Advertisements

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 : 4107 Post No. : 15258

“Gunjan” (1948) was a Nalini Production movie. It was directed by V Desai. The movie had Trilok Kapoor, Nalini Jaiwant, David Abraham, Pande, Balraj Sahni, Veena Kumari, Purnima, Narmada Shanker etc in it.

The movie had nine songs in it. hree of these songs have been covered.

Here is the fourth song from “Gunjan” (1948) to appear in the blog. This song is sung by Nalini Jaiwant. S R Saaz is the lyricist. Music is composed by Ashok Ghosh.

Only the audio of the song is available. It is clear that the song was picturised on Nalini Jaiwant herself who was not only the leading lady of the movie but also the producer of the movie. Nalini Jaiwant is considered an occasional singer but she has sung this song like an accomplished singer. This song is arguably the best of all the Nalini Jaiwant songs that she has sung in HFM.


Song-Jal barsaaye nainwa man mein kaisi aag lagi(Gunjan)(1948) Singer-Nalini Jaiwant, Lyrics-S R Saaz, MD-Ashok Ghosh

Lyrics

aa
jal barsaaye nainwa
man mein kaisi aag lagi
man mein kaisi aag lagi
man mein kaisi aag lagi
kyun aa gayi jawaani mujhpar
liye dukhon ka haar aar
gaya kahaan wo bhola bachpan
kit gayen laado pyaar
uljhan mein hai jaan phansi
phir ye kaisi aag lagi
man mein kaisi aag lagi
man mein kaisi aag lagi

aa aa
main samjhi thhi prem kali se
mahak uthhegi kyaari
jaane ekaaek hua kya
kali bani chigaari
hey
ghar ke deepak se ghar jalta hai
dhuaan nikal na paaye
ae
ghut ghut kar marti abla sa
nikle na munh se haay
uljhan mein hai jaan phansi
phir ye kaisi aag lagi
man mein kaisi aag lagi
man mein kaisi aag lagi ee
man mein kaisi aag lagi

Advertisements

This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in 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 :

4102 Post No. : 15252 Movie Count :

4190

The Dadasaheb Phalke Award is India’s highest award in cinema. It is presented annually at the National Film Awards ceremony by the Directorate of Film Festivals, an organisation set up by the Ministry of Information and Broadcasting. The recipient is honoured for their “outstanding contribution to the growth and development of Indian cinema” and is selected by a committee consisting of eminent personalities from the Indian film industry. The award comprises a Swarna Kamal (Golden Lotus) medallion, a shawl, and a cash prize of ?1,000,000 (US$14,000). Presented first in 1969, the award was introduced by the Government of India to commemorate Dadasaheb Phalke’s contribution to Indian cinema. Phalke (1870–1944), who is popularly known as and often regarded as “the father of Indian cinema”, was an Indian filmmaker who directed India’s first full-length feature film, Raja Harishchandra.

The first recipient of the award was actress Devika Rani, who was honoured at the 17th National Film Awards held in 1969. As of 2017, there have been 49 awardees. Among those, actor Prithviraj Kapoor (1971) and actor Vinod Khanna (2017) are the only posthumous recipients. Raj Kapoor accepted the award on behalf of his father Prithviraj Kapoor at the 19th National Film Awards in 1971 and was himself a recipient in 1987 at the 35th National Film Awards ceremony. Bommireddy Narasimha Reddy (1974) and Bommireddy Nagi Reddy (1986); Raj Kapoor (1987) and Shashi Kapoor (2014); Lata Mangeshkar (1989) and Asha Bhosle (2000) along with B. R. Chopra (1998) and Yash Chopra (2001) are the siblings who have won the award.

Note:- all of the above information I have extracted from Wikipedia and apologize for any wrong information therein.

October 11th 1942 was the date when Teji Bachchan- wife of Shri. Harivansh Rai Bachchan gave India the Shahenshah of Bollywood. He goes by the name Shri. Amitabh Bachchan. Anyone who has even the faintest knowledge about Indian movies -anywhere in the world- would have heard about this actor. He may have not been India’s first mega-superstar, that title will always be associated with Rajesh Khanna. The reason I have used the term Mega-Superstar for Rajesh Khanna is because Dilip Kumar- Dev Anand-Raj Kapoor were equally big stars of their generation and the trio were inspiration for the next set of actors like Manoj Kumar, Dharmendra, Rajendra Kumar, Rajesh Khanna, Jeetendra, Amitabh Bachchan etc. The popularity and fan-following that Rajesh Khanna achieved was much more than what the trio of the 50s and 60s may have experienced collectively. Amitabh Bachchan had a long journey to reach the level of popularity that was Rajesh Khanna’s; but even at the height of his superstardom one has never heard of girls writing letters to Amitabh with blood, or throwing themselves at his car or trying to commit suicide at the news of his marriage to Jaya Bhaduri etc.

What Amitabh experienced was a different kind of affection from his fans. There were people who prayed for his life in 1982 when he had an accident during the shoot of “Coolie”. There are accounts of people walking barefoot from far-flung places to the hospital where AB was admitted and battling for life after the accident; people offering prayers at various places of worship cutting across religious differences. AB has always thanked his fans for all the love they showered on him during that period. In fact, he always greets them on Sunday evenings (whenever he is in Mumbai i.e.) for which there is a huge crowd of fans waiting outside his Mumbai residence.

He may have been dubbed the angry-young-man in the early phase of his career but he was equally adept at emotional, romantic or comic roles. “Mahaan” (1983) had him in three roles where we had him as an emotional father/ husband, serious-faced inspector and comic stage artist. The turn of the century saw him change his style and take on a variety of roles and characters- strict father who will not accept his son marrying against his wishes (Kabhi Khushi Kabhi Gham), strict principal who wanted all his students to adhere to the ‘parampara’ ‘pratishtha’ etc laid down by the college (Mohabbatein), friendly-indulgent father to Akshay Kumar (“Ek Rishtaa: the bond of love” and “Waqt: the race against time”) etc. etc. etc. We saw him as a rustic near-bumbling cop in “Bunty Aur Babli”; aging teacher of a deaf-blind girl in “Black”; these successful experiments have seen him through 50 years in an industry which has many talented actors but no one has been given epithets like “Shahenshah of Bollywood”, “Big B” or “Star Of The Millennium”. He continues his reign over the hearts of his fans in spite of the next generation and the one after it giving movies that gross over 100 crores per film. He still gets author backed roles that befit his age and many-a-times is the central character of the story as in “Baghban” and “Baabul”. His detractors may feel that he is the most off-key (besura) singer (and I believe he agrees that he is mostly off-key) but the songs that he has sung (from the first full song “mere pass aao mere doston”) have been well received by his die-hard fans-yours truly included. 🙂

Coming back to the opening para of this post- here is the connection- Amitabh Bachchan is the recipient of this prestigious award for this year. He joins an august list of personalities who have had a major influence on the Indian film industry beginning from Devika Rani who is acknowledged as the first lady of Indian cinema.

This is the latest feather in AB’s cap in addition to the Padma awards – Padma Shri, Padma Bhushan and Padma Vibhushan; 4 National Awards for best actor and 15 Filmfare awards and numerous other awards from various national and international organisations.

Today he turns 77 and I am confused as to which is an appropriate song that should go with this post- I have a big collection to choose from- the blog has about 20 songs which have had Amitabh Bachchan in the recording room as a singer or uttering a few words with the main singer.

Today’s song is from the BR films produced 2006 release “Baabul”. It had AB play an indulgent and friendly father to Salman Khan and a loving father-in-law to Rani Mukherjee. The movie had a simple story of the loving father-in-law, fighting the opposition from his own wife and other family members, against his decision of getting his son’s widow remarried. The song comes at the fag end of the movie. It was on my list of songs under consideration for this post. What clinched the matter in its favour is that the song has two versions to it. The version in the movie is in the voice of Amitabh Bachchan and the album version is in Jagjit Singh’s voice. And only this morning I saw a message on our WhatsApp group that yesterday was Jagjit Singh’s anniversary.

So, we wish our Big B a long and healthy life and lots more years of entertaining us along with remembering Jagjit Singh and his smooth voice.

Video (Amitabh Bachchan voice)

Audio

Song-Kehta hai baabul o meri bitiya (Baabul)(2006) Singer-Amitabh Bachchan/ Jagjit Singh, Lyrics-Sameer, MD-Aadesh Srivastava

Lyrics

kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
daakiya koyi jab aayega
tujhko churaa ke le jaayega
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
katega kaise lamha tere bina bata aa aa
jiyuga kaise tanha tere bina bata

tu suhaagan rahe sang saajan rahe raat din
iss khushi ke liye har sitam main uthha loonga aa
tere jaane kaa gham mujhko hoga magar laadli
leke iss dard ko main sada muskuraaoonga
baabul toh dil se de raha duaa yahi
khushi ke saaye mein ho zindagi teri
baabul toh dil se de raha duaa yahi ee
khushi ke saaye mein ho zindagi teri

waqt ke saath zakhm yeh bhar jayega
pal guzar jayega tu meri baat maan le ae
yaadon ke aasre umr kat’ti nahin
hai haqeeqat yahi abb too jaan le ae ae
samundaron ka paani koyi naa pi saka
akela khaara jeevan koyi naa jee saka aa
samundaron ka paani koyi naa pi saka
akela khaara jeevan koyi naa jee saka

kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
daakiya koyi jab aayega
tujh ko churaa ke le jaayega
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata


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 :

4091 Post No. : 15233 Movie Count :

4186

Today’s song is from the film Vijay-42 – a very obscure film. The film was made by National studios. It was directed by Mohan Sinha. Lyrics of all the 10 songs of the film were by Dr. Safdar Aah Sitapuri, which were composed by Anil Biswas.

Due to heavy losses and the general effects of the second world war, Sagar Movietone was in the red and it joined hands with Yusuf Fazal Bhoy (of RCA)’s company General Films to start a new venture ” National Studios “, in which even Tatas invested some money. National studios made a total of 16 films, before it was wound up. Chimanlal Desai of Sagar left after the first 3 films,namely Aurat, Pooja and Sanskar – all in 1940, and started his own Amar pictures.

The cast of film Vijay was Durga Khote, Harish, Husn Bano, Sankatha Prasad, Vaskar, Maya Devi, Ansari, Agha etc etc.

In our life, there are times when we think of ” Lucky and Unlucky”. Human nature, in general is such that it tends to consider certain things as Lucky for him. It can be people, place or even inanimate things. I have noticed that mostly those people whose livelihood revolves round their physical performance, say like Sports, Acting or other artists believe in Lucky-Unlucky most. There was that famous Cricketer who always entered the playing field with his right foot first. Another one put on his left shoe first. Everybody’s method of wooing the Luck factor is different.

A performance industry like Film Industry is not immune from this Lucky-Unlucky factor. Individual actors or MDs, Lead Pairs, Film Titles, Film stories etc have been labelled Unlucky unabashedly, by the industry. Let us see some examples…

Composer Daan Singh had 6 films in hand, but 4 remained incomplete and only 2 got released. Even his 2 Rajasthani films remained unfinished. He was promptly labelled Unlucky and had to go back to his native place. Kamal Rajasthani had the same story. Out of 9 films on hand, 7 were unfinished and only 2 C grade films were released. He too was called Unlucky.

Rajendra Kumar- Waheeda Rahman was an unlucky pair. Dalsukh Pancholi gave them lead roles in his film ‘Nirmala’. He died and the film was shelved half way. Film ‘Palki’-67 was under making, when its director S U Sunny died. The film was somehow competed but it flopped miserably. Then S S Vasan brought them together in film Shatranj-69. He died during the shootings and it was left incomplete. In film Dharti-70, this pair was in lead, but the director’s mother died on the sets and the film was left stranded. Is it a wonder, if the pair was called ‘Unlucky’ ?

Another Unlucky pair was Dev Anand- Meena Kumari. In film Sanam-51, Meena Kumatri was a side Heroine. From this film Dev-Suraiya pair separated for ever. Its director Nandlal Jaswantlal started his downfall and subsequently died later. The pair came again in films Tamasha and Baadbaan , made by the employees of Bombay Talkies. Both films flopped and Bombay Talkies closed down for ever. Another of their film “Kinare Kinare” was delayed for almost 10 years, finally releasing in 1963, but flopped to such an extent that its producer Nyay Sharma got heart attack due to high debts. No one dared to bring this pair again in any film !

Finally, the curious case of unlucky actor Gajanan Jagirdar. In 1941, Jagirdar worked in Prabhat’s film ” Padosi”. After this film , V. Shantaram and Jayashree left Prabhat. In 1944, Jagirdar directed and acted in and as “Ramshastri” for Prabhat. During the film shooting, Prabhat’s partner Vishnupant Damle expired and Prabhat became rudderless. Third time when Jagirdar went to Prabhat to act as and in ” Lokmanya Tilak”, Prabhat not only closed down but was also auctioned ! Jagirdar acted in film “Mahatma” in English, Hindi and Marathi in 1953 for Alhad Chitra’s Datta Dharmadhikari. Due to high debts, the company not only closed down, but the wife of Dharmadhikari had to cook and make Tiffins to survive ! Finally, when he acted in film ” Shahir Parshuram”-61, made by Mangal pictures, the company closed down and was sold out ! No wonder, in film circles, Jagirdar was typedcast as ” Unlucky ” !!

Why I remembered this Lucky-Unlucky matter was the title of today’s film – Vijay. The name Vijay has a special significance in film industry. When Amitabh Bachhan was going through a real bad patch in his career, he got the film “Zanjeer”-73, by chance and this film changed his life for ever and he never looked back. This hit film had Amitabh as Vijay in it as his name. Amitabh was so much enamoured with the name Vijay, that he started insisting that in every film his name should be Vijay – for luck. And sure enough, in films like Deewar, Hera Pheri, Trishul, Shahenshah, Agneepath (My name is Vijay Deenanath Chavan), Shaan, Shakti, Don, Dostana etc he was named Vijay and the films succeeded. Even in film Sholey, his name was Jay – a short form of Vijay, to pair with name Veeru !

According to one film site, Amitabh was named Vijay in as many as 20+ films from 1973 to 2000. Since finding name Vijay successful, many other actors too wanted this name and consequently, Jeetendra was Vijay in 18 films, Mithun Chakrawarty was Vijay in 16 films. Additionally Shashi Kapoor in 7, Shatrughna Sinha in 6, Raj Babbar in 6, Jacky Shroff in 5, Sunil Dutt in 4 films. Further Govinda, Rajesh khanna, Vinod Khanna etc also had Vijay name by choice in their films.

So much for the concept of Lucky – Unlucky !

Film Vijay-42 was directed by Mohan Sinha. Mohan Sinha was born on 2-12-1903 at Indore. He studied upto Matriculation in Indore. His uncle was General Bhavnani Singh, who was in the Indore state army. With his help, Mohan got in state army as a Lieutenant. However, he did not continue for long and left the army. In 1933, he started a film company at Indore-Navyug films. But due to lack of opportunities in Indore, it was closed soon.

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

In 1946, Mohan Sinha directed K L Saigal in Omar Khayyam, Surendra in 1857, Raj Kapoor in Dil ki Rani-47 and Dev Anand in Jeet-49. Mohan Sinha directed in all 32 films. He wrote lyrics for 62 songs in 7 films. His last film was Shaan E Hind-60. He died in 1984. Mohan Sinha’s granddaughter Vidya Sinha was an actress. Vidya’s mother was Mohan’s daughter and she died while giving birth to Vidya. From what I had read somewhere, Vidya’s father PRATAP RANA was so grief stricken that he refused to see his new born daughter and it was Mohan who brought her up and even named the little one after her Late mother VIDYA and gave her his own surname.

All the songs of film Vijay-42 were written by Dr.Safdar Aah Sitapuri. It was director Mehboob, who brought Safdar as a Lyricist for his film Aurat-40, made by National Studios. The composer was Anil Biswas. The pair of Anil Biswas and Safdar lasted for many films. In fact, Dr. Safdar wrote his last song for film Maan-54 for which Anil Biswas composed the music.

Dr. Safdar gave songs to many films of National Studios like, Asra, behan,Roshni, Roti, Vijay etc. His best known song was was the famous Mukesh song ‘ Dil jalta hai to jalne de” from Pehli Nazar-45. He wrote 197 songs for 28 films. He also tried his hand at directing 2 films, namely Bhookh-47 and Maan-54.

Today’s song is a very rare song. According to the uploader, our own Sadanand Kamath ji, it is probably the only song which used the word ” Dilchasp’ in the lyrics.

The song is very melodious and is a duet of Anil Biswas and Amar- an occasional singer. The real name of Amar was Nasir. He was from Punjab. He was born in 1920. After doing bit roles in some films,he got a major break in film Sanyasi-45,in which he sang 5 duets and 1 solo. His solo song,’ Tooti hui kashti’ became very popular.

In 1946,he was the Hero of film Bindiya, where Ragini ( who later migrated to Pakistan) was his Heroine. MD was Kamal Dasgupta, who gave him 3 songs.

Then he was Hero of Suraiya in Natak-47. He sang 1 duet with her and 2 solos. Later he did films like Maang, Lalaji, Vijay, Shukriya, Keemat etc. After 1950 he was doing character roles till 1970. He acted in total 89 films and sang 18 songs in 8 films. He died in 1980.

With this song, “Vijay”(1942) makes its debut in the blog.


Song- Haay dil haay dil (Vijay)(1942) Singers- Anil Biswas, Amar, Lyrics- Dr. Safdar Aah Sitapuri, MD- Anil Biswas
chorus

Lyrics

haay dil
haay dil
haay dil
haay dil

kaash khoya hua mera mil jaaye dil
kaash khoya hua mera mil jaaye dil
haay dil
haay dil
haay dil
haay dil

ye haseenon ka dilchasp baazaar hai
jisko dekho wo dil ka khareedaar hai
ye haseenon ka dilchasp baazaar hai
jisko dekho wo dil ka khareedaar hai
kaise bach kar yahaan se bhalaa jaaye dil
kaise bach kar yahaan se bhalaa jaaye dil
haay dil
haay dil
haay dil
haay dil

koi kahta hai dilwaale aana idhar
koi kahta hai dilwaale aana idhar
koi zaalim chalaata hai teer e nazar
koi zaalim chalaata hai teer e nazar

sa yahi chaahte hain ki mit jaaye dil
sab yahi chaahte hain ki mit jaaye dil
haay dil
haay dil
haay dil
haay dil

kaash khoya hua mera mil jaaye dil
kaash khoya hua mera mil jaaye dil
haay dil
haay dil
haay dil
haay dil


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 :

4087 Post No. : 15228

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 47
——————————————————————————————

When one discussed a movie of 1940s, one often assums by default that it must be a “boring” movie, one which may not hold the interest of later generation movie goers. And when one finds that this movie has Ashok Kumar and Leela Chitnis in lead roles, people who have seen them in character roles may consider dropping the idea of watching the movie.

But what if I tell you that this movie from 1941 is a laugh riot ? And that this movie was the original inspiration of “Padosan”(1968) ? I am sure that people will suddenly get interested in knowing more about this movie.

“Jhoola”(1941) was directed by Gyan Mukherji for Bombay Talkies, Bombay. This movie, a “social” movie had Leela Chitnis, Ahok Kumar, Shah Nawaz, V H Desai, Mumtaz Ali, Karuna Devi, Shahzadi, Rajkumari Shukla, Meenu Cooper, M A Aziz, Kaazi, Master Laxman, Leeladhar Sharma, Iqbal Bai, B M Dixit, Jyoti, Dulaari, Nana Palsikar etc in it.

The movie had eleven songs in it. Five of these songs have been covered in the past. This movie has a song that goes Ek chatur naar karkar singaar . Yes, I mentioned that this movie is the original source for “Padosan”(1968) and this song is the inspiration of that famous “Padosan”(1968) Kishore Kumar Manna dey laugh riot.

If “Padosan”(1968) had Mehmood then “Jhoola”(1941) had his father Mumtaz Ali lip syncing the wonderful stage dance song Main to Dilli se dulhan laayaa re.

“Jhoola”(1941) had made its debut in the blog on 26 september 2009, viz exactly ten years ago, with the evergreen song Chali re chali re meri naao chali re .

This day that year ten years ago, the blog was at its usual prolific best. Six songs from six different movies were covered in the blog on that day. Five out of six of those movies have already been covered in the blog. “Jhoola”(1941) remains the only un YIPPEED movie from that day.

Here are the details of the songs that were discussed on 26 september 2009:

Song Movie title-Year Remarks
Tera mujhse hai pahle ka naata koi Aa Gale Lag Jaa-1973 All Songs covered in the blog
Har aas ashqbaar hai Kinaare Kinaare-1963 All Songs covered in the blog
Dekha naa jaaye socha naa jaaye Mr India-1961 All Songs covered in the blog
Kahaan chhod ke chalaa hai tu Anjaan-1956 All Songs covered in the blog
De bhi chuke ham dil nazraana dil kaa Jaal-1952 All Songs covered in the blog
Chali re chali meri naao chali re Jhoola-1941 05 of 11 songs covered

According to HFGK, the movie had 12 songs. I find that the song Ek chatur naar karkar singaar does not find mention if HFGK. To compensate for that, the song under discussion today gets mentionc twice (as song number 6 and 11). So the count of songs in the movie remains accurate, viz 12.

Today, as part of Blog ten year challenge, here is another song from “Jhoola”(1941). Like the song that was covered ten years ago, this song too is a duet sung by Ashok Kumar and Leela Chitnis. In the song ten years ago, the leading duo were riding a boat, here they ride a ghodagaadi, and while doing so, Ashok Kumar makes gentle 1940s style passes on Leela Chitnis, asking the love letter back. Leela Chitnis teases him back 1940s style responds 1940s style viz.

Dekho kah doongi
Haan haan dekho kah doongi
Tumhaare man ki batiyaan

and subsequently

Hamri gali mein dekho
Tum kal se aana chhodo
Varna hansengi hamaari sakhiyaan

The lyrics by Kavi Pradeep are quite cute and romantic. The romantic song, in which both make paasses at each other must have been quite a rage in those pre independence days.

Music is composed by Saraswati Devi.

Lyrics of this song were sent to me by Avinash Scrapwala.

Video

Audio

Song-Ek baat bataao hamen gori (Jhoola)(1941) Singers-Ashok Kumar, Leela Chitnis, Lyrics – Kavi Pradeep, Music – Saraswati Devi
Both

Lyrics (Based on video link) (Provided by Avinash Scrapwala)

chaliye …

Ek baat bataao hamen gori
Kaho kisne sikhaayi tumhen chori
o gori
kisne sikhaayi tumhen chori
Ek chor se mera naata
wo meri gali mein aata aa
Haan usne sikhaayi hamen chori ee
Haan haan usne sikhaayi hamen chori

Hhahahahaha

Dekhiye meri chhitthhiyaan
De dijiye
Laayiye

Dekho kah doongi
Haan haan dekho kah doongi
Tumhaare man ki batiyaan
Tumne chori chori bheji
Hamen patiyaan
Tumne chori chori bheji
Hamen patiyaan
Dekho kah doongi
Haan haan dekho kah doongi
Tumhaare man ki batiyaan

Chori pe seenazori
Ham se karo naa gori ee
Chori pe seenazori
Ham se karo naa gori
De do hamaari ham ko patiyaan
Dekho kah doongi
De do hamaari ham ko patiyaan
Dekho kah doongi
Tumhaare man ki batiyaan

Baatein banaana chhodo
Chori chhipaana chhodo
Hamri gali mein dekho
Tum kal se aana chhodo
Hamri gali mein dekho
Tum kal se aana chhodo
Varna hansengi hamaari sakhiyaan
Dekho kah doongi
Haan haan dekho kah doongi
Tumhaare man ki batiyaan

Meetthi meetthi baaton mein
Hamko bhulaaya tumne
Bholaa sa man hamaara
Chanchal banaaya tumne

Meetthi meetthi baaton mein
Hamko bhulaaya tumne
Bholaa sa man hamaara
Chanchal banaaya tumne

Badi raseeli hain tumhaari
Ankhiyaan
Dekho kah doongi
Haan haan dekho kah doongi
Tumhaare man ki batiyaan

Chhodo ye baatein gori
Aao aao kishori
Tumne ki hamse chori
Hamne ki tumse chori
Tumne ki hamse chori
Hamne ki tumse chori

Aao basaa len dil ki duniya
Dekho kah doongi
Aao basaa le dil ki duniya
Dekho kah doongi
Tumhaare man ki batiyaan
Dekho kah doongi
Tumhaare man ki batiyaan

————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————
चलिए…

एक बात बताओ हमें गोरी
कहो किसने सिखाई तुम्हे चोरी
ओ गोरी
किसने सिखाई तुम्हे चोरी
एक चोर से मेरा नाता
ओ मेरी गली में आता आ
हाँ उसने सिखाई हमें चोरी ई
हाँ हाँ उसने सिखाई हमें चोरी

हा हा हा हा हा

देखिये मेरी चिट्ठियाँ
दे दिजिये
लाईये
देखो कह दूँगी
हाँ हाँ देखो कह दूँगी
तुम्हारे मन की बतियाँ
तुमने चोरी चोरी भेजी
हमें पतियाँ
देखो कह दूँगी
हाँ हाँ देखो कह दूँगी
तुम्हारे मन की बतियाँ

चोरी पे सीनाजोरी
हम से करो ना गोरी ई
चोरी पे सीनाजोरी
हम से करो ना गोरी
दे दो हमारी हम को पतियाँ
देखो कह दूँगी
दे दो हमारी हम को पतियाँ
देखो कह दूँगी
तुम्हारे मन की बतियाँ

बातें बनाना छोडो
चोरी छिपाना छोडो
हमरी गली में देखो
तुम कल से आना छोडो
हमरी गली में देखो
तुम कल से आना छोडो
वरना हँसेगी हमारी सखियाँ
देखो कह दूँगी
हाँ हाँ देखो कह दूँगी
तुम्हारे मन की बतियाँ

मीठी मीठी बातों में
हम को भुलाया तुमने
भोला सा मन हमारा
चंचल बनाया तुमने

मीठी मीठी बातों में
हम को भुलाया तुमने
भोला सा मन हमारा
चंचल बनाया तुमने

बड़ी रसीली है तुम्हारी
अँखियाँ
देखो कह दूँगी
हाँ हाँ देखो कह दूँगी
तुम्हारे मन की बतियाँ

छोडो ये बातें गोरी
आओ आओ कीशोरी
तुमने की हमसे चोरी
हमने की तुमसे चोरी
तुमने की हमसे चोरी
हमने की तुमसे चोरी

आओ बसा ले दिल की दुनिया
देखो कह दूँगी
आओ बसा ले दिल की दुनिया
देखो कह दूँगी
तुम्हारे मन की बतियाँ
देखो कह दूँगी
तुम्हारे मन की बतियाँ


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 :

4086 Post No. : 15226

Today’s song is from film Pyas-41.

The film was made by Murli Movietone. It was directed by Ram Daryani. The lyricist was D N Madhok and the music was by Khemchand Prakash. The cast of the film was Snehprabha Pradhan, Ishwarlal, Nazir, Shamim, Gope, E Bilimoria, Sharifa, Gulab, Khatoon, Majid, Tarabai etc etc. There were 9 songs in the film. One song is already discussed, so today, it will be the second song of the film here. It is a duet sung by the lead pair Snehprabha and Ishwarlal.

Various communities of India contributed to the development of Indian Film Industry. No wonder, we never saw communal feelings in the film world. It is probably the only industry in India, which is truly a Secular one.All communities and religions live here happily together. Every community is, however, identified with a particular state, i.g. Sikhs and Punjabis from Punjab, Bengalis from Bengal, Marathis from Maharashtra etc etc. But there is one community which has no state of its own, still it has been contributing to almost every industry in India whole heartedly. That is SINDHI community.

In film industry too, their contribution is almost in every department – be it production, direction, acting, music or any other form of film making, for that matter. Generally, they are a business community and are highly adaptable to available circumstances. Right from Vithal Panchotia in the early 30s to Ranvir singh Bhavnani in the 2019, their presence as actors, Producers (Sippys), Directors (Mohan Bhavnani), Music composers (Bulo C Rani) to Comedian (Bhudo Advani) is felt in all decades. Brij Rani, Sheila Ramani, Sadhana, Babita and Kitu Gidwani or Gope, Bhudo Advani, Sushil Kumar, Asrani etc are some of the names that come to the mind off hand.

Film Pyas-41 was also directed by one Sindhi – Ram Daryani ( Ram Kamlani was different, he was brother of Gope). Ram Daryani was born on 6-12-1915, at Hyderabad, Sindh Province (now in Pakistan). His early education was done in Sindh and for college education he came to Karachi. Due to intense desire of being in film world, he left studies and joined Eastern Art Production and assisted Moti Gidwani in direction of film Insan ya Shaitan-33. But due to family pressure he had to rejoin college. After some time he again left college for good and started working as assistant director for films Prem Pariksha-34 with G R Sethi, Bharat ki Beti-35 with Premankur Attorthy and Yasmin-35 with H K Shivdasani.

He got his first chance to independently direct the film Baal Hatya aka Khoon E Nahak-35. In the year 1936, he floated his own company Daryani productions and directed films like Sangdil Samaj-36, Prem Murty-36 and Gentleman Daaku-37, for which his brother K S Daryani wrote the stories. In 1938, brother K S Daryani started Krishna Movietone. Ram Daryani closed his company Daryani productions and directed film Zamana-38 for krishna Movietone. The film became a Hit and his name became famous.

He worked for Murli Movietone to direct films like Pyas-41, which celebrated Silver jubilee. His other films were Qurbani-43, Preet-45, Panna Dai-45 and Shravan kumar-46. In all, Ram Daryani directed 23 films. His last film was Chand mere aaja-60. After this he entered Film Distribution business. Ram Daryani died on 7-9-1993. ( adapted from Filmdom-1946).

The Heroine for film Pyas-41 was Snehprabha Pradhan, who was an excellent actress and a good singer. However, she acted in only 17 films in 10 years i.e. 1940 to 1950. After films, she started acting in Marathi dramas and became famous and popular there.

SNEHPRABHA PRADHAN was born on 20-10-1915 in Nagpur,Maharashtra. Her father was Vithalrao and mother was Tarabai.Tarabai was a child widow who grew up in an orphanage and SP’s father married her as a social cause,when he was already 50 yr old.

Like her contemporaries, Shanta Apte and Hansa Wadkar(Ratan Salgaonkar in real life), she too travelled a lot in her first 10 years,to places like Nagpur,Bombay,Poona,Delhi,Calcutta,Lahore etc.

When her father left them and mother was unable to support the family,SP had to seek work.She did small roles in films.One Chimanbahi Desai of Bombay Talkies was a family friend.Through him, she worked and sang in Civil marriage,saubhagya and Sajni.
Her first break as a Heroine came with Punarmilan-1940,opposite Kishore Sahu.They fell in love and married,but within an year she divorced him on grounds of his impotency !

SP was studying,while working too and she became the First woman Graduate from Ferguson college,Poona,in those days !
Even though system was there,still SP was NOT attached to any Studio nor was she on rolls of any Production company.She virtually started the ‘Free Lance working system’ in those days.

She worked in Bombay Talkies,New theatres,with K.A.Abbas,Roop k.Sorey etc.She sang songs with Pahadi Sanyal also.
In the late 40s,she reduced her work in Hindi,as she was more inclined to work on Marathi stage dramas.In 1942 she worked in Marathi film “PAHLI MANGALAGAUR”,in which 10 year old Lata Mangeshkar acted and sang First time in her career. In 1946 SP she acted in Salgirah and sang 6 songs.After this she did “Anmol Moti” in 1949.Then she stopped working in Hindi films. She wrote Screenplay of film “Ladai ke baad”-1943,acted in it and also sang 9 songs in it.

Her name was kept Snehprabha,as a compromise,since her mother could not decide in 2 names-Snehlata or Prabhavati.So the names were combined as Snehprabha. She married Dr.Shirodkar and settled in Bombay,occasionally doing some stage dramas in Marathi. She died on 7-12-1993.

Birha ki Raat-1950. She acted in this film as Dev Anand had expressed his desire to act in a film in which SP was there. Dev Anand was her great fan.He agreed to work with Nargis only on the condition that SP would work with him. Snehprabha Pradhan could not refuse Dev Anand.

There is another name ‘ Khatun ‘ in the cast. Miss Khatun Bano was born and brought up in a poor Muslim family of Lahore. As per the family tradition, she learnt dancing and singing. once, when she was performing on stage in Lahore, the Talent hunter of Sagar movietone spotted her and she was offered a role in a Talkie film- which was a novelty in 1931. Her first film was Abul Hasan-31. Then came Subhadra haran-32, Meerabai-32, Maya Bazar-32 etc etc. In all, she acted in 59 films, till her last film Ibrat-60. She also sang 25 songs in 12 films.

One more interesting actress in the cast was Tarabai. She is none other than the elder sister of famous dancer actress Sitara Devi. Born in 1905, she was a good dancer. She started film career from Silent films like Malti Madhav, Bambai ki sethani etc. She started Talkie films with Vasantsena-31. She played the role of Princess Octavia in film Yahudi ki Ladki-33, along with K L Saigal.

She acted in many films like Shehar ka jadu-34, Savitri 37, Narsi Bhagat-40, Sasural -41. She acted in film Haiwaan-40, along with her two other actress sisters,namely Alaknanda and Sitara Devi. This may be the only Hindi film, in which 3 sisters played roles in one film.

She married co star Marutirao Pehelwan, left films and they settled in Dhule,in Maharashtra. They started a Dairy business. Their son was the famous dancer Gopi Krishna. After husband’s death and winding up of the Dairy business, Tarabai returned to Bombay and started working in films. But now she was reduced to as Junior Artiste (Extra) and got only negligible roles. She lived in Bandra slum. There is no information about her after this.

Film Pyas-41 was a very successful film. It was written by K S Daryani- brother of director Ram Daryani. The film was shot in Ranjit studio. This was the first film of Murli Movietone. The March 1942 issue of Film India magazine reviewed the film and Baburao Patel, for once , was all praise for the film, direction and the acting. The film was released in Imperial Cinema, Bombay on 14-2-1942. While praising the acting of Snehprabha Pradhan, Baburao Patel could not resist the temptation of subtly commenting on her looks, saying, ” she was photographed so nicely that she sometimes looked ‘almost’ beautiful” ! That’s Baburao for you !!.

The story of the film as given in the review is…….

Sethji’s (Nazir) wife is dying due to TB…according to the evil family doctor (E. Billimoria), who wants to marry his niece( Gulab) to Seth ji. He also tries to kill wife and her child. Sensing this, the wife, Menaka (Sharifa) runs away with the child. She hands over the child to a village mukhiya and dies. Seth ji marries the niece of doctor, who starts extracting money from her.

The child grows into a big man-Chiman (Ishwarlal) who loves village belle Radha.

Once Chiman goes to the city and gets to know Seth ji, who employs him. Seth ji’s niece Rupa starts loving him. Once by accident , Chiman comes to know that he is Seth ji’s son. Seth ji is happy and throws a party in which the engagement of Rupa (Shamim) is announced. Chiman is craving for Radha. Radha comes to know these matters and comes to city. Rupa realises their true love and sacrifices. Chiman and Radha unite.

Today’s song’s mukhada is ” Nadi kinara ho “. This “Nadi kinara” was very popular amongst the lyricists of the 30s and 40s, because I found so many songs having this beginning of songs, till even the 50s. Somehow this went on diminishing later. I guess the lovers stopped going to the Rivers or may be they preferred a Mall or a Multiplex than going to the ‘Nadi kinara’, battling the traffic jams !


Song- Nadi kinaara ho taaron bhari raaten (Pyaas)(1941) Singers-Snehprabha Pradhan, Ishwarlal , Lyrics- D N Madhok, MD- Khemchand Prakash
Both

Lyrics

Nadi kinaara ho o o
taaron bhari raaten
taaron bhari raaten
taaron bhari raaten
taaron bhari raaten
Nadi kinaara ho o o
taaron bhari raaten
taaron bhari raaten
taaron bhari raaten
taaron bhari raaten

moh hamse karen aur chori se munh na taaken
moh hamse karen aur chori se munh na taaken
yaad dilaayen
beeti huyi baaten
yaad dilaayen
beeti huyi baaten
Nadi kinaara ho o o
taaron bhari raaten
taaron bhari raaten
taaron bhari raaten
taaron bhari raaten

kabhi wo kabhi main roothh jaaun
kabhi Radha kabhi main manaaun
kabhi wo kabhi main roothh jaaun
kabhi Radha kabhi main manaaun
main na maanoon
na maanoon
na maanoon
tere jee ki main jaanoon
main na maanoon
na maanoon
na maanoon
jee dil ki main jaanoon
na jaanoon

Nadi kinaara ho o o
taaron bhari raaten
taaron bhari raaten
taaron bhari raaten
taaron bhari raaten


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 :

4083 Post No. : 15222

Today’s song is from film Gharbaar-53. The film was produced by Ratilal Vora for K.Pictures, Bombay.It was directed by Marathi cinema’s famous and successful director Dinkar D. Patil. The cast of the film was Surendra, Manhar Desai, Sulochana Chaterjee, Kuldip Kaur, Shakuntala, Shammi, Baby Naaz, Paro, Kathana, Gope and others. The film’s 8 songs were written by Indivar, Kaif Irfani and D N Madhok. The music was by Vasant Prabhu.

From the beginning of Talkie films, there have been the occasional actors, directors, producers, Lyricists and Music Directors – whose contribution to the Film industry had not been more than just ONE or TWO appearances. There were countless MDs with just one film. Some of the names for your information are, Master Mohan-Pati Bhakti-32, K R Gore-Bhool ka bhog-35, S P Mukherji-Jagran-36, Govindam-Jeevan Jyoti-37, K M Pawar-Paak Daaman-40, Pratap Mukherji- kisi se na kehna-42, Dinkar Rao-Beete din-47, Mukund Masurekar-Didi-48 etc etc. The book ” Dhunon ki yatra” by Pankaj Raag lists hundreds of such names from all decades.

Composer Vasant Prabhu was also one such person who got only one film in Hindi to make songs, Not because he was not capable, but because he was busier in Marathi films and he died at a very young age.

During my early times on this Blog, I had run a series titled, “Less known composers”, 7 years ago. I had discussed songs composed by almost unknown Music Directors like Shridhar Parsekar, Pt. Motiram, Bhushan, Kamal Rajasthani etc. In this series, the last name was Vasant Prabhu’s. 7 years ago, not much information was available on him – not even his real name or dates of birth and death. In last few years, more information and details are available about him. It is always like this. History gets updated with the availability of newer evidences, proofs and documents. So, here is the newly updated information on Vasant Prabhu now….

Vasant Prabhu was born on 19-1-1924. His real name was Vyankatesh Krishnarao Prabhu. His family belonged to Panemangrul, near Mangalore in Karnataka. His father owned many hotels in Bombay. Unfortunately his father lost all 14 hotels and the rich family had to stay in a chawl in Parel.

While still a young boy, he joined the Ganesh melas and used to sing songs on stage. His voice being sweet and the style lovable, he used to get “Once More’ many times. On one such occasion he got 26 times ‘Once More’ and while singing repeatedly his throat was damaged.

While still young,he learnt Kathak dancing and classical music. His elder brother acted in films. He too did child roles. This is when he became Vasant from Vyankatesh. He was a tall,handsome and well built young man.He wanted to become an Actor,so he went to kolhapur, then to Poona and finally landed in Bombay.

Here he did not get any actor’s role,but he joined HMV as a Music composer. Vasant kamerkar who also worked in HMV, helped him to get the job. While here, he started composing Marathi Bhavgeets. Vasant Prabhu, Lata Mangeshkar and Lyricist P.Savalaram ( Savlaram Patil) created many iconic Marathi songs from 1948 to 1965.

His first song was sung by Lata ji,” Ganga yamuna dolyat ubhya kaa…” (गंगा यमुना डोळ्यात उभ्या का) in 1949.This song became so famous overnight that after more than 70 years,even today, it is played on AIR and in almost every Marathi marriage in Maharashtra, by the Band.This is a song of Bidaai, sung so soulfully and the wordings are so meaningful that sensitive women start weeping listening to this song.

While at HMV, Vasant Prabhu also composed some NFS for Lata ji and Geeta Dutt in Hindi. One of Geeta ji’s songs,”Jamuna ke teer kanha aao” is extremely popular with Geeta lovers. ( There is a controversy about Nikhil Ghosh composing this bhajan. The references are divided. It is possible that Vasant Prabhu provided the tune,as he was already in HMV)

Vasant Prabhu’s name is written in Gold for the Marathi Bhavgeets that he composed with Lata and P.Savalaram. The 50’s decade was famous for their songs. In all 110 Bhavgeets were composed by Vasant Prabhu.

Vasant started his film career with Marathi film ‘Ram Ram pavhana’-1950, along with Lata Mangeshkar, choreographing few dances and composing its music too. From 1950 to 1968 he gave music to 22 Marathi films and 5 stage dramas, while doing private albums also.

He was the MD for most Marathi films produced by Lata ji’s ‘Surel Chitra Production company’. In film ” Vaadal” he composed a Thumari in such a wonderful manner that when this film was released in Nagpur the Audience wanted to listen to the Thumari again and again,and threatened to burn the theatre if not done so.Finally that Thumari was shown 5 times that day !

In another film,’Taaraka’, he made actress Sulochana Latkar do an item number in the film.Probably she danced the Item number first and last time in her life.

Singers like Phiroz Dastoor and Talat Mehmood also sang for his Marathi films.

In 1953 he did his only Hindi film “GHARBAAR”-53. There were 8 songs in the films sung by Rajkumari, Lata, Asha,Talat Mehmood and Surendra.

Vasant Prabhu was very honest,punctual,straight forward,disciplined and hot tempered.He never went to anyone to ask for work. Of course work always came to him.He used to compose his tunes lying down in his balcony.

Unfortunately, he got addicted to alcohol in young age and died on 13-10-1967. He was just 43 years old that time.

(Thanks to Madhu Potdar’s biography of Vasant Prabhu-“Manasicha chitrakar” ( मानसीचा चित्रकार ), the Marathi chitrapat Sangeetkar kosh and article by Sulabha Ternikar. )

Similarly, another actress in the cast – Shakuntala was also different than many others of her ilk, i.e. those who started as a child artiste. Right from beginning of the films,child artistes were required to do roles in the films. In the initial stages and also in later periods too, girls used to do Boys’ roles ( but never heard of vice versa ! ). We have the famous examples of Honey and Daisy Irani sisters. Many child stars acted in films till they became older or were not suitable for child roles. One such example was Junior Mehmood. It was quite natural that most of them wanted to continue acting in films as an adult too and many tried to become hero/ heroines. Unfortunately, only some of them could shine as heroes or heroines, while most child stars failed as adult Hero/Heroines.

Successful child artistes are few like Meena Kumari, Madhubala,Nargis, Shashi kapoor, Sachin etc, but you can count them on fingers, whereas the list of unsuccessful child artistes who tried to become adult Hero/Heroines is quite long.

Unlike Baby Tabassum, who could not become a successful adult Heroine in good films, there was another ‘Baby’ who became quite successful as an adult Heroine opposite well known actors under famous banners and left halfway due to her marriage. Her name is BABY SHAKUNTALA. She worked with well known actors like Kishore kumar, Bharat Bhooshan, Karan Dewan, Amarnath, Anant Marathe, Master Bhagwan, Abhi bhattachrya etc. She was also lucky to have worked under ace directors like V.Shantaram, Bimal Roy,Homi Wadia, kishore Sahu, Raja Nene, Gajanan Jahagirdar,Shahid Lateef etc. Born on 17-11-1932, she recently – 4 years ago – died on 18-1-2015 at Kolhapur.

The director of this film Dinkar D Patil was also one of those mentioned above, who visited Hindi films just for one or two films. He directed 2 Hindi films, but he was a very big name in Marathi cinema and a winner of Phalke award also.

Dinkar D. Patil (1915–2005) was a prominent Marathi film director, scriptwriter, and dialogue writer during the Golden Era (1950–1990) of the Marathi Film Industry. He directed, wrote scripts and dialogue for more than 60 Marathi films. He also directed two Hindi Films-Mandir-48 and Gharbar-53. He wrote his famous autobiography titled as Patlache Por (पाटलाचे पोर).

Dinkar Patil was born in a Maratha Patil family on 6 November 1915 in the village of Benadi near Kolhapur. From his childhood he was interested in Marathi stage shows, Marathi plays and cinema. He studied in Kolhapur and completed his B.A.
He started his film career doing assistant job in the Maharashtra Film Company owned by Baburao Painter at Kolhapur, and eventually became an assistant director to Master Vinayak and later transitioned into a film director. He directed and wrote scripts for more than 60 Marathi films.

His films depicting rural life with rural themes, he was considered an authority in both script writing and also directing. He wrote script and dialogue for 62 films and directed 35 films including two Hindi films, Mandir and Gharbar. He received a number of film awards including the prestigious Dadasaheb Phalke Award.

Dinkar Patil introduced Marathi Lavani folk dance in his films, which made his films more popular. He was closely related to Jayaprabha and Shalini Studio in Kolhapur. Also, he made valuable efforts in establishing Marathi Film City – Chitranagari in Kolhapur.

His famous autobiography titled as Patlache Por (पाटलाचे पोर) was published in 1984 in Marathi. More than 10,000 copies were sold during initial years after publication and now it is translated in many other Indian Languages.

He lived in Mumbai for most of his life but returned to Kolhapur with a desire to spend the last years of his life there. Due to attachment to the studios in Kolhapur namely Jayaprabha and Shalini, he reportedly expressed his last desire to immerse his ashes in the premises of the two studios namely Jayaprabha and Shalini Studio in Kolhapur as he was closely attached throughout his life. He died on 23-10- 2005 at the age of 90 in Kolhapur. ((adapted from wiki)

film Gharbaar-53 had 8 songs. Today’s song is the 3rd song to be presented here. By coincidence, all these 3 songs are presented by me, in last 7 years. Today’s song is sung by Asha Bhosle and Surendra. While Asha was the new struggling voice, Surendra was the fading voice of the earlier generation. After this song, he sang only twice – in film Gawaiya-54 and in film Pati Patni-66. That was the end of his singing.

Surendra ( 11-11-1910 to 11-9-1987) was a very successful actor singer. He was first projected by Sagar Movietone as Bombay’s answer to Calcutta’s Saigal. In his first film, Surendra has actually sung a Parody of Saigal’s song. What a way to begin singing career ! Surendra acted in 73 films. He sang 152 songs in 40 films.

Listen to this song and you will feel the contrast between a rising singer and a fading one.


Song- Khet pake ud ud jaa (Gharbaar)(1953) Singers- Asha Bhonsle, Surendra, Lyrics- D N Madhok, MD- Vasant Prabhu
Female chorus
All chorus

Lyrics

urr
hey
khet pake
ud ud jaa
dheeth na ban
?? mera ho piya
hey
khet suhaane
hari hari daaliyon ke beech lage motiyon ke daane

mere maula ki
hey mere maula ki rang maula jaane
hey mere maula ki rang maula jaane ho

khet pake
ud ud jaaye
dhheeth na ban
o kaaga
?? mera ho piya

o o o
o o o
idhar udhar khetiyaan hai
beech bahe paani
aji beech bahe paani
idhar udhar khetiyaan hai
beech bahe paani
kaise lage
aji aise lage
ho re jaise
jeewan ki raah mein
thhumak thhumak
aji thhumak thhumak chali jaaye jawaani
rok lo
ise rok lo

aa aa aa
aa aa aa
aa aa aa
rok lo
ise rok lo
ye chali kha ke kasam
ye chali kha ke kasam
paani ko aag lagaae mein

mere maula ki
hey mere maula ki rang maula jaane
o mere maula ki rang maula jaane ho

khet pake
ud ud jaa
dheeth na ban
o kaaga
?? mera o piya

o o o
o o o o
o o o o

o o o
o o o o
o o o
ghadi ghadi sar sar ki boliyaan suhaani
aji boliyaan suhaani
ghadi ghadi sar sar ki boliyaan suhaani
bole mera khet jaise
koi ishaare
chhup chhup ke
aji chhup chhup ke bole meeethhi baani
maang lo
aji maang lo

aa aa aa
aa aa aa aa
aa aa aa
maang lo
aji maang lo
ke meri jholiyon mein
ke meri jholiyon mein
tere liye umr bhar ke daane

mere maula ki
o mere maula ki rang maula jaane
o mere maula ki rang maula jaane ho


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 : 4052 Post No. : 15181

“Guru Dakshina”(1950) was produced by Rajasthan Studios, Bombay. This is all the detail that is mentioned about this movie in HFGK.

According to HFGK, the movie had at least eight songs in it, and perhaps more. One song from the movie has been covered in the psst.

Here is the second song from the movie. According to HFGK, it is sung by Prempal. Music is composed by Pt Lachchiram. Mr Deepak, a visitor of this blog and a record collector has mentioned Gulab, Prempal and Krishna Rane as the actors in this movie in a comment in YT. He also mentions Saarshaar Saliaani as the lyricist.

I thought that Prempal must be a male actor. But on listening to this song, it appears that Prempal was a lady. And going by the star cast mentioned by Mr Deepak, this song was picturised on Prempal herself.

I request our knowledgeable readers to throw light on the movie as well as on this singer, who makes her debut in the blog with this song.


Song-Bedard zamaana kya jaane kyun dard ke maare rote hain (Guru Dakshina)(1950) Singer-Prempal, Lyrics-Sarshar Sailaani, MD-Pt Lachchiram

Lyrics

bedard zamaana kya jaane
kyun dard ke maare rote hain
wo paas thhe lekin door huye
wo paas thhe lekin door huye
aashaaon ke darpan choor huye
ab hook jigar mein uthhti hai
aur nain humaare rote hain
bedard zamaana kya jaane
kyun dard ke maare rote hain

manjhdhaar khiwaiyya chhod gaya
jeevan ka sahaara tod gaya
jeevan ka sahaara tod gaya
ummeed ki naiya doob gayi
hum baithh kinaare rote hain
bedard zamaana kya jaane
kyun dard ke maare rote hain
bedard zamaana kya jaane
kyun dard ke maare rote hain


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 :

4049 Post No. : 15178 Movie Count :

4171

Today’s song is from a Marathi film- Dhananjay-66. This is a Hindi song, sung by Chitalkar, under his own baton ! Lyrics are by P L Santoshi. The film was based on a story by Marathi’s renowned Detective Novelist of yesteryear – Baburao Arnalkar.

In the early 50s,when I was about 10-11 years old, I first read a Marathi detective novel written by Baburao Arnalkar. In those days, reading such stuff was a no-no for children, and so I had to read it, sitting in some lonely corner, keeping one eye and one ear for checking if anybody is seeing me. I was simply thrilled by reading this book and then started the marathon reading of detective novels- of course chori chori ! Happily I found some of my friends also doing the same thing and even my elder brother was seen reading these books.

Shortly, this became an open programme and I joined a local book library, catering to such books. Every month such 10 books used to come there and all these books were written by one author- Baburao Arnalkar. We always wondered how can any one man write so many books, so varied and entertaining every month. As the time went by, the author wrote in a magazine, how he was impressed by novels of Edgar Wallace, Berkeley grey, Roderick Graeme, Peter Cheyney, Sax Rohmer and few others. He decided to adapt their stories to Indian environment, culture and customs, so that Marathi readers felt affinity for them. Certain books, however, were just not possible to adapt lest they lost their charm and such books were presented just in a translated form, with same name and places to maintain reality.

Baburao’s main character, on whom he wrote more books was Dhananjay ( he got this name from Bhagwadgeeta) – a private detective with a sharp intelligence, fearlessness, a high degree of common sense and an ability to use logic rightly. This character seemed to be a combination of Perry Mason (Earl Stanley Gardener), Hercule Poirot (Agatha Christie) and Sherlock Holmes (Arthur Connon Doyle).

Baburao also brought into Marathi the dashing ” Normon Conquest ” of author Berkeley Grey as Zunjar (झुंजार) along with his wife Joy (Vijaya) and the faithful assistant Biji (Netaji). Novels of Zunjar were particularly more popular because he was flamboyant, adventurous and of humorous nature with a speciality of getting his commission from every villain,before Police arrested him. He was one who would not hesitate to cross legal boundaries in order to book the villains in the final chapter. Zunjar’s Guru Bhimsen and successor Golandaz also had many books on them.

The other popular character Baburao Arnalkar brought was Roderick Graeme’s famous “Black Shirt”. In Marathi he became Kalapahad(काळापहाड)- a successful Novelist by day and a daring adventurer by night. Baburao brought stories of Peter Cheyney and Ellery Queen. Brett Haliday’s Mike Shane became Jayant in Marathi. Carter Brown’s private detective was Sanjay in Marathi. Additionally he created from Edgar Wallace, Kodand rao- Public Prosecutor (J.G.Reader), Major(Retd.) Sudarshan- a private investigator and C.I.D. Inspector Murar Rao.

Shifting from the usual, Baburao brought Jungle stories of British Settlements in Africa by Edgar Wallace, featuring Commissioner Sanders, Capt.Hamilton and funny but brave Lt.Bones. These were brought in original form having English names and places. Similarly, the “Justmen” series by Edgar Wallace featuring George Manfred, Leon Gonsalves and Raymond Poicort – each having different skill and together punishing secretly the difficult to catch criminal, helping the Police. Baburao was too versatile. he brought stories of Sailors, featuring Capt Daryasarang and his assistant Savlaram. The seafaring criminal stories were an entirely different world for Marathi readers.

Baburao also gets credit for introducing the deadly Dr. Fu Manchu, a character created by Sax Rohmer. Fu Manchu is a Chinese scientist who wants to rule the world. An entire generation born in the 40s was mesmerised by Baburao’s detective novels and feasted on the stories of heroes created by British, American and German authors, in the 1920s and 1930s. These novels re-created the pre-war times and entertained people.

Having read Baburao Arnalkar’s books based on foreign authors, I got and read almost every English book that Baburao had translated. Novels by Edgar Wallace and others are still in my library. I had about 200 selected books-Marathi- of Baburao Arnalkar, which I gifted to my niece recently.

Baburao Arnalkar (real name Chandrakant Sakharam Chavan) was born on 9-6-1906 at Arnala in Vasai. He studied only up to 10th, but earned a proficiency in English, as he was an avid reader of books. In the 1942 Freedom struggle, he was jailed for 18 months. In this jail, he got hands on the books of Edgar Wallace. He was so thrilled that he decided to bring these books in Marathi. He had already written his first detective novel ” Queen of Diamonds” (चौकटची राणी) in 1939.

He started an Optical lenses shop in Bombay for earning a living. His writing started from 1946, but in the period 1952 to 1966, he was very prolific, writing 6 to 10 books a month. On completing 500 books,the then Maharashtra Government felicitated him and awarded Rs. 10000 also. He wrote 1042 detective novels, before he put his pen down due to old age. His name was entered in Guinness Book of World Records in those days.

He received several awards and honours from prestigious institutions. However the so called Classic literature writers never conceded Detective Novels as a respected form of literature. This always remained an entertainment for the middle class society who dreamt of super powered heroes. More than this recognition, he valued the love and affection an entire generation poured on him. He not only gave entertaining books but also sustained and developed the reading habit among the youngsters of those times.

Baburao Arnalkar died peacefully on 5-7-1996 at the ripe age of 90 years. He must have been a contented man. My thanks to him, for being a true entertainer.

Film Dhananjay-66, based on Baburao Arnalkar’s story, was produced by C.Ramchandra. After parting ways with Lata, in the late 50s, C.Ramchandra did not do well in Hindi films. He disappeared slowly. He turned to Marathi films and stage shows around the world. He got married second time to Shantabai and had a son and a daughter from this marriage. Most of his time he stayed in his Poona Bungalow. His son and daughter are leading doctors in USA, and are well settled. I do not know if Shantabai is still alive. C.Ramchandra had produced 2 Marathi films. The other film was Gharkul.

C.Ramchandra played the Hero- Dhananajay’s role in this film. After his first flop film Naganand-1935 ( only 9 people in the first show. There was no second show), this was his second film in the Hero’s role. The film did average business. The cast was Chitalkar, Uma, Arun Sarnaik ( he had acted in 2 Hindi films…Subhadra haran-64 and Lady killer-68), Ashalata, Gulab Mokashi, Jaymala , Shakuntala etc etc.

The film was directed by Raja Thakur. Rajaram Dattatreya Thakur was born in 1923 at Ponda in Goa. He did work as an assistant to Master Vinayak and later Raja Paranjape. Raja Thakur had produced an English film ” Birbal – My brother “-1973. His another film “Mumbaicha Jawai” (मुंबईचा जावई)-1970, was remade in Hindi as ‘Piya ka Ghar’-1971 by Basu Chatterjee.

There were 6 songs in the films. 3 songs were in Hindi. 1 song was in Konkani. This song “Hatat bangdi sonyachi, hi pori konachi ( हातात बांगडी सोन्याची, ही पोरी कोनाची ) became an evergreen song, so popular that even now, it is played in Ganesh utsav, Holi etc. programmes. Only 2 songs were in Marathi, in this Marathi film.

Today’s song has a tune, which Chitalkar seems to have borrowed from his own film Aazad-1955 – “Marna bhi muhabbat mein kisi kaam na aaya”. Enjoy today’s song in Chitalkar’s voice.


Song- Na mila hai na milega mujhe aaraam kahin (Dhananjay)(Marathi)(1966) Singer – Chitalkar, Lyricist – P L Santoshi, Music – C Ramchandra
Chorus

Lyrics

Na mila hai na milega mujhe aaraam kahin
Na mila hai na milega mujhe aaraam kahin
Na mila hai na milega mujhe aaraam kahin een een een
suniye
main musaafir hoon
meri subah kahin shaam kahin
main musaafir hoon
meri subah kahin shaam kahin
main musaafir hoon
meri subah kahin shaam kahin

o o o
o o o
main chala to chal diya zindagi ka kaarwaan
arre main ruka to ruk gaya zindagi ka kaarwaan
hans ke jisne dekh liya
arre hans ke jisne dekh liya
main usi ka ho gaya
aa aa aa aa
do ghadi bhar ke liye kar liya mukaam wahin
do ghadi bhar ke liye kar liya mukaam wahin
do ghadi bhar ke liye kar liya mukaam wahin

do ghadi bhar ke liye kar liya mukaam wahin een een
Na mila hai na milega mujhe aaraam kahin
Na mila hai na milega mujhe aaraam kahin
main musaafir hoon
meri subah kahin shaam kahin

o o o
o o o o
raat ke hai baad din aur din ke baad raat hai
arre chal rahi isi tarah saari kaaynaat hai
main bhi chala jaa raha
main bhi
main bhi chala jaa raha
gham aur khushi saath liye
ae ae
meri is zindagi mein thaharne ka kaam nahin
meri is zindagi mein thaharne ka kaam nahin
meri is zindagi mein thaharne ka kaam nahin

o meri is zindagi mein thaharne ka kaam nahin
een een een
Na mila hai na milega mujhe aaram kahin
main musaafir hoon
meri subah kahin shaam kahin


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 : 4044 Post No. : 15170

Today’s song is from film Shakuntala-43. This was the first film of V.Shantaram, under his own new banner- Rajkamal Kala mandir. The song is sung by film’s Heroine, Jayashree, on whom it was filmed also. The song was written by Ratan Piya ( I like this musical name, really !) and the music was by Vasant Desai.

The film was directed by Shantaram and the Cinematographer was his own brother V. Awadhoot.The cast of the film Shakuntala-43 was, Jayashree, Chandramohan, nana Palshikar, Nimbalkar, Zohra, Shantarin, Ameena, Vilas, Ratan piya etc etc.

Besides being the first film of Rajkamal, it was also first film of Vasant Desai to give music to a Shantaram film. He went on togive music to other Shantaram films like, Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Matwala shayar Ram Joshi-47 ( Amar Bhoopali-52 in Bangla and in 55 for Marathi version also), Dahej-52, Surang-53, Jhanak jhanak payal baje-55, do aankhen baraa haath-57 and Ladki Sahyadri ki-66.

Likewise, for Lyricist and writer Diwan Sharar ( real name Dewan Atmanand Sharar) also this was first film with Shantaram. He adapted the story from original ‘ Abhigyan Shakuntalam” in Sanskrit by mahakavi Kalidas. He wrote the story, dialogues and some lyrics too. later on he did some more Shantaram filmslike Parbat pe apna dera-44, Dr, Kotnis ki amar kahani-46, Apna Desh-49, Teen batti Chaar raasta-53 and jhanak jhanak Payal Baje-55.

So far,8 songs of this film are already discussed here and lot of information has been given in them, I too have done one post for this film. I wrote about this film being the First in 3 cases as mentioned above. This film also was the Last film in Pre-Partition era for one artiste, who was a very popular and well known Heroine, in the early era of the Hindi films. Her name is Miss Zohra Jaan aka Zohra.

In the Hindi film industry history,there have been many brother and sister pairs who worked in films. However, there were only 2 cases where 3 sisters worked in Hindi films as Heroines. The first ‘Triplet’ was Zubeida (Alam Ara fame), Sultana and Shahzadi,who all operated in the 30’s. The second ‘ Triplet ‘ was Zohra, Mushtari and Anuradha (real name Khurseed Akhtar), who worked in Hindi films from the 20s to the 40s. Mushtari died in her teens, after doing just 8 films as Heroine, and the other sisters migrated to Pakistanafter partition.

Miss Zohra Jaan or Zohra is not known to most people. She was one of the most successful heroines in the 30’s, having her first 5 films declared as Hit films, in the early era of Cinema. let us know more about her.

Zohra was born into a famous courtesan’s family of Delhi. originally from Punjab, the family had shifted to Delhi for better prospects. She was trained in Dance and Music in Lahore. They were 3 sisters-Zohra, Mushtari and Khursheed Akhtar ( screen name Anuradha). Zohra, as a young girl, was very naughty and mischievous. She had learnt Urdu, Punjabi and Pushtu languages, with excellence.

One day, while on an outing in Lahore, with father, Zohra saw a shooting on the road. This was her first encounter with a film shooting and she was terribly impressed. A.R.Kardar had started a small studio ‘ United players’ Corporation’ in Lahore and he was doing the shooting. He saw the sisters and was keen on taking them in films. Next day Kardar, along with a common friend, went to Zohra’s father and made his offer, which was out rightly refused by her father.

After few days, her father took the family to Bombay, in 1928, for some work. They hired a beautiful bungalow on Chaupati. Zohra was quite grown up now.she sang very well. She did some Mujra programmes. At the same time her Mujra and some devotional songs were recorded by The Twin Records company.

Neelam, a singer known to the family took the girls to see a film in Imperial Talkies. Ardeshir Irani, who saw them there, was impressed.Along with Neelam, he went to meet her father, next day. He offered Rs. 500 for each sister- Zohra and Mushtari- per month if they agree to working in his films.In those days, Rs. 1000 was a hugh amount and it did the trick . With father’s permission, Zohra was very happy.She did 2 silent films- Nand kumar-1929 and Radha Krishna-1930.

When the Talkie films started, she did Anang sena-31, Niti Vijay-32, Dagabaz Ashiq-32 and Bharati Mata-32 with Imperial. However, due to her command over Urdu language and good acting all these films being Hits, she started getting offers from other producers. She got an offer of Rs. 2500 and she left Imperial. Mushtari continued at imperial. ( Mushtari,who was in her teens did only 8 films. She fell ill and was removed to Lahore. However Mushtari died on 8-6-1934 at a very young age.)

Zohra became very popular and went on from 2500 to 5000 rupees per month. She was a very calculated person and saved quite a lot money. She went on doing films after films. In the beginning of her carer she had married Rafique Ghaznavi, who was making a career in films as actor,director, singer and Music Director. He had earlier married Anwari in Lahore but divorced her after a daughter was born.

In film industry, Zohra was known as ‘Marlene Dietrich’ of India. From 1931 to 1943, she did 31 films and had sung 44 songs in 15 films. Unfortunately none of her records of film songs are available,as most songs were not made commercially. Her private NF song records may be available with some Record Collectors of India or Pakistan. her last film in India was “Shakuntala”-43. She was further engaged to work in Shantaram’s next film ‘Parbat pe apna dera’-44. At that time the winds of Partition were blowing and some communal riots also took place. Zohra was scared and she left for Lahore.

Meanwhile Rafique Ghazanavi had divorced her after 15 years of married life. He married Zohra’s younger sister Anuradha. After migrating to Pakistan, he divorced her also and married someone else. Their daughter Shaheen was young now and ready for entering films. Zohra married director A.M.Mirza.

Sohrab Modi and Kardar urged her to come back for their films,but she was reluctant to come here due to fear. In Lahore,her daughter started getting film roles.In 1948, Filmistan invited her to act in their proposed film “Heer Ranjha”. So, Zohra came on 3 month’s visa. She immediately worked in a quicky stunt film “Aaj ka Farhad”-48. The news of her coming to Bombay spread and she was flooded with offers. In just 15 days, she made 10 contracts. Prithviraj Kapoor got her 1 year visa, with Morar ji Desai’s help.

During this period some artistes in Pakistan felt that because of Indian films,film industry in Pakistan was not developing and hence there was an agitation not to take any Indian films for exhibition and distribution. As a reply, India also declared not to take any Pakistani artiste in Indian films. Producers like Jagdish Sethi and P N Aurora hesitated to proceed with their films with Zohra. So once again Zohra went back to Pakistan.

Her daughter Shaheen’s career took off. Several offers came to Zohra also,but she did not want to work with new people. Consequently,offers stopped coming. It was rumoured that Zohra was curt, egoistic and very quick tempered, which was actually true. in reality Zohra could never forget the free atmosphere at India and the work of professionals here. That was also the cause of her career’s ending Pakistan. There is no information about her after that. In India, Zohara worked with the Best actors, best Directors and Best banners, at Bombay, Lahore and Calcutta.

Hindi film industry is full of unbelievable stories and anecdotes about producers, Directors, Actors, Singers and music Directors. Among actresses,the story of actress Shanta Apte is very famous how she taught a lesson to Baburao Patel, by beating him with a whip, in his office, for writing objectionable and insulting about her in magazine Film India. her name is quotes as an example of Woman-Power, courage and as an act of protecting self respect.

It is unfortunate that an act of similar nature, performed by Zohra in 1934 ( much earlier to Shanta Apte’s act) has remained unknown. She did something to protect her self respect and to teach a lesson for insulting her.Let us know how it happened.

Zohra was shooting for film ‘Jawani Diwani’-34 in Jayant studio of Jayant Desai. She had sent her driver for bringing lunch, but he was delayed. The shooting was going on even after the Lunch period of 1.30 to 2.30. She became very uneasy. Unmindful of the delay, the director arranged foranother shot. Zohra told him,” Lunch hour is already over and it is past 2.30.I am going.”

The director said ” you cant go without doing this shot.”

Zohra was angry and said- “you are arranging for this shot since last one hour. I can not wait anymore.”

Director said sarcastically, ” O Bai ji, this is your job, not a joke.”

His calling her “Bai ji” was very insulting for Zohra. She removed her chappals and gave a solid beating to the director. He started begging pardon. This matter went to the owners and the director was removed instantly. You must be wondering how the word ‘ Bai ji’ annoyed Zohra. To understand this, we have to know something.

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

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

They all were called collectively as Tawayafs. The readers will now understand the difference between Amirbai,Waheedanbai,Jaddanbai and Tamancha Jaan, Gauhar Jaan, Malika Jaan, Zohra Jaan etc etc.

There were quite a few such stars in the annals of early cinema world. Hopefully,more artistes will be dug out with their history.

Today’s song is sung by Jaishree. The video shows how happy Shakuntala is, about her father agreeing to send her to Dushant.

( This article is based on information from various sources, like Zohra’s interview in Madhuri magazine of 18-12-1981, book ” The lost treasure” by Kamlakar Pasupuleti and Surjit Singh ji, Screenplay by Isak Mujawar, MuVyz, HFGK, CITWF, shri Harish Raghuwanshi ji and my notes.)


Song- Mere baba ne baat meri maan li (Shakuntala)(1943) Singer-Jayshree, Lyricist- Ratan Piya, MD- Vasant Desai

Lyrics

Mere baba ne baat meri maan li
Mere baba ne baat meri maan li
?? baba ne
?? baba ne
achche baba ne baat meri maan li
achche baba ne baat meri maan li
Mere baba ne baat meri maan li
Mere baba ne baat meri maan li

?? sandes
apne preetam ke des
?? sandes
apne preetam ke des
haay ??
kaun jaaye arri
le ke paati meri
kaun jaaye arri
le ke paati meri
Mere baba ne baat meri maan li
Mere baba ne baat meri maan li

bhanwre bhejoon tujhe
par hai ye darr mujhe
wo bhi kaliyon ka ras pee ke phool jaayega
wo bhi kaliyon ka ras pee ke phool jaayega
aur mera sandesa bhi bhool jaayega
aur mera sandesa bhi bhool jaayega

meri nanhi kudi(??)
aaj kar lo deri
meri nanhi kudi(??)
aaj kar lo deri

arre pyaari gayi maari
kya jaayegi
arre pyaari gayi maari
kya jaayegi
raah aadhi na pahunchegi
laut aayegi
raah aadhi na pahunchegi
laut aayegi
Mere baba ne baat meri maan li
Mere baba ne baat meri maan li

maina

kaho mitthhu ye maina tumhaari
saari baaten kahegi hamaari
nahin bhoolegi na
na na na na na
?? kah degi na
haan haan haan haan haan
mere pyaare pyaare maina
mere achche achche maina
mere pyaare pyaare maina
mere achche achche maina
leja meri khabar
mere saajan ke ghar
leja meri khabar
mere saajan ke ghar
Mere baba ne baat meri maan li
Mere baba ne baat meri maan li

kahna ab to bula lo mujhe
apne paas
kahna ab to bula lo mujhe
apne paas
pyaasi dasshan ki main
swaami teri udaas
pyaasi dasshan ki main
swaami teri udaas
dekh lena badha
unki jaldi se ??
jajaaldi jaldi se
meri pyaari pyaari maina
meri achchi ahchi maina
meri pyaari pyaari maina
meri achchi ahchi maina
leja meri khabar
mere saajan ke ghar
leja meri khabar
mere saajan ke ghar
Mere baba ne baat meri maan li
Mere baba ne baat meri maan li

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


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 : 4040 Post No. : 15165

Today’s song is from film Gulami-45. It was a film made by Shalimar Pictures, Poona. Directed by M.Wadhwani, its music was by S.K.Pal. Songs were written by Bharat Vyas, Josh Malihabadi, Akhtar-ul-iman and Majaj. Film Gulami aka Rape of Burma-45 was not a great film. The cast of the film was Renuka Devi, Masood Pervez, David, Tiwari, Bharat Vyas, H. Prakash, Kathana, Balraj Mehta, Neelam etc etc.

The Heroine Renuka Devi was an extraordinary woman, considering the times in which she was living. Renuka Devi ( Begum Khursheed Mirza) was perhaps one of the most educated, upper class, sophisticated and highly cultured Muslim lady, who ever joined the film industry then. One more striking feature of Renuka Devi was that she was one of the very few actresses, who joined films after their marriage. The other such examples I remember off hand are those of Meenakshi Shirodkar (Bramhachari-38 fame), Shobhana Samarth and actress Neena ( real name Shahida-wife of Mohsin Abdulla, brother of Renuka Devi).

Renuka Devi (4-3-1918 to 8-2-1989) had studied up to Masters degree in English Literature, from Aligarh Muslim University. The only other nearest example I remember off hand is that of actress Vanmala (real name Susheela Devi Pawar), who had done B.A., B.T. and was a Teacher in the college before joining films,at the behest of writer, journalist and Director P.K.Atre.

Back in the Thirties, acting in films was not considered an honourable profession for anybody. And for a married woman from a well-educated and respectable upper-middle class Muslim family, it was forbidden to even think about it. But Khurshid Mirza, the daughter of the founders of the Aligarh Women’s College, the wife of a police officer and already a mother of two, was too free-spirited to be tied down by any social norm. She took the plunge and soon a star named Renuka Devi was born.

In those days,popular actresses used to earn quite a lot. For example, Shobhana Samarth earned 36000 ( about 18 lakhs at today’s rate) rupees every year. Other actresses like Shanta Apte, Naseem Bano, Sardar Akhtar, Madhuri etc got about 30000 or so. This was a time when a Chiffon Saree was for Rs.9 and a brand New Studbaker car was for Rs. 5000 only. Renuka Devi also was interested in earning money. However Renuka Devi did only few films in her career. She worked with Bombay Talkies, New Theatres, Shalimar and such big banners. Her films are Jeevan Prabhat-37, Bhabhi-38, Badi didi-39, Naya Sansar-41, Shri Ramanuja-43, Sahara-43, Samrat Chandragupta-45, and Gulami-45 .

After partition, her family migrated to Pakistan. In Pakistan, though in demand, she refused to do any films. Instead, she decided to devote her time for women’s uplift, education, welfare and social work. She also did some work on Pakistan Radio,and Pakistan TV.

She published 9 instalments of her autobiography in the popular magazine ” Herald ” from August 1982 to April 1983, under the title ” The uprooted sapling”. This was,later on edited and published by her daughter Lubna as a Book, in 2004, titled- ” A woman of substance- the memoirs of Begum Khursheed Mirza “.

In her book she included a chapter of 24 pages ” Renuka Devi-my celluloid identity”, in which she has described many interesting anecdotes. Her detailed description of the times of the 30s and 40s is a lovely chronicle of the history of Bombay film industry.

Renuka Devi died on 8-2-1989 at Lahore after a prolonged illness. ( As her bio has already been given earlier in this Blog by me and Sadanand Kamath ji, I am not repeating it here).

Film Gulami-45 was a film without the regular Heroine of Shalimar pictures-Neena- real name Shahida. She was Mohsin Abdulla’s wife before W.Z.Ahmed lured her in his net. Abdulla was Renuka Devi’s younger brother. it is said that during the shooting of the film in the studio, Neena never ever visited the studio, as she was too embarrassed to face her sister-in-law.

Bharat Vyas (18-12-1918 to 5-7-82) -who wrote the story,songs and even acted in it, was spotted by W. Z.Ahmed and he offered Vyas a lucrative salary which was hard to refuse, to join Shalimar. Vyas was happy to join because, in Shalimar, he had the company of Josh Malihabaqdi,Akhtar-ul-iman, Kishen Chander, Ramanand Sagar and Sagar Nizami-all employed by Shalimar.He started by writing all 12 songs for film Prem Sangeet-43.Then came Mann ki jeet-44 and Prithwiraj Sanyogita-46. His last film here, Meerabai-47, was also the last film of Shalimar. His job was to adapt Meera bhajans in song form.

After Partition,Neena and Ahmed migrated to Pakistan, taking along with them all the prints of their films and Shalimar became an orphan. Vyas went to Madras to work for S S Vasan for his film ‘ Chandralekha’-48. When he came back, he was approached by some ex-workers of Shalimar. They wanted to revive Shalimar by completing the incomplete film ‘ Rangila Rajasthan. Actually, in 1946 itself, Ahmed had entrusted this film’s direction to Bharat Vyas and some shooting was also done. However due to several reasons, this film was stopped and Meerabai was completed.

They wanted like minded ex-employees to work free to produce the film.Bharat Vyas agreed.He not only wrote songs,but also composed few songs, along with MDs S K Pal and B S Kalla. Further he directed film ‘Rangeela Rajasthan’-49.However, despite all efforts, the film flopped and Shalimar closed down for ever.

In film Gulami, Vyas wrote some songs and aslo sang a duet and a solo song, besides acting in it.Bharat Vyas wrote 1247 songs in a85 films. He acted in 3 films- Gulami-45, Prithviraj Sanyogita-46 and Maa-52. He sang 8 songs in 6 films- Prem sangeet-43, Mann ki jeet-44, Gulami-45, Chandralekhs-48, Navrang-59 and Bharat ki santan-80.

A very odd name in the cast can be seen- Balraj Mehta. I am sure,hardly anyone has ever heard his name, but he was a very active person in his life. Born on 22-4-1918 at Lahore, he was the son of Sukh Dayal Mehta – Superintendent in the Commissioner’s office at Lahore. He completed Matriculation from Central Model High School and B.A. from Dayal Singh College of Lahore in 1939.

He was active in Students’ union and held General Secretary’s post of Punjab University Students’ Union, in 35-37. He organised All India Student Federation conference in 36/37. He was a born Leader. He was interested in acting on stage. In 1944, he founded Indian National Theatre (I.N.T.), which is a very famous institution in India now also. He wrote, directed and produced its first stage drama ” Aawaaz’ in 1945.

By now he was married and needed to earn money. He joined film line. He acted first in ‘ Dulla Batti’ in 1939-40. Then came Sajjan-41,Panna-44, Parakh-44, Patharon ka Saudagar-44, Gulami-45 and lastly Pul-47.In the period 1944-45, he also became Secretary of Film Artistes’ Association and served it for a long time. In 1947, he entered Politics. After Independence, he became a journalist. There is no information about him after this.

Though, film Gulami-45 was completed and certified by Censors in 45, it was released somewhere in the mid 46, as per news item found in Film India magazine. Though the magazine did not publish its full review, a short note, as usual, criticised the lead pair’s acting and praised the direction. It had no good words about the music also. Some readers’ comments also criticised the film.

It was pointed out by one reader that the film was a copy of Hollywood film ” Dragon Seed “-1944. The film ,in its advertisement, described it to be a ‘ Thrilling Patriotic story’. The parallel title of the film was ” Rape of Burma”, indicating a love story in Burma with the war background. However,when the film was released in or around May 1946, the War had ended long back and the film had lost its advantage of Topicality. Baburao Patel also ridiculed showing the married and a mother of 2 kids (Renuka Devi) as an 18 year old girl in the movie.

Renuka Devi was not a singer, nor is there any evidence that she received training is Music. Same case was with Bharat Vyas. Still,they sang this duet in a well balanced way. Though the songs of this film ( I have 4 songs of this film with me) are not that well tuned to remain in memory, but they were of average standard. Even otherwise the MD-S.K.Pal ( nephew of Ramchandra Pal,MD with Bombay Talkies), was not famous to have created any memorable song in his career.

So, here is the duet of Bharat Vyas and Renuka Devi.

(Some information in this article is used, with thanks, from the book ” A woman of substance” by Renuka Devi, webly.com, Who’s who in Film Industry-46, issues of Film India for 1945 and 1946 and my own notes.)


Song-Aajaa aajaa aajaa re O Geeta ke Bhagwaan (Ghulaami)(1945) Singers-Bharat Vyas, Renuka Devi, Lyrics-Bharat Vyas, MD-S K Pal
Both

Lyrics

aaja aaja aaja re
aaja aaja aaja re
aaja aaja aaja re
aaja aaja aaja re
o geeta ke bhagwaan
wo apna vachan nibha ja re
o krishn shiv aajaa aajaa re
aaja aaja aaja re

kab se naina pyaase hain
pal bhar to pyaas bujha jaa
kab se naina pyaase hain
pal bhar to pyaas bujha jaa

ham laakh baar aayen mohan
tu ek baar to aa jaa
ham laakh baar aayen mohan
tu ek baar to aa jaa
aaja aaja aaja re
aaja aaja aaja re

ek baar phir braj mein raas racha ja
bansiwaale
ek baar phir braj mein raas racha ja
bansiwaale

sang tumhaare naachen ham
ban kar gokul ke gwaale
sang tumhaare naachen ham
ban kar gokul ke gwaale

bas ek baar phir braj ki wo
bas ek baar phir braj ki wo
jhaanki dikhla jaa re
?? dikhlaa jaa re
phir usi baansuri ki sundar wo
taan suna jaa re ae ae
seeta ke bhagwaan wo apna
vachan nibha jaa re
o krishn phir aaja aajaa re
aaja aajaa aajaa re

brij baalaayen roti hain
rote hain gokul waale
brij baalaayen roti hain
rote hain gokul waale

jamuna ki lahren roti hain
kyun roothhe bansi waale
bansi waale ham roton ko
kuchh dheer bandhaa jaa re ae
bansi waale ham roton ko
kuchh dheer bandhaa jaa re

hamen ye to samjha jaa re
kya bhool huyi jo bhool gaya
kya bhool huyi jo bhool gaya
ye bhed bataa jaa re
geeta ke bhagwaan ho apna vachan nibha jaa re
o krishn phir aajaa aajaa re
aajaa aajaa aajaa re


Advertisements

Important Announcement

(© 2008 - 2019) 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.

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 ELEVEN years. This blog has over 15200 song posts by now.

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

Total number of songs posts discussed

15258

Number of movies covered in the blog

Movies with all their songs covered =1179
Total Number of movies covered =4192

Total visits so far

  • 12,398,145 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,769 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Archives

Stumble

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Advertisements
%d bloggers like this: