childhood years. This is probably why I have so many memories of his films. And although I must admit that sometimes his part could be distracting from the story line (like in ‘Tumse Achha Kaun Hai’ (1969), or even ‘Ziddi’ (1964), both directed by Pramod Chakravarty), it was more a director’s issue than Mehmood’s acting fault. For example, I feel  Hrishikesh Mukherjee did a fantastic job with him in Do Dil (1965).

Anyway moving on to the song for today. This is from the 1976 film, ‘Sabse Bada Rupaiya’. It is the title song – sung by Mehmood himself. It  was quite popular in its time. I remember I was in high school then – and everyone around me would be saying “The whole thing is that…”.  Even today, you can still hear sometimes “the whole thing is that,  ki bhaiya, sabse bada rupaiya”. The phrase has made its place in the popular jargon of this country.

As I usually do, I watched the film again recently in order to refresh my memory of it. I’d watched it in the 70s itself, but forgotten the details. It was nice to watch it again. I like the film a lot, it has lovely songs – it’s a pity it didn’t do well at the box-office. The story is about Vinod Mehra, a very big-hearted, generous businessman and his friend, Mehmood, who works for him, but is much more business-minded and careful with money. Mehmood disapproves of the way Vinod Mehra gives away his money to charity. It’s an interesting plot, different from the usual stuff at that time.

Vinod Mehra and Moushumi Chatterji are supposed to get married to each other. But since Vinod Mehra has played a prank on Moushumi, she decides to return the favour in this song. All for fun. Mehmood, of course, is still trying to convince Vinod Mehra about the importance of money.

So here is the title song, “na biwi na bacha”. The music is by the duo of Basu-Manohari, earlier assistants for SD Burman, then later for RD Burman. Here they get a chance to branch out on their own. And I think they did a pretty good job of it too.

Hope you enjoy the song.

ED” With this song, which is the fourth and final song from the movie in the blog, “Sabse Bada Rupaiyya”(1976) now get YIPPEED in the blog.


Song – Na Biwi Na Bachcha, Na Baap Bada Na Maiyya (Sabse Bada Rupaiya) (1976) Singer – Mehmood, Lyrics – Majrooh Sultanpuri, MD – Basu Manohari
Chorus

Lyrics

hooo
na biwi na bacha
na baap bada na maiya
the whole thing is that
ki bhaiya sabse bada rupaiya

na biwi na bacha
na baap bada na maiya
the whole thing is that
ki bhaiya sabse bada rupaiya

bin rupaiya to mister
teri mummy ka pyaar
jo paida karta tujhe to
kabhi na kar sakta mere yaar
doctor laut jaata
fee na milti agar
tu maa ke pote ke andar
padaa hi reh jaata har baar
to kiya jisne paida
wo ishwar hai na maiya
the whole thing is that
ki bhaiya sabse bada rupaiya

ooo
haath khaali agar tu
mar gaya meri jaan
na agni tujhko chhuegi
na dharti hi degi maan
hahaha
hahaha
hahaha
hahaha
hahahahahaha
hadd ye hai mere bhai
ye khudao ka ghar
teri daulat ne banaaya to
hue khush allah bhagwaan
tu us duniya ke khaatir
jodey ja aana paiya
the whole thing is that
ki bhaiya sabse bada rupaiya

sabse bada rupaiya
sabse bada rupaiya
sabse bada rupaiya
sabse bada rupaiya
sabse bada rupaiya
sabse bada rupaiya
haah

ek leader ko dekho
he is looking so very grand
udaata firta dinner hai
in the hotel sun n sand
uske ladke ki shaadi
dekhe ja ye na pooch
kahaan se aaya ye haathi
from where this english band
aaj kaahe ka nation
kaahe ki dharti maiya
the whole thing is that
ki bhaiya sabse bada rupaiya

na biwi na bacha
na baap bada na maiya
the whole thing is that
ki bhaiya sabse bada rupaiya
once more
na biwi na bacha
na baap bada na maiya
the whole thing is that
ki bhaiya sabse bada rupaiya
sabse bada rupaiya
very good
sabse bada rupaiya
sabse bada rupaiya
hooo
sabse bada rupaiya
sabse bada rupaiya
sabse bada rupaiya


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

‘Ladies Only’ (1939) was produced under the banner of Sagar Movietone and it was directed by Sarvottam Badami. The star cast included Surendra, Bibbo, Sabita Devi, Prabha, Harish, Budho Advani, Sunalini Devi, Kaushalya etc. The film was released on 16th February 1939 and Moraraji Desai, the Revenue Minister of the then Bombay State was the chief guest.

The film was a satirical comedy with an unusual end. In this film, Surendra was not a conventional hero in the sense that he did not get any of three main actresses at the end. I have made a synopsis of the story of the film based on the review published in April 1939 issue of ‘Filmindia’ which is given below:

Three girls from three different states, Bengal, Gujarat and Punjab viz Chhaaya (Prabha, Bengali), Sarojini (Sabita Devi, Gujarati) and Asha (Bibbo, Punjabi), meet at a railway station in Bombay (Mumbai). They decide to stay together for their boarding and lodging for which they rent a flat. Satish (Surendra) also meets these girls who come to know that he is passionate about music and stays opposite their rented flat.

The girls staying together for sometime now know each other’s nature. Asha, the Punjabi girl is crude, greedy, music lover, lazy, comfort seeker etc. Chhaaya, the Bengali girl is miser, coy, primitive, and childish. Sarojini, the Gujarati girl, is educated, resourceful and has a great organisational capacity but these are all at the expenses of other two girls. They also display one-upmanship about their respective states.

All the three girls not only live together, they also aim at the same man, Satish who spend much of his time with these girls either on outings or in their rented flat. One day, girls decide to visit his house across the street without notice and find a stout woman welcoming the girls. The stout woman turns out to be Satish’s wife. It is shocking for the girls. The girls walk out of the house muttering something derogatory about the men folk in general.

For Sagar Movietone, ‘Ladies Only’ (1939) gave them a good start for the year 1939 with a box office hit. This was followed by another box office success viz ‘Ek Hi Raasta’ (1939). The banner had also planned for their ambitious films like ‘Alibaba’ (1940) in Hindi and Punjabi and ‘Kumkum the Dancer’ (1940) in Hindi and Bengali. But before these films could be released, Sagar Movietone found themselves in a dire financial crunch. By the end of 1939, the banner was amalgamated with General Films to form National Studios.

‘Ladies Only’ (1939) had 11 songs written by Pandit Indra and Zia Sarhadi but the name of the specific lyricist for each song is not available. All the songs were set to music by Anupam Ghatak.

Here is the first song ‘chamke poonam ko poonam ko chaand’ from the film to appear in the Blog. The song is sung by Surendra and Bibbo. It can be observed that the structure of lyrics are not in usual form and the song is composed for Surendra and Bibbo on different notes and tempos. The song is probably picturised on them separately.

With this song, ‘Ladies Only’ (1939) makes its debut in the Blog.


Song-Chamke poonam ke poonam ko chaand (Ladies Only)(1939) Surendra, Bibbo, MD-Anupam Ghatak

Lyrics

chamke poonam ke
poonam ko chaand
chundariya mein
chundariya mein
haan
chamke poonam ke
poonam ko chaand
chundariya mein
chundariya mein

aadhi raat ko paayal baaje
aadhi raat ko paayal baaje
aadhi raat ko paayal baaje
aadhi raat ko paayal baaje
aadhi raat ko paayal baaje
oonchi atariya mein
oonchi atariya mein

chamke poonam ke
poonam ko chaand
chundariya mein
chundariya mein
haan
chamke poonam ke
poonam ko chaand
chundariya mein
chundariya mein

tan man kaa itihaas chhipa hai
tirchi najariya mein
tan man kaa itihaas chhipa hai
tirchi najariya mein
chamke poonam ke
poonam ko chaand
chundariya mein
chundariya mein

badi bedhab nainon ki maar
badi bedhab nainon ki maar
shikaari
khud ho gaya shikaar
shikaari
khud ho gaya shikaar
badi bedhab nainon ki maar
shikaari khud ho gaya shikaar
bik gayi main be-mol tol
is prem nagariya mein
bik gayi main be-mol tol
is prem nagariya mein
chamke poonam ke
poonam ko chaand
chundariya mein
chundariya mein
haan
chamke poonam ke
poonam ko chaand


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

“Garib”(1942) was directed by Ramchandra Thakur for National Studios, Bombay. This movie had Surendra, Rose, Baby Meena, Veena Kumari, Santaka, N A Ansari, Agha, Pesi Patel etc in it.
Read more on this topic…


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

“Kurbaani”(1943) was directed by Ram Daryani for Murli Movietone, Bombay. This obscure “social” movie had Durga Khote, Ishwarlal, Vasanti, Kaushalya, Gulab, Kamla, Gope, Majid, Sheikh, Dharpure etc in it.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13500 song posts by now.

This blog is active and online for over 3300 days since its beginning on 19 july 2008.

Total number of songs posts discussed

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Movies with all their songs covered =1015
Total Number of movies covered =3712

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