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

Archive for the ‘Actor-Singer song’ Category


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

Blog Day :

3926 Post No. : 14994 Movie Count :

4103

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

main chaand talak chal jaaoonga
main kunj taley chhip jaaoonga

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

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

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

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

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

Blog Day :

3911 Post No. : 14969 Movie Count :

4091

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

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


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

Blog Day :

3903 Post No. : 14955 Movie Count :

4086

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

He died in 1983.

The story of film Salma – 43 was….

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

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

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


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

Blog Day : 3887 Post No. : 14917

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

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


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

Blog Day : 3880 Post No. : 14903

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

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

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

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

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

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

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

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


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

Blog Day :

3866 Post No. : 14883 Movie Count :

4071

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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


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

Blog Day : 3855 Post No. : 14868

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

Lyrics

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

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

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

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

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

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


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 :

3848 Post No. : 14857 Movie Count :

4064

Today’s song is from an obscure film- Sansaar Naiya-1939. This film was made jointly by Paramount and liberty pictures, Bombay. Actually, both these film companies made only and mainly Action/Stunt and Costume films. Since this was a ‘Social’ film, may be they had to support each others as they were presumably not used to handling such ‘offbeat’ film, from what they were accustomed to produce !

Though the film was classified as Social, the cast of the film contained predominantly seen stunt film actors only. They were Navinchandra, Sarojini, Noorjehan(sr), Basheer, Dhulia, Mirajkar, Mansoor, Kanta Kumari and others of the same ilk. There is also one name ” Puri” in the cast. He seems to be S.L.Puri, who was a singer also. In this film he has 4 solo and 3 duets with Sarojini. This could be the reason why he was in this action film.

For many readers, the name Sarojini may be an unknown name. This is exactly and what generally happens, when siblings are working in Films at the same time. Yes, Sarojini was the elder sister of the more famous actress Indurani. Both were stunt film actresses and worked in around 15+ films only. In reality, it was because of Sarojini that Indurani was dragged into films. Sarojini did more number of quality films than Indurani and also acted in more social films than Indurani. Her career period was longer than Indurani and her daughter Azra became a Heroine in Hindi films.

In spite of all these ‘better’ things, Sarojini’s younger sister Indurani hogged all the limelight. Articles were written on her and even an independent book was published on Indurani in USA. No one wrote on Sarojini exclusively. She appears in Indurani’s book and also is mentioned in Azra’s interview on beetehuedin.com

This type of fate is experienced by few more siblings in Hindi film industry. here are some examples, which I remember off hand…. Every movie buff knows the stingy Kanhiyalal, made famous by his roles of greedy merchants, sahukars (moneylenders) and a comic villain. He became more famous after film ” Mother India-57 “, though he did the same role in the original film ” Aurat”-40. But how many readers know that his elder brother was Sankata Prasad , an actor who was a regular in Sagar Movietone films, and later in more that 65 films ? Actually Sankata Prasad was responsible to bring his brother Kanhaiyalal (Chaturvedi) in the film world.

The eldest son of Jaddan bai, Akhtar Hussain, a very talented actor and director fell back on fame and publicity compared to younger brother Anwar Hussain. I am not comparing him with his sister Nargis.

Among the Travancore sisters, Raagini and Padmini shone here, but Lalitha did not shine in Hindi films. Nasir Khan lived all his life as brother of Dilip Kumar and had not many famous films to his credit. Some more such cases are, Laxmi Roy (younger sister of Geeta Roy), Laxmi Kumthekar (younger sister of Vatsala Kumthekar ), Compser Basant Prakash ( brother of Khemchand Prakash) and many more.

This is what I call as Luck. I agree that Talent is an individual gift and not a family or a traditional handout, but when all things are equal, one sibling lagging behind due to external factors, is purely a matter of Luck.

Actress Sarojini- real name Roshan Jehan and pet name Rani- was born in Delhi to Parents Sheikh Imamuddin and Munawwar Jehan, in 1920. Both sisters were put in a mission school of Daryaganj, Delhi. In those days, children were not allowed to see films, but Sarojini was interested in films and used to read film magazines, unknown to family. She was bold enough to send a letter to an actress of Saraswati Cinetone, Poona. In few days, she received a reply with that actress’ photo. The company asked her to send her photo. Sarojini managed to get a photo and send it across. Soon the company wrote to her that she will be appointed as an actress for Rs. 300 p.m.. Those days, this amount was a windfall.

When her father came to know all this he first gave a sound thrashing to her. Then he started thinking. Due to gambling and addiction, he had lost his business and they were in financial distress. He thought of earning some money by employing his daughters as actresses. He took Sarojini and a very reluctant Indurani to Poona. That time Sarojini was in English 8th std and Indu was in 9th std. At Poona, both got job as actresses at Rs. 300 each, as promised. Plus arrangements for their training in acting, singing and dancing was also arranged. Their father took Rs. 1000/- as advance, gave them some money and returned to Delhi. He sent their grandmother as their guardian.

Sarojini, being the elder, started working in the films immediately with film Deewani-1934. Then came Shri Satyanarayan-35. After closure of Saraswati cinetone, they came to Bombay and stayed in Hindu colony, Dadar. For some time they were engaged by Minerva Movietone for Rs. 450 pm, but when Ramniklal Shah offered them Rs. 500, they joined his company, Mohan pictures. While Indurani worked with Ramniklal, Sarojini worked with Nanubhai Vakil. Eventually, Indu married Ramnik Shah and Sarojini married Nanubhai Vakil in 1943.

Sarojini worked in 17 films in all- Deewani-34, Shri Satyanarayan-35, Bharat ki beti-35, Sundari-36, Son of Alladin -39, Sansar naiya-39, Madhu Bansari-39, Sanskaar-40, Jadui kangan-40, Hatimtai ki beti-40, Deepak Mahal-40, Taj mahal-41, Jadui bandhan-41, Farmaan-42, Naya Zamana-43, Son of Hatimtai-45 and her last film Cicus King-46. The sisters worked together in 3 films, Hatimtai ki beti and Jadui kangan of 1940 and Tajmahal-1941.

Sarojini had 2 daughters. The elder one Azra became a Heroine of many Hindi films. She married and retired. She stays in Bandra, Mumbai. The younger one Rehana, worked for an Airline, retired, widowed and stays in USA. Sarojini died in 1993. Her husband died in 1980.

Film Sansar Naiya was directed by Nanubhai vakil and MD was Damodar Sharma. All songs were written by Pt. Anuj (Sampatlal Shrivastav).

The Hero of this film was Navinchandra.

Navinchandraa’s full name was Navinchandra N. Joshi. He was born in 1907 at Jambusar and belonged to a Gujarati Bramhin family. When he was studying Intermidiate, his dream was to do M.Sc. and become a Professor. He was very much interested in body building and was a weight lifter.He was expert in Long jump, High jump and Malkhamb too, along with yogasanas. This made his body solid. Fair and handsome physique was noticed by one of the seniors in his Gym and he was taken to Bombay to meet produced director Indulal Yagnik. He offered him a Hero’s role in a stunt film. Thus Navin entered the film line with first silent stunt movie “The fall of Pawagarh”-1928. It was produced by Indulal Yagnik and directed by Nagendra Mujumdar. His first Heroine was Iris Crawford. He worked in more than 20 silent films and was famous as the Hero of Stunt and action films.

His first Talkie film was Kala Pahad-1933 in which his Heroine was Gauhar Karnataki ( sister of Amirbai karnataki and wife of Marathi stage artiste Bal Gandharv). The film was made by Sharda Movietone and directed by Baburao Apte (brother of actress Shanta Apte). Navinchandra acted in 33 talkie films, mostly stunt and action films. When the attraction of stunt films waned, he stopped getting roles, because stunt films were not being made now on roll. His last film was Jadui Putli-1946.

His age also caught up with him and he stopped getting films. He started doing small uncredited roles like an extra. The last information about him was when he was working as a Production manager in Imperial Film company, where now the studio was rented to other producers for shooting their films, by Irani’s heirs. One peculiar thing about Navinchandra was that except for the film’s required costume, he was always seen in Dhoti and Kurta only.

Today’s song is a rare song. The film had 11 songs (4 duets and 4 solos of Puri and 3 solos of Sarojini) The tune and style of the song is typical of the 30s period and quite a slow one, with long music prelude. With this song, film Sansar naiya-39 and singer Sarojini will make their Debut on the Blog.

( Thanks to shri Harish Raghuwanshi ji, Sadanand Kamath ji, ‘Asli Naqli chehere’ by Vithal Pandya, ‘ Silent cinema’ by Dr. Varma, MuVyz, HFGK and my notes, for information used hereabove.)


Song-Ritu basant ki aayi pyaari (Sansaar Naiyya)(1939) Singers- Sarojini, S L Puri, Lyrics- Pandit Anuj, MD- Damodar Sharma
Both

Lyrics

ritu basant ki aayi pyaari
ritu basant ki aayi pyaari
kaisi phool rahi phulwaari
kaisi phool rahi phulwaari
ritu basant ki aayi pyaari
ritu basant ki aayi pyaari

shaakhon pe baagh ke jhoolo
shaakhon pe baagh ke jhoolo
bulbul ban gulon ko chhoo lo
bulbul ban gulon ko chhoo lo

titli ban ke phool phool mein
titli ban ke phool phool mein
jaaun waari waari
jaaun waari waari
ritu basant ki aayi pyaari
ritu basant ki aayi pyaari
kaisi phool rahi phulwaari
kaisi phool rahi phulwaari
ritu basant ki aayi pyaari
ritu basant ki aayi pyaari

bhanwra ban ke main ud jaaun
bhanwra ban ke main ud jaaun
kali kali ka ras le aaun
kali kali ka ras le aaun

kunj kunj mein prem ki beena
kunj kunj mein prem ki beena
bajwaaun(?) sukh gori
bajwaaun(?) sukh gori
ritu basant ki aayi pyaari
ritu basant ki aayi pyaari ee


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 :

3845 Post No. : 14857 Movie Count :

4062

Today’s song is from a film which was made by the Film Factory- Ranjit Movietone, in 1938. The name of the film is Billi aka The Cat. The film was directed by Jayant Desai and the music was by the in house Music Director-Gyan Dutt. All the songs and the screen play was by P L Santoshi.

This was the first decade of the Talkie films. Initially films were made on Mythology, folk tales and Parsi Theatre stories. Therefore there were repetitions of film subjects like Harishchandra or Shirin Farhad, among the different film makers. When this became too obvious, the film makers turned their attention to other sources like Hollywood films, famous novels and stories by well known authors.

In this race, the Calcutta film makers, notably New Theatres, was on ‘numero uno’ position. Bengal has a rich literary tradition. The works of famous writers like Bankim chnadra Chatterji, Saratchandra Chatterji, Rabindranath Tagore, A K Sen, Bijoy Muzumdar and many more have enriched Bangla literature. Films based on their stories were made in Calcutta. Bombay, of course, was not to lag behind and many films on National and International novels and Hollywood films were made here.

The major difference in these two film centres was that Bangla films were mostly true to the original novels and Bombay films were made keeping in view entertainment of the audience and so were made by adapting these famous literary works using cinematic liberties in plenty.

Most movies made in Bengal were based on famous stories, novels and dramas. These movies were made in Bangla (for eastern India markets) and Hindi language for all India market.

In Bombay, one of the the earliest films made on a famous author’s work was ” The Mill aka Mazdoor-1934, by Mohan Bhavnani’s Ajanta Cinetone. It was written by Munshi Premchand, and was based on the miserable and pathetic plight of the Mill workers of Bombay. Unfortunately, the powerful lobby of the rich Mill Owners of Bombay and Ahmedabad pressurised the Government of Bombay State to ban this film. Two years later and after many cuts, the dilapidated film was released as ” Ghareeb parwar aka Daya Ki Devi” in 1936, but it flopped miserably, dragging the makers- Ajanta Cinetone to bankruptcy.

In 1937, a film ” Khwabon ki Duniya” was made by the Prakash pictures’ duo of Vijay and Shankar Bhatt. It was based on the famous and popular novel ” The Invisible Man” by H.G.Wells, published in 1897. This Hindi film was a copy of the Hollywood film of the same name, made in 1933. The film was a novelty and did very good business. Later on, another film Mr. X – 1957 was also on the same theme.

Today’s film Billi-38 was based on the famous novel ” Damsel in distress” by P.G.Wodehouse. Wodehouse (15-10-1881 to 14-2-1975) was from England but stayed in US for most of his life. ( He is my favourite writer and I have many of his novels with me.) Wodehouse was famous for his British humour filled novels spun around characters like Jeeves, Bertie Wooster, Psmith, Blandings Castle and Lord Emsworth and Mr. Mulliner. His most famous novel Damsel in Distress was first serialised in ‘ The Saturday Evening Post’ in May and June 1919. It was published as a book on 4-10-1919 in UK and on 15-10-1919 in US. A stage play based on this novel, gave 234 performances in UK in 1928 and a Musical Comedy on it was made in 1937 in US.

‘Crime and Punishment’ by Fydor Dostoyevsky was the basis for film ‘ Phir subah hogi’-58. Many films were made on Tarzan novels by Edgar Rice Burrows and some thrillers were made on novels of Edgar Wallace. Hindi films based on famous novels/stories by Indian authors were many. An old example is Milan-46 on Tagore’s Nauka Doobi and recent examples are Chetan Bhagat’s 4 novels- Hello, Kai Poche, 2 states and 3 Idiots, as films of the same name. Some other films on Indian and western novels are Devdas, Parineeta, Omkara, Tere mere sapne, Guide, Aisha,Maqbool, junoon, Pinjar, Shatranj ke khiladi, Hamlet, Haider, Bandini, Balika Badhu, Dharamputra, Amar prem, Tamas and many more. the list would be too long, so suffice to mention these films.

There is nothing wrong in making films on famous novels, but when producers, directors, actors twist the story, add own stuff and make a ‘ Khichdi ‘ of the novel, think what the author must be feeling. ( In film Guddi, a writer called Deshpande, describes what the film makers do to the stories, to Prof. Gupta played by Utpal Dutt). A case in point is film Guide. It is on record how R K Narayan was disgusted with the Cinematic liberties the film makers took on his novel, and how he stopped attending shootings and vowed never to allow another producer to buy his stories !

Trouble comes when when the film is made on a western novel like ” Damsel in Distress “. First thing is to adapt the novel to Indian context and traditions. While doing this , most times, a mess is created. The story of this novel takes place in London and shifts to a village nearby later. in Indian version you have to show an Indian city ( Bombay) and a village. I read the review of this film in Film India- October 1938 issue. Baburao Patel- who rarely appreciated a film and was very partial to few directors and actors- tore apart the film. Every aspect of the film was criticised. However, despite his attempt, the film did very good film and was a success. It is shown in this film that after meeting just once, the hero and heroine, in their subsequent meeting, do not recognise each others and a Cat, gifted by hero to the heroine in their first meeting, helps in getting them together again.

The cast of the film had E. Billimorea, Sunita, Ishwarlal, Kantilal, Ila Devi, Mazhar, Ram Apte, Ghory and others. There were 11 songs in the film. today’s song is the first song to feature here. The song is sung by Ishwarlal and Ila Devi. I knew Ishwarlal, but Iladevi was a new name. Even after efforts no information was available to me about her. From the question-answer column of the magazine Film India, I learnt that Ila Devi’s original film name was Miss Ilmas. I do not know in which religion or community, this name is used.After making her debut in Hindi films in ‘ Nishan -E- Jung ‘-1937, she changed her name to Ila Devi and acted in 6 more films. Four films in 1938 (Billi,Bazigar, Rikshawala and Gorakh Aaya) and two films in 1939 (Adhuri Kahani and Kahan hai teri manzil). After this her name is not found in any films, when I checked.

This change of name, after using one name in a film, is not unique, though,this seems to be the First such instance. I know, off hand, at least two more such instances in Film industry. Actress Ameeta (Tumsa nahi dekha fame) had used name Jaijaiwanti in her first film Thokar-1953 ( her second film kaafila -52 was released first as Ameeta,however), but he changed it to her name Ameeta from next film onwards. ( her real name was Qamar Sultana). The second example is actress Zeb Rehman who was known first as Preetibala, then she changed her name to Zeb Rehman.

The male singer in this song is Ishwarlal. ISHWARLAL was born on 9-10-1911 at Ghanghaniya,Kathewar,Gujrat, as Ishwarlal Hariprasad Doshi.

He belonged to a Jain family. His father was in Police department at Kathiawar Agency. His father died when Ishwarlal was just 3 year old and mother raised him.

After Matriculation, he completed Teaching Diploma at the age of 16, but did not a job as he was underage.He came to Bombay, where his brother had some business, in 1927 to act in films. Ishwarlal was very handsome.

He got a job in Ranjit Studios.He started with silent films at a salary of Rs. 35 pm.His first Talkie film was Bhutiya Mahal-1932.Then came Char Chakram-32.He started acting and singing in films.Initially he sang only duets.meanwhile,with Jwalamukhi-36,he became Hero.he sang many songs in Ranjit films,but the records are not available.Those days,not all songs of the film were recoded for commercial purpose.
In Billi-38,he sang a duet with Ila Devi and Sunita devi and also in Aaj ka Hindustan.In Ummeed-41,he had a duet with Nurjahan. In Pyaas-41,he sang with S.Pradhan.

In 1942,first time he got solo songs to sing in Fariyaad. In Jabaan,under C.Ramchandra,he sang 7 songs.

Some of his films were-
Diwali,Dheeraj,Chandni,bhola shikar,nadira, sitamgarh, Veer babruwahan, Barrister’s wife, College kanya, Desh dasi, Keemti aansoo
dil ka daku,Jwalamukhi,Sajni,Dil farosh,Adhuri kahani,Thokar,Holi,pyar,Bansari Lalkar,Chirag,Us paar,
He worked in Ranjit for 13 years. Then he worked with Prafull pictures, Sun art, Wadia, Hind pictures and Atre Pictures also.

In 1945,he was the hero of Nurjehan in Badi Maa,but he had no songs, infact his last songs were in Us Paar-1944. His singing stopped completely when Rafi gave him playback in film Sharbati Aankhen-45.

Then he did character roles in Subhadra,Mahasati tulsi vrinda,Sanskar,Naulakha haar,Khuda ka banda etc.

He acted in 86 films. He also directed 11 films. He sang 36 songs in 14 films. His last film released was was kahani kismet ki-73
He was married in 1931 to a loyal wife kamalabai. They had no issues. Due to excessive smoking he contracted lung diseases and died on 22-1-1969 in Bombay.

With this song, the film Billi aka The Cat-38 and the singer Ila Devi make their Debut on this Blog.


Song-Chaal chale matwaari (Billi)(1938) Singers- Ishwarlal, Ila Devi, Lyrics-P L Santoshi, MD- Gyan Dutt
Both

Lyrics

Chaal chale matwaari
gaadi Chaal chale matwaari
Chaal chale matwaari
gaadi Chaal chale matwaari

raaja jee ki ajab sawaari
Chaal chale matwaari
Raaja
haan
raaja jee ki ajab sawaari
Chaal chale matwaari
gaadi Chaal chale matwaari
Chaal chale matwaari
gaadi Chaal chale matwaari

Raaja
kahaan rakha hai mukut tumhaara

ye hai sundar pyaara pyaara
Raaja
kahaan rakha hai mukut tumhaara

ye hai sundar pyaara pyaara

baaje chidiyaghar ke raaja
baaji moorakhpur ki raani
raani jee ki ajab sawaari
raaja jee ki ajab sawaari
raani jee ki ajab sawaari
raaja jee ki ajab sawaari
Chaal chale matwaari
gaadi Chaal chale matwaari
Chaal chale matwaari
gaadi Chaal chale matwaari


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

Blog Day :

3783 Post No. : 14764 Movie Count :

4037

Today’s song is from film ‘Holi’ (1940). It is written by DN Madhok and composed by Khemchand Prakash. This duet is sung by Sitara Devi and Kantilal.

When silent films started talking, it became imperative for the film makers to recruit only those artistes who could sing on screen. In this compulsion, most of the times, the composers had to compromise on the singing ability of the artistes, because for the artistes, acting was primary and singing was secondary. Barring the born, natural singers like Noorjehan, KL Saigal, Khursheed, Surendra and few others, the rest of the singers in the film industry were all ‘make do’ types. In the early era, till about the beginning of the 40’s decade, the music directors had a tough time getting songs sung by these so called ‘singers’. May be, that is the reason why we find that many composers also sang when the playback started.

Almost all the heroes and heroines (with the sole exception of Jairaj – who was an ‘Aurangzeb’ in music) willy-nilly sang even after the playback singing had firmly set in. Pure and exclusive singers like Lata, Asha, Geeta, Rafi, Mukesh and Talat started occupying their legitimate place in playback singing in films from the mid 1940s onward. At the same time, slowly and steadily singing by the actors and actresses diminished, and by the dawn of the 1950’s decade, playback singing was rooted firmly. In my opinion, this was also one of the major reasons of ‘Golden Period of Film Music’ blossoming from around 1947-48 onward. Due to the availability of playback singers, actors started acting wholeheartedly and composers got new energy and they concentrated on making good music rather than breaking their heads on teaching the ‘pseudo-singers’ how to sing their songs ! In one of the interviews, Naushad had expressed his relief from getting song sung by non-singers !!

Singers like Ishwarlal, Kantilal, AR Oza, Vatsala Kumthekar etc were part actors and part singers. Thus we find that very rarely any song sung by these part time singers became an evergreen song. I can, however, think of only one song- “Zindagi Ka Saaz Bhi Kya Saaz Hai, Baj Raha Hai Aur Be-awaaz Hai” by Naseem Bano in film ‘Pukar’ (1939). She had sung it well and the composer Meer Sahab too should get some credit for its composition. But such cases are rare. Mohd. Rafi’s case in this connection can be quoted. After the regular playback singers became composers’ first choice, one by one the ‘part time’ singers closed their shops ! See here how Rafi did it.

Mohd. Rafi, no doubt, was a versatile singer. Like Lata, when he came on the scene of playback singing – after considerable hard work and struggle, he replaced the old singers who sang in the films, one by one.

  • Ashok kumar’s singing spree stopped when Rafi sang for him in film ‘Saajan’ (1947).
  • Ishwarlal stopped singing when Rafi sang for him in film ‘Sharbati Aankhen’ (1945).
  • Shahu Modak stopped after ‘Chakradhari’ (1954).
  • WM Khan after ‘Aalam Ara’ (1956).
  • Master Nissar after ‘Boot Polish’ (1954)
  • GM Durrani after ‘Lal Pathar’ (1971)
  • Karan Dewan after ‘Duniya’ (1949).
  • Noor Mohammed Charlie after ‘Zameen Ke Taare’ (1960).
  • Balak Ram after ‘Shri Ram Bharat Milan’ (1965).
  • Moti Sagar after ‘Paak Daman’ (1957).
  • Man Mohan Krishna after ‘Basant Bahar’ (1956).

Mohd. Rafi even sang for some composers who used to sing in films,

  • SN Tripathi – ‘Pawanputra Hanuman’ (1957).
  • Snehal Bhatkar – ‘Baawre Nain’ (1950) (he was doing a beggar’s role in this film)
  • Sudhir Sen – ‘Saat Phere’ (1970).

By the way, Rafi was the only male playback singer who sang with all 3 major singer actresses

  • Noorjehan – ‘Jugnu’ (1947).
  • Khursheed – ‘Aage Badho’ (1947)
  • Suraiya – they have sung together in 13 films

The female singer in today’s song is Sitara Devi (8-11-1920 to 25-11-2014), the well known Kathak dancer. Her life story is available freely on the internet. She was bestowed the title of ‘Nritya Samragni’  by Ravindranath Tagore, in 1936, when she was just 16 year old. Sitara is also famous for her multiple marriages. She was the one who refused to accept ‘Padma Bhushan’ honour, stating that she deserves nothing less than ‘Bharat Ratna’ alone ! She had taught Kathak Dance to younger actresses like Madhubala, Rekha, Mala Sinha and Kajol.

The male singer in today’s song is Kantilal. KANTILAL CHHAGANLAL PACHCHIGAR was born on 18-4-1907 in Surat, Gujarat. Due to inherent interest in music, after college education he came to Bombay to try film singing. His first film was ‘Bulbul e Paristan’ (1934) from Vishnu Cinetone. Kikubhai Yagnik was the MD. Kantilal sang 2 songs in it. In 1935, he acted, sang and gave music to ‘Preet Ki Reet’ (1935). He sang 6 songs. He also gave music in ‘Punjab Ka Sinh’ (1936) and also in ‘Gul Badan’ (1937). From 1937 to 1941, he was with Ranjit Movietone and acted and sang in 16 films. He sang 40 songs under Khemchand Prakash and Gyan Dutt.

Then came ‘Gazi Salahuddin’, ‘Kangan’, ‘Holiday In Bombay’ and ‘Kanchan’. Kantilal sang 60 songs in 24 films under 5 MDs. Some of his films were, ‘Toofaani Toli’, ‘Ban Ki Chidiya’, ‘Billi’, ‘Gorakh Aaya’, ‘Prithviputra’, ‘Adhoori Kahaani’, ‘Nadi Kinaare’, ‘Aaj Ka Hindusthan’, ‘Achhoot’, ‘Diwali’, ‘Holi’, ‘Musafir’, ‘Pardesi’, ‘Sasural’, ‘Shaadi’ etc.

In 1943, he married Ushaben and acted in Gujarati films and dramas. He passed away on 17-6-1971.

Khemchand Prakash (12-12-1907 to 10-8-1950) was a very talented composer, but unfortunately  most of his career, he dealt with average singers. Whenever he got opportunity to make songs for real singers like Saigal (‘Tansen’ and ‘Bhanwara’), Khursheed, Kishore ( ‘Ziddi’ and ‘Muqaddar’), Lata (‘Mahal’) and Rajkumari, his songs became famous and very popular. Today’s song is sung by the so called part time singers, but they have tried their best in it.

With this song film ‘Holi’ (1940) makes its debut on the blog.

 


Song – Dhanwaalon Ki Duniya Hai Ye, Nirdhan Ke Bhagwaan  (Holi) (1940) Singer – Kantilal, Sitara Devi, Lyrics – DN Madhok, Music – Khemchand Prakash
Kantilal + Sitara Devi

Lyrics (Provided by Sudhir)

dhanwaalon ki duniya hai ye
nirdhan ke bhagwan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan

nirdhan teri
nirdhan ka main
nirdhan teri
nirdhan ka main
ek anokhi shaan
ek anokhi shaan

do din ki ye mast jawaani
do din ki ye mast jawaani
do din ka ye roo..oop
ek mundere chaanv hai aayi
ek mundere dhoo..oop
bhole panchhi is pinjre ka
bhole panchhi is pinjre ka
jhootha tere maan
haa..aan
jhootha tere maan
haa..aan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan

ret ke mahal bana kar moorakh
ret ke mahal bana kar moorakh
in mein kiya baseraa. . .
ek fanaa ke jhonka aaya
kooch hua sab dera
ret ke mahal bana kar moorakh
ret ke mahal bana kar moorakh
in mein kiya baseraa. . .
ek fanaa ke jhonka aaya
kooch hua sab dera
jhootha jeevan ka iktaara
jhootha jeevan ka iktaara
jhoothi us ki taa..aan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan
dhanwaalon ki duniya hai ye
nirdhan ke bhagwan

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

धनवालों की दुनिया है ये
निर्धन के भगवान
धनवालों की दुनिया है ये
निर्धन के भगवान

निर्धन तेरी
निर्धन का मैं
निर्धन तेरी
निर्धन का मैं
एक अनोखी शान
एक अनोखी शान

दो दिन की ये मस्त जवानी
दो दिन की ये मस्त जवानी
दो दिन का ये रू॰॰प
एक मुंडेरे छाँव है आई
एक मुंडेरे धू॰॰प
भोले पंछी इस पिंजरे का
भोले पंछी इस पिंजरे का
झूठा तेरे मान
हाँ॰॰आँ
झूठा तेरे मान
हाँ॰॰आँ
धनवालों की दुनिया है ये
निर्धन के भगवान

रेत के महल बना कर मूरख
रेत के महल बना कर मूरख
इन में किया बसेरा॰ ॰ ॰
एक फना का झोंका आया
कूच हुआ सब डेरा
रेत के महल बना कर मूरख
रेत के महल बना कर मूरख
इन में किया बसेरा॰ ॰ ॰
एक फना का झोंका आया
कूच हुआ सब डेरा
झूठा जीवन का इकतारा
झूठा जीवन का इकतारा
झूठी उसकी ता॰॰आन
धनवालों की दुनिया है ये
निर्धन के भगवान
धनवालों की दुनिया है ये
निर्धन के भगवान


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 15000 song posts by now.

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

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Movies with all their songs covered =1167
Total Number of movies covered =4107

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