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

Archive for the ‘Actor-Singer song’ Category


This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

5032 Post No. : 16941

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Blog 10-Year Challenge (2012-2022) – Song No. 46
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This date ten years ago (28 April 2012) saw a whopping ten songs from ten different movies getting covered in the blog. Here are the details:-

Blog post number Song Movie (Year) Remarks
5883 Wo jo chaahne waale hain tere sanam Duniya Rang Rangeeli (1957) Movie YIPPEED by now
5884 Jaao na sataao rasiyaa Roop Ki Rani Choron Ka Raja (1961) Movie YIPPEED by now
5885 Bata do zara sakhiyon ree mere man ki baat Chamak Chaandni(1957) 2 songs covered out of 9
5886 Suno zindagi gaati hai Pagla Kahin Ka (1970) Movie YIPPEED by now
5887 Ye ruki ruki hawaayen Daaman(1951) 8 songs covered out of 10
5888 Aji biwi ko ghar pe bithhlaa ke Minister (1959) 3 songs covered out of 6
5889 Hamne dekha hai tumhe aisa gumaan hota hai Jee Chaahta Hai(1964) Movie YIPPEED by now
5890 Tere khayaalon mein ham Geet Gaaya Pattharon Ne (1964) 5 songs covered out of 9
5891 Tujhse nazar milaane mein Meri Soorat Teri Aankhen (1963) Movie YIPPEED by now
5892 Ye ladka haaye Allah kaisa hai deewaana Ham Kisi Se Kam Nahin(1977) Movie YIPPEED by now

Six movies (out of ten), whose songs were covered ten years ago on this date have since been YIPPEED. Taht leaves us with four movies that are eligible for Blog Ten YEar Challenge today (28 April 2022).

“Geet Gaaya Pattharon Ne”(1964) is one of the eligible movies.

“Geet Gaaya Pattharon Ne”(1964) was produced and directed by V Shantaram for Shantaram Productions, Bombay. The movie had Rajhsree Shantaram, Jeetendra,
Surendra, Bharati, K.Date, Mai Bhide, Nana Palsikar, C.H.Atma, Paresh Kumar, Dalvir, Parshuram, Kamaal, Babloo etc in it.

“Geet Gaaya Pattharon Ne”(1964) had nine songs in it. Five songs have been covered in the past.

Here is the sixth song from “Geet Gaaya Pattharon Ne”(1964)to appear in the blog. The song is sung by C H Atma. Hasrat Jaipuri is the lyricist. Music is composed by Ramlal.

Onlty the audio of the song is available. Seeing that C H Atma, a K L saigal clone acted in the movie, it is clear that the song was picturised on him in the movie.

Lyrics and other details were sent to me by Prakashchandra.

audio link:

Song-Ek pal jo mila hai tujhko jeene ke liye (Geet Gaaya Pattharon Ne)(1964) Singer-C H Atma, Lyrics-Hasrat Jaipuri, MD-Ramlal

Lyrics(Provided by Prakashchandra)

har dard ki
ae yaar
dawaa ishq mein aen hai
jeeney ae mein mazaa nahin
mazaa ishq mein hai
din raat khudaa ko dhoondhtey hain jo log
keh dey koyee un se ae
ke khudaa ishq mein hai ae
keh dey koyi un se
ke khudaa ishq mein hai ae ae

ek pal jo milaa hai
tujhko jeeney ke ae liye ae
ek pal jo milaa hai
zahar peeney ae ke liye
is pal se ae nichod ley tu
sar-e-aam ??
hain dard hazaa..aar
ek seene ke liye ae
hain dard hazaar ek seene ke liye

likh detaa hai masti mein
kalam jo o taqdeer
ho jaaye ae gawaaraa wohi
kar wo o tadbeer
ye koshishein bekaar hain ae
ronaa aa aan aa bekaar
ban jaayein to mit`ati naheen
paththar ki lakeer
ban jaayein to mit`ati..eee naheen paththar ki lakeer


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 :

5019 Post No. : 16927

Today’s song is from an old and not much known early era film from Minerva Movietone – Khan Bahadur-1937.

Minerva Movietone was owned by Sohrab Modi. Its first film was ” Atma Tarang-1937″, which was an out and out big flop, with just 20 persons in the audience for the First Day First Show ! Basically, proper advertising was missing, so people did not know anything about the film. The two earlier films featuring Sohrab Modi-jointly with his brother- were stage dramas shot as films, so with this background Modi failed to declare that this film was NOT like that. The 20 daring persons who came to see the film regretted deeply having come there. The film was made on a subject which was very dear to Modi himself – Celibacy or Bramhacharya, truly a ‘Dry’ subject. The heroine was Prabha, who was very beautiful. She featured only in 3 songs, whereas Modi was in 6 songs out of the 12 songs of the film !

In those days Sohrab Modi was influenced by the teachings of Shri Ramkrishna Mission, but his audience was not. With the failure of this film, Modi learnt a lesson that he should make films on subjects of the liking of the people and not his own liking. Then he studied what type of films were successful and popular and then he decided to make a film on a Muslim King who was brave and who did many good things for his people. Thus, the film Khan Bahadur was made and as expected, it did a good business at the Box office. Later Modi made films like Meetha Zahar-38 on ills of drinking, Divorce-38 on Husband -wife differences and Bharosa-40 on Incest. He had learnt his lesson well !

What does Khan Bahadur mean ? Is it a name or a Title or a popular decoration ? 1937 was a British Raj period. In those days the British awarded different titles to Public Achievers, kings and those who were Loyal to the crown. As such ” SIR ” and ” KNIGHTHOOD ” were the highest decorations already, but they were given to highly educated or the members of Royalties of India only. So, the British introduced 3 level Titles for the other public and small kings etc.

First Grade level…. Nawab Bahadur ( for Muslims) or Dewan Bahadur (For Hindus)
Second Level…. Khan Bahadur (Muslims) or Rai Bahadur (North Indian Hindus) or Rao Bahadur (South Indian Hindus) and
Third level….Khan Sahib (Muslims) or Rai Sahib or Rao Sahib (Hindus).

The cast of the film Khan Bahadur-1937 was Sohrab Modi, Naseem Bano, Prem Adeeb, Sheela, Shareefa (mother of actress Husn Banu), Eruch Tarapore, M.Sadiq, Sadat Ali etc.etc. There were 12 songs in the film. The name of the lyricist is not known. The Music Director was B.S.Hoogan.

B.S.Hoogan…. Frankly, how many of us have really heard this name ? Maybe only a few. Until about 12 years ago, I was not even aware of this name. When I first came across this name B.S.Hoogan, in the list of Hindi composers,my first reaction was,what is this foreigner doing in Hindi Films ?

Further when I saw his name as MD in 10-15 films of the 30s, I became very curious and wanted to know more about him.As per my experience so far,I usually got information for any -or almost any-Film personality from my notes,Old cuttings,books,magazines,old articles etc ,or even from an obscure,less known Internet site,but in Hoogan’s case I always found myself at a dead end. There was simply NO information about him anywhere ! It was as if no one in India knew about him or as if he was from some alien planet.

I was perplexed.How can anybody from the Film industry,with so many films to his credit,be such an unknown person ? This was a challenge and I decided ,come what may,to find out about this elusive,dodging and unreachable B.S.Hoogan,at any cost.

Almost one year passed and I found a ray of Hope.

I visited the Blog of Mr.Kamalakar Pasupuleti ji. He is a writer on old films, music and an avid collector of old songs,besides having been an active RMIM worker.He is also a mine of information. Incidentally,he too is from Hyderabad-just like me,and being in the same age group,we enjoyed discussing matters relating to people and places in old Hyderabad of the 40s and 50s,when we were youngsters.Later on, he migrated to the USA.

On his Blog, he had written about Hoogan. He had located the nephew of Hoogan, in India and contacted him.He got some information from him about Hoogan. Although the info was not exhaustive, it was a great find. Kamalakarji himself had also written about Hoogan,from his interaction with people who had met Hoogan in Hyderabad. I wrote to kamalakar ji in the USA and he very graciously gave me permission to use all that material for this article.

At this juncture, my luck suddenly decided to cooperate and I found some info about Hoogan in a book.I even found out that the same nephew of Hoogan had uploaded 4 songs of Hoogan,(2 from Parakh-37 and 2 from Meetha Zahar-38) on Hamara Forum.

The nephew of Hoogan was one Prakash Raj. Once he appeared on the Internet forum through some member and he gave some more information. In addition Hoogan’s grandson- Mr. David Singh Hoogan, from Chittaranjan, W.B. appeared on Atul ji’s Blog and gave some more information as late as in 2020. With all this additional new information, I revised the old information and made up this revised new one. So it is not the same, as some may think. This Mr. Ashok Raj has written 2 books namely The Hero-Volume I, which has information on artistes of the Silent Era and upto Dilip Kumar. The second Book is also named The Hero-Volume II, discussing artistes from Amitabh to Khans and beyond. I have both these books with me. In these books the author has proudly mentioned that B.S.Hoogan was his Uncle. The books are also dedicated to Hoogan.

B.S.Hoogan was not a foreigner,he was very much an Indian.His name was BALWANT SINGH HOOGAN. He was tall,of wheat complexion and of medium build. He was born in 1901 at Firozpur, Punjab, where his family was settled. Earlier the family was in Lahore. He was a Kashmiri Brahmin. According to C.Ramchandra also,he was originally from Kashmir.

It seems Hoogan was keen to pursue higher studies in England, so he left Ferozpur. After reaching Bombay, he changed his mind and wanted to be in films being a Music Director.Before becoming a music director he seems to have learnt classical music and western music.He played many western instruments.

In the days of silent films,orchestras used to play in the theatres ,in front of or behind the screen.During the film also they played appropriate music pieces.It would add live pleasure with moving images. Hoogan learnt this music and conducting orchestra from his teacher, Mr.Victor Aimes,an Englishman,from the Albert Music Company. He learnt writing music in notations and conducting orchestra with a baton. He played in his orchestra of 12 musicians.

Hoogan looked impressive with a Black Tailcoat,Bow-Tie and Grey Trousers,as described by a Hyderabad Nawab,who had been personally introduced to Hoogan in Hyderabad in 1930.

B.S.Hoogan started his career as MD with Ajanta Cinetone of Mohan Bhavnani.He gave music to Afzal,Maya jaal,Rangeela Rajput(all 1933)Dard e dil,Dukhtar e Hind,Mazdoor,Sair e Paristan,Vasavdatta(all1934),Pyar ki maar,Registan ki Rani,Sone ka shahar,sherdil Aurat(all 1935), Begunah,khan Bahadur,Parakh(all1937),Meetha Zahar,Vijay marg(all 1938) and Sansar Sagar-1939.

Total films-18. Songs composed- 231.

Music Director C.Ramchandra, in his Marathi autobiography ( माझ्या जीवनाची सरगम ), wrote about Hoogan. When CR was working in Minerva, He worked with several Music Directors like Habib Khan, Bundoo Khan,Hoogan and finally Meer Sahib. CR learned something from every MD. Hoogan joined the company, in place of Habib Khan, the composer. He showed CR how the Desi Raag can be played on foreign musical instruments. He brought in many Goan orchestra players into the company. CR knew writing notations, Hoogan improved this. Hoogan liked CR very much. Hoogan would take CR with him to all big hotels of Bombay. Orchestras would be playing there. CR learned how those tunes could be indianised in his music here only.

Hoogan would make tunes and ask CR to write the notations. CR would hum those tunes and then improve the tunes. Hoogan would not know. Thus many of his tunes were used by Hoogan without knowing it. In the film Meetha Zahar-1938, Naushad was Hoogan’s assistant. Actors like Nissar, Bibbo, Sheila and Naseem Bano sang for him.

Hoogan had only one son-Avtar Singh. In Bombay, Hoogan contracted Tuberculosis. He started treatment and on doctor’s advise, left for hometown Ferozpur, with family. Soon his illness took a serious turn and B.S.Hoogan died in Ferozpore in September 1938, at the age of 37 only. In another few months, his wife too died and his son was taken care of by his maternal Uncle. The son Avtar singh got a job in Railways at Chittaranjan, W.B. and he moved there. He converted to Christianity. He had a son David who also settled in W.B. only. After conversion his family in Ferozpur broke off all contact with them. His story ends thus.

Prem Adib was new. He first started acting in the film Romantic India-36. Soon he came to Minerva and his film Khan Bahadur was released first and thus became his Debut film. In the early 40’s he became famous with his role of Shri Ram (along with Shobhana Samarth as Seeta) in the Mythological films of Prakash Pictures. Along with him, in this film, there was one more Debutante artiste, and her name was Sheela. Her real name was different. When she was named Sheela, she was the only actress with that name. However, later on many Sheelas entered Films, but luckily they did not cause any Same Name Confusion. Some other Sheelas were…..Sheila Ramani, Sheela Vaz, Sheela Mitra, Sheela Naik, Sheela Devi, Sheela Dalaya (only in the film Mughal E Azam) and Sheela Haldar.

SHEELA(real name-Roshan Ara) was born on 13-3-1925 at Solapur-Maharashtra. Her father was Station Master at Solapur Rly.Stn.
Once Sohrab Modi had come to Sholapur with his Drama company. He went to the station to make 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, in 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 the film ‘ Wasiyat’-40,Ulti Ganga, Bhakta Raidas, Prithvi Vallabh,and Patharon ka Saudagar were all Minerva films.

She had also done films elsewhere- Aladdin 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 the film Pukar-1939 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 sahib, he used to insert his tunes to songs as Meer saheb’s. This was known to many, except, maybe, Meer sahib 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 Sahib.

Today’s song is a duet sung by Sheela and 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 more films, Meetha zehar-38, Jailor-38 and Phir milenge-43. He died in 1948.


Song- Prem ke pyaale de (Khan Bahadur)(1937) Singers- Sheela, Erich Tarapore, Lyricist-Unknown, MD- B.S.Hoogan

Lyrics

Prem ke pyaale de
Prem ke pyaale de
piyarwa bhole bhaale
piyarwa bhole bhaale
Prem ke pyaale de
Prem ke pyaale de
piyarwa bhole bhaale
piyarwa bhole bhaale/em>

dilbar ??
geet ?? ke geet suna de
dilbar ??
geet ?? ke geet suna de
Prem ke pyaale de
Prem ke pyaale de
piyarwa bhole bhaale
piyarwa bhole bhaale

nain se prem prem barsa
nain se prem prem barsa
aman ki ?? jaaye
nain se prem prem barsa
nain se prem prem barsa
aman ki ?? jaaye
gul khilaaye jaa daali daali
pyaare matwaale
gul khilaaye jaa daali daali
pyaare matwaale
bulbul buldul ?? bole bole
bulbul bulbul bole bole ja
?? tumhre kaale

piyarwa bhole bhaale
piyarwa bhole bhaale
Prem ke pyaale de
Prem ke pyaale de
piyarwa bhole bhaale
piyarwa bhole bhaale


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 :

5016 Post No. : 16922

Today’s song is from an early talkie film ‘Gramophone Singer’ (1938).

The film was made by Sagar Movietone. It was directed by Ramchandra Thakur and Virendra Desai (owner Chimanlal Desai’s son and the first husband of Nalini Jayawant). The 15 songs of the film were written by Zia Sarhadi – who rose to great heights in the Indian film industry, but was humiliated, suspected and ill-treated in Pakistan. His end in Spain too was pathetic. Music Director for this film was Anil Biswas. The cast of the film was Surendra, Bibbo, Prabha, Bhudo Advani, Kanhaiyalal, Sankatha Oprasad, Gulzar and many others.

It is interesting to know the story of how Sagar Movietone came into being. Ardeshir Irani, the owner of Imperial Film Co. and the maker of India’s First Talkie film ‘Alam Ara’ (1931), was keen to get the famous and popular star of the films in those days – Master Vithal, into his stable. That time Vithal was with Sharada Film Company. He was unhappy there, because despite every film being a hit, his salary was never increased in spite of his request. To get Master Vithal with whatever means, Irani floated Sagar Movietone in 1929, so that his name was not involved in luring another company’s artistes. After an interesting episode of action in the High Court, Master Vithal joined Imperial through Sagar Movietone.

Once he got master Vithal, Irani lost interest in Sagar Movietone and he sold it to Dr. Ambalal Patel and Chimanlal Desai – his distributors from Bangalore to whom he owed money. After Irani separated, the company was wholly owned by Desai and Patel. Later Patel too left and Chimanlal became the sole owner of Sagar Movietone.

In those days, Sagar had a good collection of actors, actresses, directors and MDs on its payroll. Sagar went on to make several Hit films from 1931 onward. In 1934, Motilal joined the company and in 1935, the singing actor Surendra came. Sagar was on a victory roll and it became one of the major film making companies in India. In the form of Surendra, Sagar got an actor/singer, who would compete with KL Saigal of New Theaters, Calcutta as the “Bombay’s answer to Saigal” !

Surendra, however, was an educated (BA, LLB), intelligent person and he understood that Saigal was in a different league altogether. Instead of copying his style, Surendra cultivated his own identity. Sagar, however, ensured that the competition between the two got the desired reckoning and this showed in their pattern of films. As against ‘Devdas’ (1935), Sagar released ‘Manmohan’ (1936)’. After ‘President’ (1937) came ‘Jagirdar’ (1937) and after ‘Street Singer’ (1938) Sagar released ‘Gramophone Singer’ (1938). Nevertheless all these films became successful.

In the Hindi film industry, we read frequently about famous stars, actors/actresses of the early era who ended their last days in penury, illness, loneliness and misery. Many had to beg on roads for a living. Some of these cases are tear jerking too. However, even in those days there were some wise artistes who planned their afterlife thoughtfully and retired gracefully spending the rest of their life happily. Some names like SD Batish, Laxmi Shankar, Ranjan, Shashi Kapoor Sr., Mukund Roy Trivedi-MD, Durga Khote etc. come to mind in this connection. Actor Surendra too falls in this category. Before he retired from films, he established an advertising firm and made short films (Durga Khote also did the same). His sons expanded the business successfully.

‘Gramophone Singer’ was the debut film for both the directors, who bloomed in their careers later. Actress Prabha started with Sagar from this film onward. Kanhaiyalal became a regular actor with this film – instead of a Lyricist. Zohrabai Ambalawali sang her first song under the baton of Music Director Anil Biswas, in this film.

Surendra and Bibbo acted together in 6 films of Sagar Movietone. Their first film was ‘Manmohan’ (1936), in which their duet song “Tumhin Ne Mujh Ko Prem Sikhaaya” became a Hit in those days. Then came ‘Jagirdar’ in 1937 and ‘Dynamite’ in 1938. Like Motilal and Sabita Devi (* films), this pair too proved to be a ‘Hit Jodi‘. However, at the time of planning for the film ‘Gramophone Singer’, Surendra and Bibbo had some dispute and they were not on speaking terms. They even avoided each other. This problem was tactfully solved by director Ramchandra Thakur, who diplomatically lied to both separately that the other one was keen to work with her/him. Like true professionals both agreed and the film got through. Not only this, but they even worked in another 2 more films also !

The film is a story of a love triangle and Prabha did the role of Surendra’s wife in this film. Prabha is not known to most people. Let us know more about Prabha.

Prabha Rajpal was from a respectable Hindu family of Punjab. She was born on 6-6-1915 at Ludhiana. Her father was a high ranking government officer based at Lahore. All her education was done in Lahore. She was fluent in Urdu, Hindi, Punjabi and English.

Right from childhood, she was keen on working in films. Belonging to an orthodox family, there was opposition, but despite all this she entered films and her first film was ‘Jung Bahadur’ (aka ‘Dare Devil’) in 1935. After doing some films like ‘Dilawar’ (1936), ‘Awakening’ (1936), she left the Bhavnani camp and worked in Minerva’s film ‘Atma Tarang’ (1937) as the heroine opposite Sohrab Modi. She was very beautiful. Then she joined Sagar and worked in films like ‘Gramophone Singer’ (1938), ‘Ladies Only’ (1939), ‘Civil Marriage’ (1940). Later she became a freelancer.

In all she worked in 36 films in her career. She got married to Virender Ahuja, a cinematographer, and settled down after the film ‘Veerangana’ (1947). When her husband was one of the producers, she worked in the film ‘Shrimati ji’ (1952) and then retired from films. She died on 12-3-1975.

‘Gramophone Singer’ was a reasonably successful movie. Its lyricist was Zia Sarhadi. It had 15 songs, but only 4 Records having 8 songs came into the market.

The story of the film is….

Sundardas (Surendra) was a successful gramophone singer and lived in a town near Bombay. He was happily married to Mohini (Prabha) and had a baby boy also.The family was a picture of happiness, but….

Tilottama (Ishrat Sultana or Bibbo) was a famous singer of international reputation. She conducted foreign tours also. She lived in a luxurious flat in Bombay. She had heard the songs of Sunder and loved his voice. She was waiting to meet him.

Sunder had to visit Bombay often for song recordings etc. He was very friendly with Ghosh Babu (Bhudo Advani), owner of a Gramophone company. Rana ji (Kayam Ali) was a regular customer of Ghosh Babu. Once in a party given by Ghosh, Rana ji introduces Sunder to Tilottama. In the first meeting itself she fell in Sunder’s love. He too was impressed with her. Slowly their meetings increased and soon they were in deep love, Sunder forgetting about wife and child. Once they decide to go to Rampur – a resort. Here poor Mohini waits for Sunder for many days. The child falls ill too. Finally, Mohini decides to visit Bombay. There she learns everything about Sunder’s affair. She meets Madan (Sankatha Prasad), a singing partner of Tilottama, and a silent deep lover of hers too. They go to Rampur, but the pair is missing.

In the climax scene, Tilottama and Sunder are about to get married, when Mohini, her sick child and Madan reach the spot. Seeing his wife and ailing child, Sunder realizes his folly and returns to Mohini. Madan wins over Tilottama and the end is at Tilottama’s wedding party thrown by Ghosh Babu.

Today’s song is sung by Surendra and Bibbo.


Song- Main tere gale ki maala (The Gramophone Singer)(1938) Singers- Surendra, Bibbo, Lyricist- Zia Sarhadi, MD- Anil Biswas
Both

Lyrics

main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
tu saagar main sarita
tu saagar main sarita
tu kavi main kavita
tu saagar main sarita
tu kavi main kavita

tu meri nazar ki jwaala
tu meri najar ki jwaala
main tere gale ki maala
tu meri najar ki jwaala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala

main tere gale ki mala
main tere gale ki mala

deepak bankar aag jala de
deepak bankar aag jala de
aag laga de aag laga de
aag laga de aag laga de
deepak ban sansaar jala de
deepak ban sansaar jala de
hans ab hans chal prem sikha de
hans ab hans chal prem sikha de
prem sikha de gwaala
tu prem sikha le gwaala
main tere gale ki maala
main tere gale ki maala

main tere gale ki maala
main tere gale ki maala
main tere gale ki maala
main tere gale ki maala

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

मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला

तू सागर मैं सरिता
तू सागर मैं सरिता
तू कवि मैं कविता
तू सागर मैं सरिता
तू कवि मैं कविता
तू मेरी नज़र की ज्वाला
तू मेरी नज़र की ज्वाला
मैं तेरे गले की माला
तू मेरी नज़र की ज्वाला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला

दीपक बनकर आग जला दे
दीपक बनकर आग जला दे
आग लगा दे आग लगा दे
आग लगा दे आग लगा दे
दीपक बन संसार जला दे
दीपक बन संसार जला दे
हंस अब हंस चल प्रेम सिखा दे
हंस अब हंस चल प्रेम सिखा दे
प्रेम सिखा दे ग्वाला
तू प्रेम सिखा दे ग्वाला

मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला
मैं तेरे गले की माला


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 :

5000 Post No. : 16898

“Durga”(1939) was produced by Devika Rani and Himanshu Rai and directed by Franz Osten for Bombay Talkies, Bombay. The movie had Devika Rani, Rama Shukul, V H Desai, Mumtaz Ali, Peethawala, Saroj Borkar, Balwant singh, Lalita Deulkar etc in it.

“Durga”(1939) had ten songs in it. Two songs have been covered in the blog so far.

Here is the third song from “Durga”(1939) to appear in the blog.

Devika Rani is the singer. Lyrics are penned by Narendranath Tuli. Saraswati Devi is the music director.

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

From the lyrics it is seen that the song is a “wedding” song. Whether it is a gudda gudiya wedding song or a real wedding song is not known, seeing that video of the song is not available.

Nevertheless, the fact that this song came to my notice just now and it is getting discussed today validates the oft made observation that some higher forces are overseeing this blog and it is these higher forces that often decide what songs are covered in this blog on what day. 🙂 The daughter of one of our regulars got married today and fate ordained that the blog celebrates the occasion with this song from the yore.

So we take this occasion to greet the recently wedded daughter of our regular contributor Avinash Scrapwala. We all wish Shivani and Jeegar a very happy, prosperous and long married life.


Song-Nanhi Bitiya Byaah Rachaaye (Durga) (1939) Singer-Devika Rani, Lyrics-Narendranath Tuli, MD-Saraswati Devi

Lyrics

Nanhi bitiya byaah rachaaye
dulha chadh haathi par aaye
Nanhi bitiya byaah rachaaye
dulha chadh haathi par aaye
baaje dhol mridang
?? rah jaaye dang
baaje dhol mridang
?? rah jaaye dang
laal chunariya kesari choli
sheesh chadhe chandal aur roli
laal chunariya kesari choli
sheesh chadhe chandal aur roli
kumkum pushp ka phool
maang bhare sindoor
kumkum pushp ka phool
maang bhare sindoor

baapu aaye doli chadhaaye
naina chham chham neer bahaaye
baapu aaye doli chadhaaye
naina chham chham neer bahaaye
maa ko bhaari ??
ghar ko ??
nanhi bitiya byaah rachaaye
dulha chadh haathi par aaye
baaje dhol mridang
chhalakat ??


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 :

4998 Post No. : 16895

Today’s song is from the film Sasural-1941.

Most of the “Family Dramas”, especially from the Southern stables, depict the problems of the family after the new Bahu comes to the house. In majority cases “problem” means disputes between the Saas- Bahu or the torture meted out to the meak and humble, sanskari Bahu by the Saas and /or Nanad. We have seen many such films. And then we have also seen films where the Bahu is dominating and gives troubles to saas and sasur- going to the extent of throwing them out of their own house. The third and most enjoyable type of family drama is wherein the Bahu is Tit for Tat to the machinations of the irritating Saas and Nanad.

I have been watching movies for about 65-70 years in different languages like Marathi, Hindi, English, Telugu, Kannada, Tamil and even a few Bangla ones. This was because Hyderabad state, where I grew up, was a multilingual state having a substantial population of Marathi, Telugu and Kannada people and of course Urdu speaking Muslims-the Rulers. In the beginning, when I was about 10 to 12 years old, I used to be a ‘Chaperone’ to a group of old relatives in the family for going to the theatre to see the films. Their invariable choices were essentially Mythologicals or tear jerker family films. I have seen more such ‘crying’ or ‘miracle’ filled films in my childhood.

But besides the types of family films mentioned above, there is or rather was one more category, wherein the film story used to be , in which the ‘would be’ Sasural was described in detail or the film story was about the proposed Sasural. In such films, the marriage is fixed, but the Groom or the Bride is mistaken for a wrong person,causing misunderstanding between the pair, till the mistake is rectified to set the things right. I have seen such films too. One film of the 40’s I remember is ” Panghat”-1943, wherein the groom is mistaken for a wrong person. Another similar story was in the film ” Chitchor”-1976. Such films were quite fun to see, because except the actors in the film, everyone in the theatre knew who was the real groom or the bride ! This enhanced the enjoyment.

Today’s film Sasural-1941 is also of this type only. In this film, however, both the groom and the bride misunderstand each other for some other person, but luckily fall in love with the right companion. This film was made by Ranjit Movietone and was directed by Chaturbhuj Doshi. All 13 songs of the film were written by D N Madhok and the music was by Gyan Dutt. The cast consisted of Motilal, Madhuri, Nurjahan Sr., Kantilal, Urmila, Bhagwan Das etc.etc.

Motilal was one of the earliest actors who brought ” Natural acting” to films. Later on actors like Ashok Kumar, Sanjeev Kumar, Amol Palekar and few others practiced it to enrich their films. Most of the new age readers may not be knowing who the actress ” Madhuri” in this film was. The only Madhuri they know is Madhuri Dikshit (I too liked her). For their benefit I reproduce here, once again, a translation of my article on this actress Madhuri. This was originally written in Marathi for a periodical, which has ceased to exist anymore.

Place- Shanmukhanand Hall,Mumbai
Date 7-2-1999
Time- 7 p.m.
Programme- Felicitation to ‘ Stars from the Silent Era’
Organisers- ” Amrut” and ” Cine Society of Bombay ”

The entire hall was overcrowded. Not only all the seats were occupied, but people were standing wherever possible. Everybody wanted to see the Two STARS on the stage-Jairaj and Madhuri. Both were in their late 80s, but looked radiant and smiling. For Madhuri it was a surprise, that the organisers found her out after living in oblivion for over 50 years. She was simply overwhelmed with the people’s affection and love. For Jairaj,these things were not new. He has been around all the time.

Madhuri and Jairaj were a Popular pair in Silent film era. They worked as a lead pair in 3 films, one each in 1930-Rasili Rani, 1931-Warrior from the wild and 1932-My Hero. They came together after almost 70 years, on this stage.

Like many others, Madhuri too was an Anglo Indian. Her name was Beryl Claessen. She was born on 3-11-1913 at Delhi. Her father was a big officer in the Government. Her initial schooling took place in Nainital. She learnt music too,because she wanted to become a Music Teacher. However, she never became,but on a visit to Bombay she was picked up by producer Indulal Yagnik and she started acting in silent films.

Many Heroines in those days were Anglo-Indians,Europeans or Jew girls. Since silent films did not require speaking Hindi or Urdu ( or any language,for that matter),these girls were preferred,as the Indian audience loved their fair colour (Gori Mem). Additionally,these girls did not hesitate to give intimate scenes like kissing or doing stunts themselves. Most girls knew Horse riding,fencing and fighting.

In 1928,there was a Silent film Madhuri,but actress Sulochana(Ruby Myers) did this role and in 1932 there was a Talkie film Madhuri,in which also Sulochana only did the role. When the Talkie films era began most of the Anglo Indian girls became jobless,since they could not speak Hindi/Urdu nor could they sing a song-the two requirements for actresses in early era Talkie films. However,few intelligent and professional actresses learnt Hindi/Urdu language speaking. Madhuri and Sabita Devi (Irene Gasper) were two such clever girls who achieved proficiency in these matters.

Madhuri was very beautiful. After doing 17 silent films,she made her debut in Talkie films with ‘ Pardesi Preetam’-1933. Jaswantlal Nandlal directed his first film here. Her Hero was Raja Sandow. She did many films for Ranjit under the direction of Jayant Desai. From 1933 to 1942,she acted in 28 films. They were (not in order) Kashmeera, Mitti ka Putla, Noor e watan, Secretary, Lehri lala, Rangeela Raja, Sitamgarh, Prithviputra, Thokar, Raj Ramni, Diwali, Matlabi Duniya, Toofani Toli, Shama parwana, College Girl, Nadira, Veer Babruvahan, Zamin ka chaand, Ban ki chidia, Toofan Mail, Mehman, Sasural, Shadi, Ikrar, Vakil Saheb, Paapi, Mazaq and Dharm-45 …her last film.

In 1941,Madhuri got married and after completing films on hand, retired from Film line. After this, she simply disappeared for next 50 years without a trace,till the organisers of a programme located her. Bombay’s ” Amrut” and ” Cine Society of Bombay ” held a felicitation programme on 7-2-1999, for “Stars from the Silent Era”. For Madhuri it was a surprise that the organisers found her out after living in oblivion for over 50 years. She was simply overwhelmed with the people’s affection and love.

She and Jairaj were felicitated on that day.

Film Sasural-1941 story appeared in the December issue of Film India magazine review, in short. Our Sadanand Kamath ji had given it in 2016, in his comments. Here it is…

“The marriage of Vinod (Motilal) and Usha (Madhuri) is fixed, But Usha has not seen her would-be-husband. A mix-up of suitors happens when a fat servant (Kantilal) impersonates Usha’s would-be-husband. The detailed story is not revealed in the review probably to avoid the ‘suspense in the comedy of errors’. It is only towards the end of the film when the impersonation of suitors gets revealed while on a forest trail when Usha falls in the arms of Vinod and the fat servant (Kantilal) gets the maid (Nur Jahan Sr,) as the original suitors.”

The funny song is sung by Kantilal, Motilal and chorus. Kantilal was a favourite with Sagar Movietone initially and then Ranjit Movietone. he featured in all the 3 successive comedy films made by Ranjit in this war period, namely Musafir-1940, Pardesi-1941 and Sasural-1941. Chandulal Shah believed that his audience needed lauhter during the tensions created by the second world war.

KANTILAL CHHAGANLAL PACHCHIGAR ( Soni) was born on 18-4-1907 in Surat, Gujrat. He was from a Goldsmith family. 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. He sang in 6 songs. From 1937 to 1941, he was with Ranjit Movietone and acted and sang in 16 films. He sang 40 songs under Khamchand Prakash and Gyan Dutt. Then came Gazi Salahuddin, Kangan, Holiday in Bombay and Kanchan. Kantilal sang 60 songs in 24 films under 5 MDs.

In 1943,he married Ushaben and acted in Gujarati films and Dramas.
He died on 17-6-1971.

Some of his films were, Tufani Toli, Ban ki chidiya, Billi, Gorakh Aya, Prithvi Putra, Adhuri Kahani, Nadi kinare, Aaj ka Hindustan, Achhut, Diwali, Holi, Musafir, Pardesi, Sasural, Shaadi etc.

Enjoy the comedy song….


Song- Bibi bole naahin kunda khole naahin (Sasuraal)(1941) Singers- Kantilal, Motilal, Lyricist- D N Madhok, MD- Gyan Datt

Lyrics

ho o o
khole naahin
bole naahin
ho kunda khole nahin
bibi bole naahin
ho kunda khole nahin
aji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin

aji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

baaman ke ghar kutiya re bhaunke
bole naahin
kuchh bole naahin
baaman ke ghar kutiya re bhaunke
ghadi ghadi mein ?? chaunke
baali umar dar jaat
bole naahin
bibi bole naahin
o kunda khole naahin
o ji baali umar dar jaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

kanya ke ghar chaandi sona
par kismat mein phata bichauna
bole naahin
bibi bole naahin
kanya ke ghar chaandi sona
par kismat mein phata bichauna
khaane ko hai bhaat
bole naahin
bibi bole naahin
o kunda khole naahin
aji khaane ko hai bhaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

aeji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

miyaan ke ghar mein patli jo daal
miyaaan jee ladke chale sasuraal
o miyaan ke ghar mein patli jo daal
miyaaan jee ladke chale sasuraal
aji shaadi kar pachhtaaye
bole naahin
bibi bole naahin
ho kunda khole naahin

aeji shaadi kar pachtaaye
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

aeji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin

?? nain lade re
aeji bhaado ki kaali kaali raat
bole naahin
bibi bole naahin
o kunda khole naahin
aeji bhaado ki kaali kaali raat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
aeji baahar pade re barsaat
bole naahin
bibi bole naahin
o kunda khole naahin
bibi bole naahin
bole naahin


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 :

4995 Post No. : 16890

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 34
————————————————————————————–

This date ten years ago (viz 22 March 2012) saw six songs rom six different movie getting covered in the blog. Here are the details:-

Blog Post number Song Movie (Year) Remarks
5673 Dil yaad mein kisi ki zara rone laga re Begam(1945) 4 songs covered so far out of 9
5674 Raahi chal sambhal sambhal kar Detective (1958) 7 songs covered out of 8 so far. Final song not available
5675 Baaten kahin aur banaao Batwaara(1961) Movie YIPPEED by now
5676 Jawaab de ya na de bewafa salaam to le Bambai Ka Chor (1962) Movie YIPPEED by now
5677 Yahaan main ajnabi hoon Jab Jab Phool Khile(1965) Movie YIPPEED by now
5678 Mere soone jeewan ka aasraa hai tu Aasraa (1966) Movie YIPPEED by now

Four out of 5 movies whose songs were covered on this day ten years ago have since been YIPPEED. Another movie is conditionally YIPPEED because one remaining song of the movie is not available.

That leaves us with only one movie that is eligible for Blog Ten Year Challenge today on 22 March 2022.

This movie is “Begam”(1945).

“Begam”(1945) was directed by Sushil Majumdar for Tajmahal Pictures, Bombay. It had Naseem Bano, Ashok Kumar, V H Desai, Vikram Kapoor, Prabha, Puri, Raj Biswas, Harun, Mehar Bano, Sharda, Indu etc in it.

The movie had nine songs in it. Five of these songs have been covered in the blog in the past.

Here is the sixth song from “Begam”(1945). The song is sung by Naseem Bano. Gpal Singh Nepali is the lyricist. Music is composed by Hari Prasanna Das.

Only the audio of the song is available. It is clear that the song was picturised on Naseem Bano herself.

Lyrics of the song were sent to me by Prakashchandra.

audio link:

Song-Aayi jawaani pagli aayi re (Begam)(1945) Singer-Naseem Bano, Lyrics-Gopal Singh Nepali, MD-Hari Prasanna Das

Lyrics(Provided by Prakashchandra)

aayi jawaani pagli aayi rey ae
aayi
aayi jawaani pagli aayi rey aey ae aayi
aayi jawaani pagli aayi rey
ho o o o o
duniyaa ne lee angdaayee rey
hho aayee
aayi jawaani pagli aayi rey

aankhein karti hain dil se baatein
haan dil se baatein
aankhein karti hain dil se baatein
haan dil se baatein
hanstey hain din aur gaati hain raatein
hanstey hain din aur gaati hain raatein
chor nigaahein chupke chupkey ae ae
chor nigaahein chhupke chhupke
ho o o oo
ghooghat mein sharmaayee rey ho o
aayi jawaani pagli aayi rey ae ae ae
aayi
aayi jawaani pagli aayi rey aey ae ae

masti mein chaar chaand lagaati hain ghataayein aen aen
hoo ooo oo ho o o
masti mein chaar chaand lagaati hain ghataayein aen
ho o o o ho o o
ho loriyaan deti hain inn aankhon ko hawaayein
hoo ooo oo ho o o o
hho loriyaan dethi hain inn aankhon ko hawaayein
hoo ooo oo hho o
ho o o dil mein umangein chhaayee rey aey ae ae
dil mein umangein chhaayee rey ho o o
duniyaa ne lee angdaayee rey
ho aayi
aayi jawaani pagli aayi rey ae
aayi jawaani pagli aayi rey aey ae ae


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 :

4993 Post No. : 16888

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 33
————————————————————————————–

This date ten years ago, viz 20 March 2022 saw as many as six songs from six different movies getting covered. Here are the details:-

Blog post number Song Movie (Year) Remarks
5660 Ghabra ke jo ham sar ko Mahal(1949) Movie YIPPEED by now
5661 Manzil to hai badi door Bhai Sahab(1954) 7 songs covered out of 10 by now
5662 Mausam e bahaar yaar Sargam (1950) Movie YIPPEED by now
5663 Pad gaye jhoole saawan rut aayi re Bahu Begam(1967) Movie YIPPEED by now
5664 Main to baanke nainon waali Chhoomantar(1956) Movie YIPPEED by now
5665 Main teri Heer hoon teri taqdeer hoon Raftaar(1975) Movie YIPPEED by now

Five movies (out of six) whose songs were discussed on that date have since been YIPPEED. That leaves us with just one movie that is not yet YIPPEED and so is eligible for blog ten year chllenge today (20 March 2022).

That movie is “Bhai Sahab”(1954). It was directed by Ravindra Dave for Pancholi Productions, Bombay. The movie had C.H.Atma, Purnima, Smriti Bishwas, Ratan Kumar, Jagdeep etc in it.

The movie had ten songs in it. seven songs have been covered in the past.

Here is the eighth song from “Bhai Sahab”(1954) to appear in the blog. The song is sung by C H Atma. Shailendra is the lyricist. Music is composed by Ninu Majumdar.

Only the audio of the song is available. It is clear that the song was picturised on C H atma himself who was a die hard K L Saigal follower and this movie was his attempt to keep making movies in K L Saigal style. Hindi movies by that time had moved on from Saigal era. It was the last such movie with K l Saigal style songs.

Lyrics of this song were sent to me by Prakashchandra.


Song-Duniya tere rang niraale (Bhai Sahab)(1954) Singer-C H Atma, Lyrics-Shailendra, MD-Ninu Majumdar

Lyrics(Provided by Prakashchandra)

tere rang niraaley
duniyaa..aa tere rang niraaley
apni buraayee dekh sakey na aa aa
apni buraayee dekh sakey naa
auron ke dosh nikaaley
duniyaa aa tere rang niraaley

hamrey sukh mein aen sog manaayein aen aen aen
hamrey sukh mein aen sog manaayein
dukh mein dekhey tamaashaa aa aayye
dukh mein dekhey tamaashaa aa aan..aa
aastheen mein chhupke baithhey
dasney waaley ???
dasney waaley ??
duniyaa..aa tere rang niraaley
duniyaa..aa tere rang niraaley

mann mein aag nain mein aansoon
phir bhi hansnaa howey aey ae aey
phir bhi hansnaa howey ae
raaton ke sooney aanchal mein
premee kaa mann rowey
taaron kaa dil baithhaa jaaye
taaron kaa dil baithhaa jaaye
aah bharey ae andhiyaarey
duniyaa aa tere rang niraaley
duniyaa aa tere rang niraaley


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 :

4972 Post No. : 16845

Today’s song is from the film Phir Milenge-1942.

The film was made by Minerva Movietone. In 1942, WWII was on its peak. Till that time, the Germans were on the attack, but from 1942 onwards, their decline had started and by 1945 end, both Japan and Germany had lost the war and surrendered to the Allies. However, the damage caused by the war situation continued for a few more years and like all other industries the film industry too took time to normalise its set up.

The war affected the film industry mainly in 3 ways. Firstly, the essential commodities like Petrol, Sugar etc went into shortage and the Government put several items under ” Rationing”. The list also included a shortage of Raw Film, the main requirement for making movies. Many restrictions like the length of the film etc were implemented. To rationalise and to take advantage of the powerful media like films, the Government gave additional raw film to producers on ‘ controlled rates ‘, provided they made a film with a story of helping the government war efforts. It was called a “propaganda” film.

Major film producers make a film or two such films to take advantage of the concession and allotment. During this period many such ‘ War effort’ films were made. Some examples are, Master Vinayak made ” Badi Maa”-1945 with Nurjahan and others ( including Lata and Asha). Acharya Atre’s Navyug films made the film ” Panna”-1944 with Jairaj and Geeta Nizami and film ” Phir Milenge”-1942 was made by Minerva Movietone.

The second impact of War, on the Indian Film Industry was that considerable clandestine Black Money entered the film making and many new, so called ‘Producers’, with bags of money were seen making films. Although more money became available to make more films, the directors had to entertain the whims of the producers about selection of actors or changes in the story. Many such producers started to ‘Direct’ the films. This lowered the quality of films, but brought in many new artistes and provided work to more people.

The third effect of the War was the most damaging. Since the new producers and directors did not have their own studios, they started alluring the studio employed artistes by giving more money per film. They hired studios for shooting films. This devastated the ” Studio Culture”, because artistes started “Freelancing”, without getting attached to a studio. This crumbled the studios on one hand and on the other hand the cost of engaging artistes escalated many folds. Before the war, films could be made in 75000 to 1 lakh rupees, now films needed 1 to 2 lakhs to make one film. It went on increasing and today, making a film in the 2020’s decade one needs atleast 40 to 50 crores per film.

Film Phir Milenge-42 had Sardar Akhtar, Sadiq Ali (later on called The Prince of Minerva), Meena, K N Singh, Menaka and a host of others. The film was directed by Sohrab Modi.

Sohrab Modi’s rise from a Stage Actor to a very popular and successful studio owner, actor-famous for his Dialogue Delivery of very long sentences, producer and director is very interesting. With small successes and big failures, he learned the art of giving what the audience liked in those days. However, one drawback of such people is that they can not and do not change as per the need of the times and become obsolete, ending their careers pathetically.

Famous for making large scale films, powerful dialogues and films with a lot of dramatics, Modi could not cope up with the changing tastes of the audience from the 30’s to the 60’s. The audience changed with 2 generations, but Sohrab Modi’s Minerva Movietone could not change their success formula which was not working now unlike earlier times ! May be he never wanted to change-due to self admiration or king size Ego !!

Minerva was the last big studio and film maker in the list of eminent studios established in the 30’s. When Minerva Movietone was established in 1936, there were already studios like Madon Theatres (est.1919), Imperial (1926), Ranjit Studio (1929), Prabhat (1929), Sagar Movietone (1929), New Theatres (1931), Wadia movietone (1931) and Bombay Talkies(1933). Therefore Minerva was the youngest studio. It is to its credit that it survived with dignity for a longer time-and actively too- than its predecessors and competitors, who perished, some tragically, from 1938 (Madon) to Ranjit (1963).

Sohrab Modi was a colossal personality. leela Chitnis,actress who had the experience in working for films made in different centers like Bombay, Poona, Kolhapur, madras, Calcutta,and Lahore writes in her Marathi autobiography ” चंदेरी दुनियेत “, about all major studios. About Minerva, she writes -“The atmosphere in Minerva was very playful, but once Sohrab Modi entered the premises, everyone used to be quiet and only did his work. He was a taskmaster and a great disciplinarian. he did not like people laughing or whiling their work time. it felt like a Jailor taking rounds in the jail. The atmosphere became suffocating sometimes. ”

I liked him and his films. However I always felt that Sohrab Modi was a polished, educated and a white collared version of Dara Singh. I liked his dialogue delivery style. Later I shifted my liking to Raajkumar ‘Jaani’.

In the cast we see a new name Eruch Tarapore. I was keen to know about this actor because of his strange name. It was a typical Parsee name. I searched quite a lot. Ultimately one day I accidentally came across a site about Parsee artistes. I forgot to note down the name and URL address of that site and till today I did not find it ever again. Anyway I found this information about Eruch Tarapore on this site.

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.

Today’s song is sung by Sardar Akhtar and chorus. The song was written by Pt. Sudarshan.


Song- Sipaahi toone jeet liya maidaan (Phir Milenge)(1942) Singer- Sardar Akhtar, Lyricist- Pt. Sudarshan, MD- Meer Saheb
Unknown male voice
Chorus

Lyrics

Sipaahi toone jeet liya maidaan
Sipaahi toone jeet liya maidaan
ladta chal tu
badhta chal tu
ladta chal tu
badhta chal tu
saath tere Bhagwaan
saath tere Bhagwaan
sipaahi toone
sipaahi toone
sipaahi toone

jeet liya maidaan
sipaahi toone jeet liya maidaan

?? bahaadur hai tu
?? bahaadur hai tu
ek ladaai jeet gaya
ek ladaai jeet gaya
jo kaala din aaya thha wo
jo kaala din aaya thha wo
hanste hanste beet gaya aa
hanste hanste beet gaya
dekh dekh kar himmat teri
dekh dekh kar himmat teri
duniya hai hairaan
duniya hai hairaan
sipaahi toone jeet liya maidaan
sipaahi toone jeet liya maidaan

kal wo din thha jab duniya ne
kal wo din thha jab duniya ne
dekhta thha laachaar tujhe
dekhta thha laachaar tujhe
aaj ladaai toone jeeti
aaj ladaai toone jeeti
aaj ?? hathiyaar tujhe
aaj ?? hathiyaar tujhe
kal duniya jai jai bolegi
kal duniya jai jai bolegi
hain sabhi ek zabaan
hain sabhi ek zabaan
sipaahi toone jeet liya maidaan
sipaahi toone jeet liya maidaan
sipaahi toone jeet liya maidaan



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 :

4961 Post No. : 16830

Today’s song is a comedy song from the film Arabian Nights-1946.

Can there be a child who has not read the story of Alibaba or Alladin or Sindbad the sailor ? All of us have read these stories in our younger days,but not many know that these stories are from ‘Arabian Nights’ or ‘The 1001 Nights’.

These are collections of stories from West and south Asia. The history of this book is very complex.Suffice to say that it is a composite work and that the earliest tales came from India and Persia. Perhaps in the 8th century,these were translated into Arabic and authors from every generation went on adding stories to it.However,the basic Frame story remains the same for centuries.

King Shahriyar of Persia is shocked to discover that not only his brother’s wife but his own wife is not faithful to them.He has both women executed.Having lost faith in women,he orders his Vazir to bring one Virgin everyday to him,for marriage.The next morning,she gets executed,to prevent her from being unfaithful. At one point of time,the Vazir exhausts his supply and he is to be executed the next day.His daughter Sheherzad asks her father to marry her to the King.Her pleading forces him to offer her to the king and they are married.On the first night of Marriage,Sheherzad starts telling a story to the king for whole night,but does not complete it.The story is so interesting that the King postpones her execution.

Second night she continues and the whole night the story remains incomplete….this way she tells him 1001 stories in 1001 nights.Finally a happy King pardons her. These are collectively called “The Arabian Night Stories. Many sources like Sanskrit, Persian, Arabic etc claim to be its root. However Historians’ consensus is that it is a composite work of many authors. Many stories from this book have been made into films in Hollywood and Bollywood.

A cursory look at the Film Title Index-1913 to 2012 by Hamraz ji tells us that the most popular stories are on Allauddin, Alibaba and Sinbad as well as Gul E Bakavli, besides films on other not so well known characters. In the Silent film era, films on Alibaba were made in 1927 (2films), Allauddin in 1927 (2), 1928,1931 Sindbad in 1930(2) and Arabian Nights-1930. During the Talkie films, the first film on Alibaba was in 1932, then in 40,46,54(2),66,76,77,80 and 2004. On Aladdin in 35, 36, 39,41, 49,52 (2), 55, 57,58,66,78, 82(2). On Sindbad in 46(2),52(2),58,65 and 2000.

As always, the creative heads in the story departments of filmmakers invented titles like Alladin ka Beta, Alladin ki Beti, Alladin and Laila. Similarly son and daughter were gifted to Alibaba and Sinbad and films made on them. The funniest title was Sindbad, Alibaba and Allauddin-1965 !

On a quick checking of HFGK entries for the 40’s decade we find that as many as 9 films were made in 1946 alone on these characters. Added were Baghdad ka chor, Hoor E Baghdad Sher E baghdad Arab ka chand and Shah E Misr-in which actor Ajit debuted with his real name Hamid.

Film Arabian Night-46 was made by P R Productions , Bombay, in Calcutta. In those days, many films were made by Bombay Producers in Calcutta with Bangla Artistes. Examples are films Krishnleela-46(producer laxmidas Anand from Bombay), Arabian Nights-46 and Chandrashekhar-48 (Ashok kumar was specially brought from Bombay to act opposite Kanan Devi). Speciality of these films was that Bombay banners preferred Kanan devi as Heroine and Kamal Dasgupta as MD for their films.

Film Arabian Nights-46 was directed by Niren Lahiri. kamal Dasgupta gave music to songs written by Faiyyaz Hashmi-the popular lyricist who could write songs in pure Hindi also. His name is known to NFS loving music lovers all over India. he wrote beautiful Lyrics for NFS sung by Talat Mahmood, Hemant kumar, Jagmohan, Juthika Roy, Pankaj Mullik and others.

Fayyaz was born on 18-6- 1920 at Calcutta. His father, Syed Muhammad Hussain Hashmi Dilgeer was a very famous poet and writer of stage drama. He was director at the top class theater of that time named “ MADAN THEATER LTD.” He knew 8 languages.

Senior lyricist, Faiyyaz Hashmi, passed away in Karachi on Nov 29 th 2011. He shot to fame after penning lyrics for such non-film songs as ;Ye Raatein Ye Mausam; (Pankaj Mullick), ;Tasveer Teri Dil Mera; (Talat Mehmood), ;Dil Ko Hai Tum Se Pyar Kyun; (Jagmohan), ;Bhala Tha Kitna Apna Bachpan; (Hemant Kumar), and so many more rendered by the likes of Juthika Roy and Feroza Begum.

Mr. Fayyaz Hashmi is a legendary song and dialogue writer and above all a true loving person. He is by himself an institution and a common asset of the Indo-Pakistan film-world. His admirers as ever are not confined in national frontiers. Those fond of Hindi / Urdu songs anywhere in the world have affection for him. The emergence of this bright star was evidenced much before independence of India, when Fayyaz Hashmi, still a teenager wrote the most famous song “Tasveer Teri Dil Mera Behla Na Sakhe Gi”. It was recorded in the voice of Talat Mehmood and music was composed by Kamal Das Gupta. This song brought “Talat” to limelight. Music for most of the Fayyaz Hashmi’s songs recorded at Calcutta was composed by Kamal Das Gupta.

The dynamic achievements of young Fayyaz Hashmi and his clarity of expression by using simple words were greatly appreciated by Qazi Nazrul Islam -“Tum mann main doob kar mann ka bhed nikaltey ho. Aasan shubdoon mein mushkil baat kehna buhut mushkil hay”. His unique combination of Urdu, Hindi and Sanskrit words to produce a harmonious song thus became a guideline for the future poets of geets. The transformation of some traditional Bangla songs was also facilitated. He has also written songs in Brij Bhasa and Purbi. His pre-independence songs total to about 1000.

Fayyaz Hashmi wrote his first verse “Chaman main Ghuncha-o-gul ka tabassum dekhne walo – Kabhi tum ne haseen kalyoon ka murjhana bhi dekha hai” when he was in 7th class. As a student of 9th class, he was participating in regular “mushairas”. He got an assignment in the British owned Gramophone Company at DumDum (now called Jessore Road, Kolkotta) India. He served there during 1943 to 1948 period. At that time the average monthly production of record was only 16. Once all the records (16) issued in a month were written by Mr. Fayyaz Hashmi- a record by itself. Some of the evergreen hit songs of Mr. Fayyaz Hashmi are quoted here:

1- Honton se gulfishan hain who – Aankhoon se ashkbar hum Talat Mahmood
2- Do Kafir Aankhoon ne mara Talat Mahmood
3- Dil ko hai tum se pyar kyoon Jag Mohan
4- Aaj use phir dekha hai Jag Mohan
5- Bhala tha kitna apna bachpan Hemant Kumar
6- Yeh Raaten yeh mausam yeh hansa hansana Pankhaj Mallick
(Also re-sung by Lata Mangeshkar as a tribute to the legendary Pankhaj Mallick)
7- Tasveer teri dil mera behla na sake gi Talat Mehmood
8- Ab yad hamein kyoon aati ho Hemant Kumar
9- Kitna dukh bhulaya tum ne Hemant Kumar
10-Maloom hay mujhko – ban Jao gi tum ek din taqdeer hamari Jag Mohan.

While in India, he wrote 48 songs in 9 Hindi films, namely-Subah Shyam-44, Meghdoot-45, Zameen Aasmaan-46, Pehchan-46, Krishna Leela-46, Arabian Nights-46, Giribala-47, Faisla-47 and Iran ki ek raat-49

He chose to migrate to Pakistan after the Partition.

In 1948, he was posted as recording Manager at Dhaka Center of the Gramophone Company and thereafter in 1951 at Lahore. He promoted many talents like Farida Khanum, Saeen Marna, Saeen Akhtar and Saeen Budha. He diverted towards the writing of film songs in 1956. “Kunwari Bewa” was the first film in Pakistan with his songs. He wrote more than 2000 songs for films and Gramophone Recording Company. He had also written stories, dialogues and scripts of many hit films like AULAD, ZAMAN KIYA KAHE GA, NEHLEY PE DEHLA, INTEKHAB, PEHCHAN, KHUDA AUR MUHABBAT, GHAREEBON KA BADSHAH etc. including “ HUM AIK HAIN” which was also directed by him. It was the first Pakistani film with 5 songs filmed in colour and as such a record in Pakistan film industry.

Every film, songs of which were written by Mr. Fayyaz Hashmi became super hit like SAHELI, AULAD, ASHIANA, SUHAGAN, HONAHAR, PEGHAM, SARTAJ, SHAREEK-E-HAYAT, EID MUBARAK, SHABNAM, LOVE IN JUNGLE, TOBA, SAWAL, LAKHOON MAIN AIK, DEWAR BHABI etc.

He received Graduate Award 3 times and also Nigar award for the best song in 1978 on “Chalo Achha Hua Tum Bhool Gaye” film “Lakhoon Main Aik”. He received International award in 1986 and another Nigar award in 1988 for the best dialogue of film “ Ghareebon Ka Badshah”. In addition to these he recounts about 11 Silver Jubilee Awards and 17 Golden Jubilee**. “Deewane Tere Pyar ke” is the latest film all songs of which have been written Fayyaz Hashmi.

The first compilation of his poetry was published as “ RAG RANG” in 1944 in India. His poems were published in various journals and magazines like Adbi Duniya, Adbe Lateef, Alamgeer, Beesveen Sadi, Shama (Delhi), Chitrali (Dhaka), Nigar (Karachi), Amar Jadeed and Amrit Bazar Patrika (Calcutta, India). He wrote many Naats and Qawwalis. He also wrote many National songs like (Ae Quiad-e-Azam tera ehsan hai ehsan” & “ Suraj Kare Salam – Chanda kare Salam”.

On the publication of his mystic verses, Mr. Raees Amrohi commented that “History of Sufi poets is indicative of a glorious future for them and Mr. Fayyaz.

(Based primarily on the article by Nadeemur Rehman, courtesy shri Rajnikumar Pandya ji and my own notes. ).

The cast of the film Arabian Nights-46 was Kanan Devi, Nawab, Robin Mujumdar, Debi Mukherjee, Molina Devi, Heeralal and Sunder. Today’s song is sung by actor Sunder Singh. Most readers will know Sunder only as a comedian. But he was a Hero in his early career and sang songs in films. Let us now enjoy his funny song.


Song- Zindagi kya ek gadbad hai (Arabian Nights)(1946) Singer- Sunder Singh, Lyricist- Faiyaz Hashmi, MD- Kamal Dasgupta

Lyrics

Zindagi kya
zindagi kya ek gadbad hai ree
gadbad hai
dil yahaa ka
dil yahaan ka
sab sadbad hai ree
gadbad hai

hai khilaadi duniyaa saari
duniyaa saari ee ee
hai khilaadi duniyaa saari
duniyaa saari ree ee
zindagi kya
zindagi kya ik gadbad hai ree
gadbad hai

husn pe duniya bhar ki nazar hai
yahaan pe aashaq ghanchakkar hai
ye maston ke baap ka ghar hai
baap ka ghar hai
aji ye maston ke baap ka ghar hai
baap ka ghar hai

sab hain rote
ham hain hanste
jeet hamaaree ree
sab hain rote
ham hain hanste
jeet hamaaree ree ee
zindagi kya
zindagi kya ik gadbad hai ree
gadbad hai

is daulat mein phanske marte
marte

kuchh hai fanda
sabke marte
marte
hansne waale hanske marte
marte marte
hansne waale hanske marte
marte marte
hansi khushi ki
saari daulat
ham par waarenge ae ae
hansi khushi ki
saari daulat
ham par waarenge ae ae
zindagi kya
zindagi kya ik gadbad hai ree
garbad hai
khel yahaan ka
hel yahaan ka
sab sadbad hai ree
gadbad hai


This article is written by Avinash Scrapwala, 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 :

4936 Post No. : 16784

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 11
————————————————————————————–

Today’s song is from the ‘1979’ movie ‘Khaandaan’.
One song from this movie was represented on the blog ten years back today i.e. on 22.01.2012.

There were five song-posts on the blog on this day ten years ago on 22.01.2012. They are as listed below.

Song Movie title(Year) Remarks
Kise maaloom thha ik din muhabbat bezubaan hogi Saaqi(1952) All songs covered
Aaj ki raat bhaag more jaage Ratna Deep(1952) 6 of 8 songs posted
Tere paas aake mera waqt guzar jaataa hai Neelaa Aakaash(1965) All songs covered
Apne andar zaraa jhaank mere watan Nayaa Raastaa(1970) All songs covered
Ye mulaaqaat ik bahaana hai Khaandaan-1979 2+1 of 6 songs covered

Three movies out of five have already been ‘Yippeeee’ed’ or all of their songs have been posted on the blog.

That give us two movies viz. ‘Ratnadeep-1952’ and ‘Khaandaan-1979’ from which we can discuss a song under the ‘blog ten-year challenge’ today.

I am presenting a song from the movie ‘Khaandaan-1979’

Here is a brief about this movie which I had shared while presenting a song from this movie earlier.

‘Khaandaan-1979’ (that is how HFGK spelled has spelled it) was produced by Sibte Hasan Rizvi for ‘New World Enterprises’, Bombay.
It was directed by Anil Ganguly. It had Jeetendra, Sulakshana Pandit, Bindu, Sujit Kumar, Nirupa Roy, A.K. Hangal, Dina Pathak, Jairaj, Jankidas, Rakesh Roshan and Bindiya Goswami in Guest appearance, Dinesh Hingoo, Raj Kishore, Pinchu Kapoor, Rajan Haksar, Birbal, Dhumal, Mohan Choti, Amal Sen, Roshni, Brijendra Mohan (Maujiram), Maya Devi, Maqbool.

Story and Dialogues of this film was written by Omar Khayyam Saharanpuri, and its Screenplay was written by Nubendu Ghosh. Lyrics for this film were penned by Naqsh Lyallpuri and music was composed by Khayyam Saab.

As per HFGK this film had a total of Six songs. One of these songs, viz. ‘maana teri nazar mein’ was recorded for this film but was excluded from this film.
This song was later included in the 1981 film ‘Ahistaa-Ahistaa’. LP records for both the movies ‘Khaandaan-1979’ and ‘Ahistaa-Ahistaa-1981’ has this song ‘mana teri nazar mein…’ included in them.
All the six songs of “Khaandaan” (1979) are solo songs. Two songs each are sung by Kishore Kumar and Sulakshana Pandit, and one each by Lata Mangeshkar and Nitin Mukesh.

Following is the list of songs of this movie.

SNo Song Title Singer/s Posted On
01 Yaaron aao khushi manaao Kishore Kumar 08.11.2015
02 Basti ke logon mein huye badnaam Kishore Kumar
03 Main naa bataaungi Sulakshana Pandit
04 Matlab ka hai pyaar, logon matlab ke hai rishte naate Nitin Mukesh
05 Ye mulaaqaat ik bahaanaa hai Lata Mangeshkar 22.01.2012
06 Maanaa teri nazar mein tera pyaar ham nahin Sulakshana Pandit 09.07.2012*

*(covered in the movie Ahistaa-Ahistaa-1981

From the above list two songs have already been posted on the blog before the today’s song. And with the one song covered in the movie “Ahistaa-Ahistaa” we have three songs from this movie covered on the blog earlier.

Today’s song is the fourth song from this movie to appear on the blog. Today’s song is sung by Sulakshana Pandit. It is picturised on Sulakshana Pandit herself. Jeetendra is also present in the picturisation of this song.

Lyrics for today’s song have been sent by Prakashchandra.

Let us now listen to today’s song …

Video

Song-Main na bataaungi sabse chhupaaungi (Khaandaan)(1979) Singer-Sulakshana Pandit, Lyrics-Naqsh Llayalpuri, MD-Khayyam

Lyrics (Provided by Prakashchandra)

aasmaan nikhraa huaa kyun hai?
hawaayein kyun jhoomthi hai?
lehren baar baar kinaare ko
(Lauging sound)
kyun chhoomti hain

main na bataaungi ee
sabse chhupaaungi ee
main na bataaungi
khuley khuley baalon mein hanstaa hai saawan
dekh mujhe jhoom gayaa nadiyaa ka darpan
raaz kyaa hai
baat kyaa hai
poochhe koyi
main na bataaungi ee
sabse chhupaaungi ee
main na bataaungi/em>

neel gagan ke mehke saaye ae
neel gagan ke mehke saaye ae ae
rut albeli naache gaaye ae
rut albeli naache gaaye ae
aaj hanse kaliyaan kyun meethhi hansi
main na bataaungi ee
sabse chhupaaungi ee
main na bataaungi

dhal dhal jaaye moraa aanchal
dhal dhal jaaye moraa aanchal
aaj na thhehre pag mein paayal
aaj na thhehre pag mein paayal
kaahe meri chaal mein hai masti nayee
main na bataaungi ee
sabse chhupaaungi ee
main na bataaungi
khuley khuley baalon mein hanstaa hai saawan
dekh mujhe jhoom gayaa nadiyaa ka darpan
raaz kyaa hai
baat kyaa hai
poochhe koyi
main na bataaungi ee
sabse chhupaaungi ee
main na bataaungi


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 THIRTEEN years. This blog has over 16900 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16949

Number of movies covered in the blog

Movies with all their songs covered =1313
Total Number of movies covered=4587

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