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

Archive for the ‘Actor-Singer song’ Category


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a 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 :

4834 Post No. : 16617

When I joined this Blog’s activities in 2010, by way of comments, I used to first read the post fully. In one post our ATUL ji had said something which has been carved deep in my mind. He had said that “In India, people are interested in 3 things- Cricket, Films and Politics”. How true it is !

However, based on my experience of so many years in different fields all over India, I could add one more activity to the above three. And the activity is ” Branding”, Not the kind of Brands in the markets, what I mean is ” Labelling “, in other words. We Indians are quick in branding or labelling everything. In fact it is our very faourite pastime.

Some examples will explain what I mean. Take the case of Cinema – we branded Dilip Kumar as the Tragedy King, Meena Kumari as the Tragedy Queen, Jeetendra as the Jumping Jack, Mithun as Poor Man’s AB, AB as the Angry Young man etc etc. The branding did not change even after DK changed the track and acted in films like Azaad, Ram aur Shyam or Naya Daur etc. AB remained the same even after films like Chupke Chupke, Anand, Abhimaan or Amar Akbar Anthony. Same thing about other actors. Branding/Labelling or the Chhappa is for ever !

Take another example. We feel a Sikh must be either a Taxi Driver or in Army or Police, A Gujarati should only do business, A Bihari must only do Kheti, A Bengali must only read a book or write a book, A Marathi must only do a service in some company or Government etc etc. What if Sikhs are big businessmen, actors, singers ? What if a Gujju is a fine actor, Musician or a singer or a Politician ? What if the Biharis are the single largest group in the successful IAS Cadres (25 % in the last 10 years) ? So on so forth. But No – Branding is almost permanent !

Today we are going to talk about a Gujarati Saint. GUJARAT- the name itself evokes thoughts of Trade and Business. Due to their Business talents, Gujarat was known to Romans, Greeks and Persians, since the pre Christ era. Gujarat Maritime merchant history dates back to the First century after Christ.
Gujarat had produced many worthy souls who made the country proud of them. The top being Gandhi ji. Then there were Sardar Patel, Vikram Sarabhai(Space Ace), Morarji Desai, the Ambanis, Azim Prem ji, Parsis of Navsari, Narendra Modi, Amit Shah etc etc. In the religious field, Gujarat had its share with Jalaram Bappa, Narsi Bhagat, Dadu Dayal, Dayanand Saraswati, Rang Avdhoot ji, Rameshbhai oza, Hemchandra Surishwar, Pramukh Swami etc etc. (these are only indicative examples,not exhaustive).

India had been under the Mughal and the British rules for hundreds of years. A Nation of Hindu majority was ruled by the Minority Mughals, who perpetrated a lot of injustice and tried to destroy the Indian Culture with barbaric brutalities. This gave rise to the Bhakti movement to awaken the Indians and make them self conscious about their own strengths.

The Bhakti Movement was India’s own way to combat foreign attackers, cruel rulers and the sleeping people of India. The movement from 1300 to 1600 AD produced many religious Saints and social reformers from Kanyakumari to Kashmir and from Assam to Gujarat. Indian culture is such that the advice given by a religious saint is more acceptable than that given by a social reformer. Thus, in this hour of need, India’s Saints tried to teach message of reforms such as removal of Untouchability, freedom from Varnashram lifestyles, importance of education, Women’s emancipation and other such matters,through their poems, dohas, Abhangs and writings as well as kirtans. They tried to make the masses wake up against the ill effects of social practices that were being observed those days.

Saints appeared in ALL areas of India,during this period. However,due to language problems, knowledge and information about Saints in other regions trickled down very slowly. States which shared the use of Devanagari script were aware about them in a better way. Thus,Maharashtra,Gujarat,Rajasthan and the Northern Hindi belt states exchanged their knowledge about their saints more frequently than other regions such as Bengal, the Eastern states or the southern states where the scripts were different. Andhra and Karnataka were closer as their scripts are similar, except perhaps the alphabet ‘K’. Tamil and Malayalam scripts have Dravidian origins and were not easily accessible for the rest of India.

India is a Multi racial, multilingual and Multi religions country. It is not only one of the largest Democracies in the world, but also the largest Secular state in the world, where people from different faiths have been living together since centuries.

Many saints and religious leaders have played a significant role in keeping the mixed population of India as One Unit, when it was needed the most. A majority of Hindus, ruled by Muslim Mughals was a natural cause for social divisions, but Saints like Kabir, Surdas, Tulsidas, Ramdas, Tukaram, Ramanand, Narsi Mehta, Purandar das,Namdev, Guru Nanak Dev, Eknath, Bhakta Pundarikar, Rohidas, Mrutyunjaya and many such noble souls, did an excellent job of maintaining harmony amongst peoples of different faiths.

Today we will talk about the ADI KAVI of Gujarati-Narsimh Mehta aka Narsi Bhagat (1414 to 1486). He is one of the most popular saints of Gujarat. No wonder then,that the First Talkie in Gujarati was a film called NARSI MEHTA-1932. In Hindi too,”Narsi Bhagat ” was made as early as 1940. Vishnupant Pagnis (Sant Tukaram fame) had done the role of Narsi Bhagat in this film.(In the first Talkie film of Gujarat “Narsi Mehta”-1932 also this role was done by a Marathi actor Maruti Rao Pehelwan.)

The best Bhajan written by Narsi Bhagat is “Vaishnav jan to tene kahiye”. All Indians know that this was the most favourite Bhajan of Gandhi ji. Actually many people thought that he himself wrote this Bhajan !

Here is a short Biography of saint Narsi Bhagat –

Narsinh Mehta was born in Vaishnava Nagar community at Talaja and later shifted to Junagadh (then Jirndurg) in Saurashtra, Gujarat. He lost his parents when he was 5 years old. He could not speak until the age of 8. He was raised by his grandmother Jai Gauri.

He married Manekbai probably in the year 1429. Mehta and his wife stayed at his brother Bansidhar’s place in Junagadh. However, his cousin’s wife (Sister-in-law or bhabhi) did not welcome Narsinh very well. She was an ill-tempered woman, always taunting and insulting Narsinh Mehta for his worship (Bhakti). One day, when Narasinh Mehta had enough of these taunts and insults, he left the house and went to a nearby forest in search of some peace, where he fasted and meditated for seven days by a secluded Shiva lingam until Shiva appeared before him in person. On the poet’s request, the Lord took him to Vrindavan and showed him the eternal raas leela of Krishna and the gopis. A legend has it that the poet transfixed by the spectacle burnt his hand with the torch he was holding but he was so engrossed in the ecstatic vision that he was oblivious of the pain. Mehta, as the popular account goes, at Krishna’s command decided to sing His praises and the nectarous experience of the rasa in this mortal world. He resolved to compose around 22,000 kirtans or compositions.

After this dream-like experience, transformed Mehta returned to his village, touched his bhabhi’s feet, and thanked her for insulting him. In Junagadh, Mehta lived in poverty with his wife and two children, a son named Shamaldas, and a daughter for whom he had special affection, Kunwarbai. He revelled in devotion to his hearts’ content along with sadhus, saints, and all those people who were Hari’s subjects – Harijans – irrespective of their caste, class or sex. It also seems that he must have fallen into a somewhat ill repute for his close relations with Lord’s sakhis and gopis, Narsinh mehta’s women followers, with whom he danced and sang. The Nagars of Junagadh despised him and spared no opportunity to scorn and insult him. By this time, Mehta had already sung about the rasaleela of Radha and Krishna. The compositions are collected under the category of shringar compositions. They are full of intense lyricism, bold in their erotic conception and are not without allegorical dimensions, this saves the compositions from being something of erotic court poetry of medieval India.

Soon after his daughter Kunwarbai’s marriage (around 1447) to Shrirang Mehta of Una’s son, Kunwarbai became pregnant and it was a custom for the girl’s parents to give gifts and presents to all the in-laws during the seventh month of pregnancy. This custom, known as Mameru, was simply out of the reach of poor Narsinh who had hardly anything except intransigent faith in his Lord. How Krishna helped his beloved devotee is a legend depicted in ‘Mameru Na Pada’. This episode is preserved vividly in the memory of Gujarati people by compositions by later poets and films. Other famous legends include ‘Hundi (Bond)’ episode and ‘Har Mala (Garland)’ episode. The episode in which none other than Shamalsha Seth cleared a bond written by poverty stricken beloved, is famous not only in Gujarat but in other parts of India as well. The Har Mala episode deals with the challenge given to Mehta by Ra Mandlik (1451–1472) a Chudasama king, to prove his innocence in the charges of immoral behavior by making the Lord Himself garland Narsinh. Mehta depicts this episode. How Sri Krishna, in the guise of a wealthy merchant, helped Mehta in getting his son married is sung by the poet in ‘Putra Vivah Na Pada’. He went to Mangrol where, at the age of 79, he is believed to have died. The crematorium at Mangrol is called ‘Narsinh Nu Samshan’ where perhaps one of the greatest sons of Gujarat was cremated. He will be forever remembered for his poetic works and devotion to Lord Krishna. He is known as the first poet of Gujarati.

The role of Narsi Bhagat was done by Vishnupant Pagnis, a Marathi actor who became famous due to his role in film ” Sant Tukaram”-1936 by Prabhat Film co. Vishnupant Pagnis was born in a small place Chikodi, near Kolhapur, on 1-11-1892, in a lower middle class family. After formal education, he was assisted by Shahu Maharaj of Kolhapur state to join a Drama company at the age of 10 years. He sang naturally, without any training from an expert. He was a popular artiste doing female roles, till his entry in films. He shifted to work in various drama companies including “Lalit Kaladarsh” of Mama Varerkar- a name connected with many Marathi and Hindi films of that time. In 1913, he floated his own company ‘ Jagchitradarsh ‘, only to wind up after two years in 1915. He continued working in dramas and doing female roles, for which he was famous in those times.

After a few years, he left drama acting. In 1920, he worked in a silent film, Surekha Haran. In this film V Shantaram had also acted. After this he worked as a Music Teacher in Municipal school at Girgaum in Bombay. After his wife died, he lived with his friend Petkar. They started a Gold Jewellery shop “Pagnis Petkar and Mandali” in Girgaon.

When Prabhat Film company planned to make Sant Tukaram, a search was undertaken for the main role and the main female role. This was in early 1936 and he was selected for the role of Tukaram, while a worker in the Prabhat company-Gauri – was selected as his wife. The Director duo of the film- Damle and Fattelal- were not happy about his selection, because his name was associated with female roles. But this became his strong point for the film in which he portrayed a soft, kind and loving Tukaram. He did the role so well that the film Sant Tukaram became an International Hit, in addition to running to full houses in Non Marathi areas like Madras Presidency, covering Andhra, Tamilnadu, Kerala and Karnataka and also in Bengal and Punjab. He became an actor in great demand for Saint films. After the film Sant Tukaram, hundreds of people used to crowd in his shop at Girgaum to pay respects and touch his feet as Tukaram. He also always dressed like Tukaram thereafter !

Vishnupant Pagnis worked in 4 more such films, namely Sant Tulsidas-39, Narsi Bhagat-43, Bhakta Raj-43 and his last film Mahatma Vidur-43. He also gave music to 2 films, Sant Janabai- 38 and Sant Tulsidas-39 (Marathi). These two and Mahatma Vidur were also made in Marathi language. His most famous film Sant Tukaram was released in Hindi only in 1948, but without his songs, because he had died on 3-10-1943. The MD- Snehal Bhatkar sang his songs in the Hindi version.

Vishnupant Pagnis did the immortal role of Tukaram in his first film and then lived the role throughout his life, though he did 4 more films in the same Genre of Saint films.His name became famous not only in India but also in other countries, when this film was hailed as “one of the 3 Best films in the world”at the Venice Film Festival, where it won accolades.

Records of his Bhajans from this film created records ( we too had these records in our house in the 40s.) Even today this film is shown and discussed in the film Institutes of many countries.Many books, essays and articles are published on this film. His performance as Tukaram has become a major reference-point in debates about Indian performance idioms: e.g. Kumar Shahani’s essay The Saint Poets of Prabhat, 1981; Geeta Kapur’s Mythic Material in Indian Cinema, 1987 etc etc.

Today’s bhajan is a very good Bhajan. I like it very much. You may also like it.


Song- Mori Hundi sweekaaro maharaj re (Narsi Bhagat)(1940) Singer- Vishnupant Pagnis, Lyricist- Not known, MD- Shankar Rao Vyas

Lyrics

Mori Hundi sweekaaro maharaj re
saanvre giridhaari
Mori Hundi sweekaaro maharaj re
saanvre giridhaari
Mori Hundi sweekaaro maharaj re
saanvre giridhaari
mohe ek tihaaro aadhaar re
mohe ek tihaaro aadhaar re
saanwre giridhaari
Mori Hundi sweekaaro maharaj re
saanvre giridhaari

raakhi ?? Prahlad ki
liyo narsinh Avtaar
kamb phaari pargat bhaye
taaro bhoomi ko dhaar re
saanvre giridhaari
Mori Hundi sweekaaro maharaj re
saanvre giridhaari

pooji gopi chandan mori
tulasi kone ko haar
saancha gahna to mero saanwro
mori daulat hai jhaanjh khadtaal re
mori daulat hai jhaanjh khadtaal re
saanvre giridhaari
Mori Hundi sweekaaro maharaj re
saanvre giridhaari
bhajo Radhe Govind bhajo Radhe
bhajo Radhe Govind bhajo Radhe
bhajo Radhe Govind bhajo Radhe
bhajo Radhe Govind bhajo Radhe

bhajo Radhe Govind
bhajo Radhe Govind
bhajo Radhe Govind
bhajo Radhe Govind


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 :

4833 Post No. : 16616

Hullo Atuldom

Another date of October for which I always need to write out a post for.

It being the birth date of an actor whose work I began liking post 1975- “Sholay” to be exact. I liked the way he delivered his dialogues. Some dramatic dialogues which he had casually uttered are iconic and classic and stuff which fans quote as legendary.

Remember ‘mere paas maa hai’ it was not said forcefully or with banging of fists or any such heavy add-ons. He was also given dialogues which were comic in nature -for example the cricket commentary in English that has made “Namak Halal” a movie worth watching; he even managed to squeeze in some comedy intto the fight sequence in the climax of the movie. But I always loved the late night scene in Asrani’s office when Amitabh Bachchan calls Asrani and Dharmendra for a meeting to discus the situation between Vasudha and himself. I know I need not mention that I am talking of the Hrishikesh Mukherjee ’70s classic “Chupke Chupke” and the expression that he had when he said “for safety’s sake main woh bhi batadoonga”- priceless. He was so nice at depicting his emotions and I may have mentioned this a few times in earlier posts about how the scene between Sanjeev Kumar and AB Sr. in “Khuddar” was memorable as both the actors spoke with their eyes. An added advantage the film industry had when working with AB Sr. was he was good in action sequences too and is known to have enacted many of them without using a body-double or ‘stuntman’ (in filmy parlance). He managed to overcome his awkwardness where dance (a necessity in Indian movies) was concerned. He has also tried his hand at singing for his characters; for which initially, he was made-fun-of as he was considered to be a tuneless singer but he has sung and many of them have been very popular with his fans.

Today’s post which celebrates this all-time favorite actor of mine turning a year older or a step closer to 80 has a song from the 2003 (can’t believe this film was 18 years back, time has just flown) B R films production and Ravi Chopra directed “Baghban”. It had music by Aadesh Srivastava and Uttam Singh and songs were penned by Sameer. Alka Yagnik, Hema Sardesai, Richa Sharma, Sneha Pant, Udit Narayan, Aadesh Srivastava, Sudesh Bhonsle and Amitabh Bachchan were the playback singers used.

This song is pictured with an emotional Raj Malhotra (AB Sr.) singing, and yearning for his wife Pooja (Hema Malini) who is staying with one of their sons and he himself with another son. The story of ‘Baghban’ was something which was popular in the 60s and early 70s; but even this movie was successful with the new generation moviegoers. This song can also been seen as proof of what I stated earlier in this post viz. “actors speaking with their eyes”; here it is Hema and AB Sr. They have played the old couple so convincingly. The song is sung by Amitabh Bachchan and Alka Yagnik.

Here is wishing the (once) Angry- Youngman, Shahenshah of Bollywood, Star of the Millennium, Big B or AB Sr. (people in entertainment industry have been addressing him in this manner for a few years now) a Happy Birthday and lots of good health.


Song-Main yahaan tu wahaan zindagi hai kahaan (Baagbaan)(2003) Singers-Amitabh Bachchan, Alka Yagnik, Lyrics-Sameer, MD-Aadesh Srivastava

Lyrics

main yahaan tu wahaan
zindagi hai kahaan

main yahaan tu wahaan
zindagi hai kahaan
main yahaan tu wahaan
zindagi hai kahaan
tu hi tu hai sanam dekhta hoon jahaan
neend aati nahin yaad jaati nahin ee ee
neend aati nahin yaad jaati nahin
bin tere abb jiya jaaye naa aa aa
main yahaan tu wahaan
zindagi hai kahaan

waqt jaise thehar gaya hai yahin
har taraf ek ajab udaasi hai
bekaraari kaa aisa aalam hai
jism tanha hai rooh pyaasi hai

teree soorat ab ek pal kyun nazar se hatati nahin
raat din toh kat jaate hain
umr tanha katati nahin
chaah ke bhi naa kuchh keh sakoon tujhse main aen aen
chaah ke bhi naa kuchh keh sakoon tujhse main
dard kaise karoon main bayaan aan aan
main yahaan tu wahaan
zindagi hai kahaan

jab kahin bhi aahat huyi
yoon laga ke tu aa gaya aa
khushboo ke jhonke ki tarah
meri saansen mehka gaya
ek woh daur thha
ham sada paas thhe ae ae
ek woh daur thha
ham sada paas thhe
ab toh hain faasle darmiyaan aan aan
main yahaan tu wahaan
zindagi hai kahaan
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm

beeti baaten yaad aati hain
jab akela hota hoon main
bolti hain khaamoshiyaan
sabse chhupke rota hoon main
ek arsa huwa muskuraaye huye ae ae
ek arsa huwa muskuraaye huye
aansuon mein dhali daastaan aan aan
mai yahaan tu wahaan
zindagi hai kahaan
tu hi tu hai sanam dekhta hoon jahaan
neend aati nahin
yaad jaati nahin ee ee
neend aati nahin
yaad jaati nahin
bin tere ab jiya jaaye naa aa aa


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 :

4820 Post No. : 16595

Hullo Atuldom

“Pukaar” (2000) was a Rajkumar Santoshi directed and Surinder Kapoor, Boney Kapoor, and Bharat Shah production. It had dialogues and screenplay by Anjum Rajabali and Rajkumar Santoshi, lyricists were Majrooh Sultanpuri (who wrote four songs) and Javed Akhtar (wrote two songs). A R Rehman was the music director. The cast was headed by Madhuri Dixit, Namrata Shirodkar, Anil Kapoor; Farida Jalal, Girish Karnad, Om Puri, Kulbhushan Kharbanda, Danny, Rohini Hattangadi, K D Chandran, Anjan Shrivastav, Govind Namdeo, Mukesh Rishi etc. in supporting roles. There was a surprise element in the cast, which I shall get to later in the post.

The movie was a fictional account of the terrorist problems plaguing India. We had Anil Kapoor playing Major Jaidev Rajvansh and Farida Jalal and Girish Karnad played his parents. Major Jaidev has Pooja (Madhuri Dixit) as his childhood friend who has been in love with him forever. The Major and his fellow officers manage to rescue a leading politician and also capture the terrorist (Abhrush played by Danny) who has masterminded the kidnapping of the politician (Govind Namdeo).

The movie had all the masala needed for calling itself a patriotic movie- terrorist (supposedly from Pakistan), corrupt politician, men in uniform who go beyond their prescribed calling in tracing/tracking the terrorist in spite of being severely wounded or even dying in the melee. The whole movie is set in some picturesque hill-town which has a colonial Town Hall where the climax takes place. The terrorists decide to blow up the town hall and its clock tower with the help of time-bombs and our severely wounded hero with his highly repentant girl friend (why the girl is repentant can be understood if one sees the movie)- who are both tied to structure- have all the time duration of the song/ event being held in the premises of the Town Hall to discover and deactivate the bombs.

We are having the song that is being staged during the climax with this post. It is sung by Lata Mangeshkar and written by Majrooh Sultanpuri. On screen the person lip-syncing the song is Lata Mangeshkar herself (the surprise element that I wrote about earlier). I was awed when I saw the song for the first time ever all those years back – 21 years back to be exact. She was only 71 then. The song has The Lata Mangeshkar playing herself and singing this plaintive appeal to end all violence. She appears in her trademark saree with a group of kids who also emote the song rather well. We can see Girish Karnad and Farida Jalal in the audience and Danny stealthily making his way into the premises using forged ID card.

We all know that Lata didi (as the whole entertainment industry addresses her) had faced the camera at the beginning of her career. Recently I received this video of a Marathi song where she appears with her sisters in the group of children singing at a party. Our blog also has the first ever song in Hindi which was for the marathi movie “Gaja Bhaau” (1943).

Same date, last year, Atulji has taken up the daunting task of trying to list every single Hindi movie where Lata Mangeshkar has even ‘hummed’ a line. That series was kicked off with this post. That is material for about 64 posts and at the rate of one-post per week we reached post number 53 this Monday, the series kick started on her birthday, last year.

I may not be a huge fan of this “Bharat Ratna”, but I always try to sing her songs and admire the way she modulates her voice to suit the situation, actor and emotion of the song. I love many of the songs she has sung but will not sit to enlist them here.

Me, with my feeling of being a candle in front of such a huge personality, also try to send a post/song to wish this Nightingale lots of good health and cheer.

Video

Audio

Song-Ek tu hi bharosa ek tu hi sahaara (Pukaar)(2000) Singer-Lata, Lyrics-Majrooh Sultanpuri, Md-A R Rahman

Lyrics

aa jaao ki sab mil ke
rab se duaa maangen
jeevan mein sukoon chaahen
chaahat mein wafaa maangen aen
haalaat badalne mein
ab der na ho maalik
jo de chuke phir le
andher na ho maalik

ek tu hi bharosa
ek tu hi sahaara
iss tere jahaan mein
nahin koi hamaara
hey ishwar yaa allaah ye pukaar sun le
hey ishwar yaa allaah hey daata
hey ishwar yaa allaah ye pukaar sunle
hey ishwar yaa allaah hey daata

hamse naa dekha jaaye
barabaadiyon kaa samaa
ujadi hui basti mein
ye tadap rahe insaan
hamse naa dekha jaaye
barabaadiyon kaa samaan
ujadi hui basti mein
ye tadap rahe insaan

nanhe jismon ke tukde
liye khadi hai ek maa
baarood ke dhuven mein
tu hi bol jaaye kaha
ek tu hi bharosa
ek tu hi sahaara
iss tere jahaan mein
nahin koi hamaara
hey ishwar yaa allaah ye pukaar sunle
hey ishwar yaa allaah hey daataa
hey ishwar yaa allaah ye pukaar sunle
hey ishwar yaa allaah he daataa

naadaan hain ham toh maalik
kyun di hamein ye sazaa
yaa hai sabhi ke dil mein
nafrat kaa zehar bhara
naadaan hain ham toh maalik
kyun di hamein ye sazaa
yaa hai sabhi ke dil mein
nafrat kaa zehar bhara

inhen phir se yaad dilaa de
sabak wohi pyaar ka
ban jaaye gulshan phir se
kaanton bhari duniya
ek tu hi bharosa,
ek tu hi sahaara
iss tere jahaan mein
nahin koi hamaara
hey ishwar yaa allaah ye pukaar sunle
hey ishwar yaa allaah hey daataa
hey ishwar yaa allaah ye pukaar sunle
hey ishwar yaa allaah hey daata
(meri pukaar sunle)
hey ishwar yaa allaah ye pukaar sunle (hey ishwar )
hey ishvar yaa allaah hey daata (yaa allaah)
hey ishvar yaa allaah ye pukaar sunle (meri pukaar)
hey ishvar yaa allaah hey daata (sunle)
hey ishvar yaa allaah ye pukaar sunle (meri pukaar)
hey ishvar yaa allaah hey daata (sun le)
hey ishvar yaa allaah ye pukaar sunle (meri pukaar)
hey ishvar yaa allaah hey daata (sun le)


This article is written by Sadanand Kamath, 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 :

4820 Post No. : 16593

In the early 1940s, New Theatres (NT) was going through some lean period as some of its films like ‘Meenakshi’ (1942), ‘Saugand’ (1942), ‘Kashinath’ (1943), ‘Waapas’ (1943) etc could not garner box office success. During this period, there were exodus of some of the artists and technicians from NT to Bombay. In this background, NT produced ‘Udayer Pathe’ (1944) in Bengali with some new artists, new technicians and also with a new director, Bimal Roy who was the Cinematographer and the Editor with NT. The film became a big box office success, recouping to some extent the lost glory of NT.

Buoyed by the fresh success, NT decided to remake Hindi version, ‘Hamraahi’ (1945) with more or less the same star cast that were in the Bangla version. The star cast included Binota Bose (her first and the last Hindi film as an actress) and Radhamohan Bhattacharya in the lead roles, supported by Tulsi Chakraborty, Rekha Mullick, Debi Mukherjee, Hiralal, Ramesh Sinha, Manorama, Maya Bose, Devbala etc.

Incidentally,as reported in The Daily Telegraph’s E-paper, the lead actor, Radhamohan Bhattachraya’s 100th birth anniversary was on September 27, 2021. Bangla film fraternity gathered in Kolkata to pay tribute to him especially by actors who had worked with him. At the end of the gathering, one of his film, ‘Udayer Pathe’ (1944) was screened for the audience.

‘Hamraahi’ (1945) did not get the same success at the box office as was with its Bangla version. DVD of ‘Hamraahi’ (1945) is not available for viewing on any of the video sharing platforms. So, I watched the Bangla version, ‘Udayer Pathe’ (1944) with English sub-titles. The story of the film is the theme of rich-poor conflicts. The idea of making the film on rich-poor conflicts may have come when NT produced a documentary film on the Bengal famine of 1943 which was directed by Bimal Roy. The story of the film is as under:

Anup (Radhamohan Bhattacharya) is a middle-class journalist staying with his mother and a sister, Sumitra (Rekha Mullick). Anup gets a job at industrialist, Rajendranath’ office as a as a Publicity Officer. He also writes speeches for Rajendranath (Ramesh Sinha in Hindi version) which are well appreciated and Rajendranath attains a status of an intellectual.

Anup meets Gopa (Binota Bose) in a library where he comes to know that Gopa is the daughter of Rajendranath whose wife had falsely accused his sister, Sumitra of stealing from his house when she attended a party on the invitation of her school friend, Gopa, Anup decides to leave the job. After some persuasion by Rajendranath’s son, Souren (Debi Mukherjee), Anup agrees to complete the speech he was writing for Rajendranath. Souren in return agrees to get Anup’s novel printed.

Gopa gets hold of the manuscript of Anup’s novel. After reading it, she is impressed with the viewpoints he has about the rich-poor class struggles. She starts meeting Anup quite often. In the meanwhile, the novel is printed and released but instead of Anup’s name, the novel carries the name of Sauren as the author. Anup is not in a position to prove the wrong-doing of Souren, Instead, he decides to take up the issues of the workers in factories of Rajendranath. Gopa also gets involved with workers’ union to understand their problems. Anup becomes popular among the workers and becomes the leader of the workers’ union.

Souren is not happy with this development. He hires goons to to disturb the workers’ meeting during which Anup gets hurt. Gopa arrives to take care of him. The next day, the photograph of Gopa with Anup becomes a scandalous news. Rajendranath bars Gopa from meeting Anup. He also visits Anup’s house requesting him not to meet Gopa in future which Anup agrees under the impression that Gopa regretted her decision to join him as told to him by Gopa’s father. But it was not true as Gopa decides to leave her father’s house to join Anup for the betterment of underprivileged.

It is interesting to note that the film ends with Gopa driving a car to catch-up with Anup who has decided to leave the place. As soon as she locates him walking on the road, she abandons the car and walks with Anup for ‘udayer pathe’ (new path of dawn). In a way, the film became ‘udayer pathe’ for Bimal Roy as well as a renowned director. Later, he directed ‘Do Beegha Zameen’ (1953) with more or less the similar theme of rich-poor conflicts.

Generally, in the films with the story of rich-poor conflicts, capitalists have been mostly shown as a ruthless exploiters of the working class. The leaders representing the working class have often been shown with militant attitude. In ‘Udayer Pathe’/Hamraahi’, Bimal Roy has shown the characters representing the capitalist and the labourer in a restraint manner. There are no rhetoric dialogues for one-upmanship. Even the romantic relationship between Anup and Gopa have been kept in a very restrain fashion. In the film, they meet mostly in the context of understanding and solving the problems of workers with an undertone of liking for each other.

The story of ‘Udayer Pathe’/Hamraahi’ was written by IPTA writer, Jyotirmoy Roy. After the tremendous success of ‘Udayer Pathe’, Jyotirmoy Roy wrote a full-fledged novel in Bengali on the subject which became among the best seller novel.

‘Hamraahi’ (1945) had 7 songs (including one song in Bangla) of which 5 songs have been covered in the Blog. I am presenting the 6th song, ‘hansi chaand ki aaj niraali’ sung by and picturised on Binota Bose. The song has been written by Munshi Zakir Hussain which is set to music by R C Boral. Actually, the tune of this song is almost the same as that of the Bangla version of the song, chander hasir bandh bhengechhe which was written and composed by Gurudev Rabindranath Tagore and used in ‘Udayer Pathe’ (1944).

I have watched the Bangla version of the song which is available in the film ‘Udayer Pathe’ (1944). The song has been beautifully picturised in a full moon light setting. I have given below the link to the Bangla version of the song just to get an idea as to how the song was picturised in Hindi version of the film. The background behind the song picturization is as under:

After attending the workers’ meeting, Gopa and Anup are on their way to return to their respective homes. On the way, they find moonlit path. Gopa desires to spend some time to enjoy the nature in the midst of moon light. It is at this point, Anup reminds her of the commitment she had made to sing a song for him. He says that it is a perfect setting for singing a song. She sings the song full of description of the nature (prakriti varnan) which is Gurudev Rabindranath Tagore’s one of the favourite themes. Munshi Zakir Hussain’s lyrics for Hindi version retains some parts of the ‘prakiriti varnan’ with some different imageries, probably to fit words in the pre-composed tune of Gurudev Rabindranath Tagore.

I heard both the versions of the songs only a few days back. But the songs often linger in my mind for the beautiful nature poetry woven with melodious tune.

Audio Clip:

Video Clip (Bangla version)


Song-Hansi chaand ki aaj niraali (Hamraahi)(1945) Singer-Binota Bose, Lyrics-Munshi Zakir Hussain, MD-MD-R C Boral

Lyrics

hmm hmm hmm hmm
hmm hmm hmm hmm
man ko lubhaanewaali ee ee
hansi chaand ki aaj niraali
man ko lubhaanewaali
andhere ko door hataa ke
phailaaye ujiyaali ee ee
hansi chaand ki aaj niraali

daudi hawaa chaman mein aaye ae
ye nahin jaane kaun bulaaye
ae ae ae ae ae ae
phool phool par man bharmaaye
phool phool par man bharmaaye
phirti daali daali ee ee
hansi chaand ki aaj niraali

aasmaan bhi jhoom rahaa hai
chandan tilak lagaaye ae ae
aasmaan bhi jhoom rahaa hai
chandan tilak lagaaye ae ae
phire magan hanson kaa jodaa
apne pankh milaaye
swarg desh ki kaun ye baalaa aa aa
dhoondh rahi phoolon ki maalaa aa aa aa aa
aaj ye kaise deep jalaati
kaisi ye deewaali ee ee
hansi chaand ki aaj niraali
man ko lubhaanewaali ee ee
hansi chaand ki aaj niraali


This article is written by Arunkumar Deshmukh, 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 :

4813 Post No. : 16583

Today’s song is from an 84 year old film- Duniya Na Mane-1937.

The film is considered as a Landmark film in India and a major milestone for its director V. Shantaram. The film was made by Prabhat Film Company of Poona. In those days Prabhat was considered as one of the leading film companies, which gave meaningful yet entertaining films. Many of its films were based on Social evils like Child marriages, Dowry, life of Prostitutes in society etc.

Shanta Apte, Heroine of today’s film had a role of a rebellious bride who is forced to marry an old widower with grown up children. In her personal life alsoshe was a rebellion. In the beginning of her career, her Mentor was her elder brother Baburao Apte, who not only looted her money but also had a daughter from her- as per many sources.Later on after her death, Nayana Apte- a Marathi stage and stage actress of B grade, had announced openly that she was the daughter of Shanta Apte. Very soon, in her career, Shanta Apte had thrown her brother out of her life.

Another example of her fiery nature is when Baburao Patel of Film India Magazine wrote an objectionable comment about her, she entered forcefully in his cabin, with a cane and beat him in presence of his staff. Next day, baburao patel wrote about it in his magazine ! Prabhat film company which had supported her by giving her roles in 6 films for the beginning of her career, tried to punish her by not allowing her to work outside Prabhat and they were not giving her any work here also. Shanta Apte sat for a ” Fast unto Death” near the gates of the company, giving interviews to newspapers and magazines, till the management bowed to her and released her from their contract !

Film Duniya na mane-37 was a very successful film. In those days, there was a healthy competition between Calcutta’s New Theatres and Poona’s Prabhat. Both were giving good, clean and successful films. But there was a difference. In that period films directed by P.C.Barua were quite popular. Unfortunately, most of his initial films were Tragedy films wherein the hero used to die at the end. Starting with Devdas-1935 films came with tragic ends. Though these films fared well at the Box office, V.Shantaram was of the view that these films were making young people pessimistic. To counter this trend, Shanataram coined a slogan ” Life is for Living” and his films ended with this type of message. ( In the next decade, something like this happened to Dilip Kumar, when in most of his films during the late 40’s to the mid 50’s His film hero died in the end. In this case the audience was not affected. Dilip kumar himself was depressed psychologically so much that he had to consult a Psychiatrist from London! ).

The cast of the film Duniya na maane-37 (Kunku in Marathi) was Shanta Apte, Keshavrao Datey, Shakuntala Paranjpye, Raja Nene, Vasanti, Parshuram etc etc.

I wish to draw your attention to one actress here and she is SHAKUNTALA PARANJPYE. Hardly anyone knows about this lady. She was one of the highly qualified actresses from a very prestigious lineage. She had achieved many laurels before joining films and after leaving films. She was an actress, author, Politician, Film, TV and stage actor, Radio artiste and a lady educated in the U.K. She had worked internationally. She is probably the only film artiste to get Padma Bhushan and her daughter too got Padma Bhushan later on. I know of only one more film artiste in the film industry, who had done work at the International level, was an author, actor, director, writer and lyricist…Dewan Sharar.

Let us take a look at the life story, in brief, of Shakunatala Paranjpye.

Shakuntalā Parānjpye (17 January 1906 – 3 May 2000) was a writer and a prominent social worker. She was a member of Maharashtra Legislative Council during 1958–64, and was a nominated member of Indian Rajya Sabha (Upper House of Parliament) during 1964–70. In 1991, the Government of India awarded her the Padma Bhushan title in recognition of her pioneering work in the field of family planning since 1938.

Shakuntala Paranjpye was the daughter of Sir R.P.Paranjpye the first Indian to be Senior Wrangler at the University of Cambridge, an educationist, and India’s High Commissioner to Australia during 1944–1947.
Shakuntala studied for the Mathematical Tripos at Newnham College, Cambridge. She graduated there in 1929. She received a Diploma in Education from London University the next year.

Shakuntala worked in the 1930s with the International Labour Organization in Geneva, Switzerland. In the same decade and in the 1940s,, she also acted in some Marathi and Hindi movies.

Shakuntala wrote many plays, sketches, and novels in Marathi. Some of her work was in English.

A Hindi children’s movie, Yeh Hai Chakkad Bakkad Bumbe Bo, which was based on a Marathi story by Shakuntala was released in 2003.

Shakuntala was married for a short time to a Russian painter, Youra Sleptzoff. She had a daughter, Sai Paranjpye, by him in 1938. Soon after Sai’s birth, she divorced Youra, and reared Sai in her own father’s household.
Sai Paranjpye is a noted Hindi movie director and screenwriter. She is known for her comedies and children’s movies. In 1991, the Government of India awarded her the Padma Bhushan title in recognition of her artistic talents.

She wrote many books. Some of them are….
1.Three years in Australia
2. Sense and Non sense
3. Kahi ambat kahi goad (Marathi)
4.Desh Videshichya Lok katha (Marathi)

She acted in 13 films- Sairandhri-33, Parth Kumar-34, Bhedi Rajkumar-34,Bhakta Prahlad-34, Typist Girl-35, Sone ka Shahar-35, Kali Waghan-35, Bahadur Beti-35, Duniya na maane-37, Sultana Chand Bibi-38, Jeevan Jyoti-38, Stree-38 and Paisa-41. She sang 9 songs in 4 films-Typist Girl,Sone ka shahar, Stree and Paisa.
Shanta Apte (23-11-1916 to 24-2-1964) worked in 22 films and she sang 84 songs in 20 films.She gave music to film-Main abla nahin hoon-1949.

The story of film duniya na mane-37 was……..

Neera [Marathi]/Nirmala [Hindi](Apte) is trapped into marrying the old widower Kakasaheb (Date). He is a progressive lawyer with a son and a daughter of Neera’s age. She refuses to consummate the union, claiming repeatedly that while suffering can be borne, injustice cannot. After facing many hurdles including an aunt (Vasishta), her mother-in-law, and a lascivious stepson Pandit[M]/Jugal[H] (Nene), her husband has a change of heart and magnanimously commits suicide, enjoining Neera to marry someone more suitable. The change occurs mainly through his widowed daughter Chitra[M]/Sushila[H] (Paranjpye, a noted social worker off screen) who provides a forcefully feminist movement in a speech to the young bride.

As many as six songs from “Duniya Na Maane”(1937) have been covered i the blog. Out of 12 songs in the movie, only seven songs are available.Here is the seventh song from “Duniya Na Maane”(1937). This song is sung by Vasanti. Munshi Aziz is the lyricist. Music is composed by Keshavrao Bhole.


Song-Bharat shobha mein hai sabse aala (Duniya Na Maane)(1937) Singer-Vasanti, Lyricist-Munshi Aziz, MD- Keshavrao Bhole

Lyrics

Bharat shobha mein hai sabse aala
har maheene mein rang niraala
Bharat shobha mein hai sabse aala
har maheene mein rang niraala
vasant mein rangraliyaan manaa ke
baishaakh bhi chala hanste hansaate
vasant mein rangraliyaan manaa ke
baishaakh bhi chala hanste hansaate
Bharat shobha mein hai sabse aala

har maheene mein rang niraala
ras bhara joban dharti pe jhoome
sooraj ?? se shobha ko choome
prem se kiran laga isi ne (?)
jeth ashaadh ke kitne maheene
bijli chamke baadal bhaage
dekh ke moran naachan laage
Bharat shobha mein hai sabse aala
har maheene mein rang niraala

saawan mein har mukh pe hansi thhi
Krishna janam ki man mein khushi thhi
?? ki paawan jhoola ke jhoola
baag hara bhara phoolon se phhoola
?? ki paawan jhoola ke jhoola
baag hara bhara phoolon se phhoola
Bharat shobha mein hai sabse aala aa aa aa
har maheene mein rang niraala
Bharat shobha mein hai sabse aala aa


This article is written by Arunkumar Deshmukh, 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 :

4792 Post No. : 16550 Movie Count :

4505

Today’s song is from the film Rai Saheb-1942.

How many of us really know anything about the title ” Rai Saheb” ? I am sure most people may not know.

When the British were ruling a larger part of the world, they had a system of honouring special people for their Loyalty towards the Raj, or for those who had done some great work, those who worked for removing the social ills etc etc. To do this, these people were given special Titles. The British Royalty used to bestow honourable titles for extraordinary work in its Empire, like OBE (Order of British Empire), CBE,CSI and similar titles. Usually such titles used to be given to Royal people of its Empire like Kings, Rajahs, Maharajas etc etc. It was a great honour.

For larger kingdoms like India, titles sounding Indian were used for other important people. RAI SAHEB was one of the titles The next higher one was Rai Bahadur and the next was Dewan Bahadur. These were for Hindus. For Muslims and Parsis it was Khan Bahadur and for Sikhs it was Sardar Bahadur. So you see, the cunning Britishers tried to keep all religions separate from each other in every thing that they did, because this split was useful to them to rule Indians. ( In Maharashtra Rai Bahadur was called Rao Bahadur). Usually, these Rais and Bahadurs were rich people only.

So, film Rai Saheb-42 was a story involving a major role for a millionaire Rai Saheb. The film was the first ever effort of Producer Chhotubhai Desai, who was earlier the production Manager in the famous Wadia Movietone. The film was supposed to be a social comedy. It was a successful film, if you believe Baburao Patel’s comments in his popular magazine Film India. It was released on 16-5-1942 in Lamington Cinema, Bombay and ran for a long time. Baburao Patel’s good comments must have helped the film performance, I guess.

Made by Janak films, this movie was directed by S.M.Yusuf, for whom this was his 7th film as a Director,but first successful film of his career. S.M.Yusuf , born on 20-6-1910, was originally from U.P. and started his career by assisting directors in various studios. He was one cine artist who migrated to Pakistan and became a very successful director there too.

After Partition, several artistes-heroes,heroines,Directors,Comedians,lyricists,Composers, Singers and character artistes migrated to Pakistan. Almost 90% of them failed there miserably. Some of them like Meena Shorey shone for a while but ended up in penury and anonymity. Exceptions were like Malika -e-Tarannum Noorjahan. From the successful artistes,the major chunk was musicians-composers like Khurshid Anwar, Nissar Bazmi, Nashaad etc. Among the directors. S M Yusuf was one of the exceptions who succeeded. The migration of Cine artistes continued till 1965,when President General Ayub Khan banned Indian actors. Shaikh Mukhtar-1963 and Kumar-64 were probably the last to migrate to Pakistan. Till then some artistes like Sheila Ramani, Nasir Khan,Pran, Manorama, Composer Timir Baran etc went and worked in Pakistani films.

S.M.Yusuf started directing films in India from Bharat ke Laal-36. He directed 24 films like, Darban, Aina, Grihasthi, Saheli, Rai Saheb, Mehendi,Guru Ghantal, Bahurani, Maalik, Gujara, Hyderabad ki Nazneen,Bikhre Moti etc. He married actress Nigar Sultana. He also acted in a small role in the film Guzara-54.

In late 50’s he migrated to Pakistan with his talented son Director Iqbal Yousuf. His first film Saheli (1960) was a big hit of that time and was awarded in India also. It was a remake of his film Mehendi, made in India. He also made a remake of his film Ghumastha as Bahu Rani in Pakistan. Film Nek Perveen was a remake of same title film from India.His other films were Aulad, Dulhan, Honahar, Ashyana, Eid Mubarak, Suhagan, Zindagi aik safar hay, Shareek-e-Hayat, Bahu raani, Goonj uthi shehnai, Nek perveen and Haar gaya insaan.

When he went to Pakistan, he made his first film there -“Saheli”, which was a ditto remake of his own Hindi film- Mehendi-1950. This film Saheli became such a great hit that it virtually grabbed all major awards including a Nigar award for S M Yusuf himself. He made about 15 films in Pakistan,before he died on 17-8-1994, at Lahore,from where he had begun his career ! In his last years, he had settled in Canada, but he came to Pakistan on a visit, as if to die in his own place.

The music for film Rai Saheb-42 was by a pair of MDs- Madholal Master and Baldev Nayak, both from the early era of Talkie films. The cast of the film consisted of Jagdish Sethi, Rattanbai, Trilok Kapoor, Kaushalya, Gope, Dalpat, Mirza Musharraf, Kesarbai (she was the paternal aunt of actress Hansa Wadkar. She was instrumental in asking Hansa to join films to sustain her family. Her younger sister Indira Wadkar was also an actress in Hindi and Marathi films. Her youngest sister Susheelabai was the wife of Master Vinayak) and others.

The Heroine of the film was Kaushalya, who was barely 13 year old at the time of this film, but looked beautiful and older than her age. Kaushalya was born in Lucknow in 1929. She was the daughter of the famous dancer Lachhoo Maharaj and actress Daya Devi. Being brought up in the house of dancer and actor, Kaushalya picked up Dance, Music and acting very early. She appeared as a child artiste in films from 1936, when she was just 7 year old. She worked in 11 films as a child artiste. After the film Devbala-38, she did roles in Bhole bhale and Uski Tamanna-both in 1939, made by Sagar Movietone. She even sang in both films.

Then came films like Darshan and Ghar ki laaj, both 1941, and Baraat, Bharat milap, Rai Saheb, Station master and Swapna, all 42. The work poured on her till 1946, when she got married to a boy from Calcutta, when she had gone there to do films. After marriage she found it difficult to work in films, but continued for some more films, till her last film Ek Do Teen-1953.

In all Kaushalya acted in 27 films and sang more than 100 songs in about 35 films, in her short career. As a Heroine she had worked with Prithviraj Kapoor, Ulhas, Kumar, Ishwarlal, Trilok Kapoor etc.

The story of the film, as given in the Film India issue is as follows….

Manorama (Kaushalya) gets the news of her husband Prakash’s death in the city. After an enquiry, praksah’s parents all give up the hope and accept his death, but manorama is not ready to accept that prakash has died. She escapes from the village and goes to the city to find prakash. She changes her name to Shobha and joins a theatre as a dancer. Prakash is saved and adopted by a millionaire Rai Saheb (Jagdish Sethi) and his wife (Rattanbai) as his son-Ramesh. He meets Shobha in the dance theatre and they fall in love, not knowing that they are actually Husband-wife. After many ups and downs, they decide to get married and then come to know their own identities. All’s well that ends well.

With today’s song, film Rai Saheb-42 makes its Debut on this Blog.


Song-Jeet gayee jeet gayee jeet gayee main prem ki baazi jeet gayee (Rai Sahab)(1943) Singer-Kaushalya, Lyricist- Wahid Qureshi, MDs- Madholal Master and Baldev Nayak

Lyrics

Jeet Gayee
Jeet Gayee
Jeet Gayee
main ae ae ae
prem ki baazi
jeet gayee
jeet gayee
jeet gayee
main ae ae ae
prem ki baazi
main roothhe pi ko
manaa aayi
main roothhe pi ko
manaa aayi
main soye bhaag jaga aayi
main soye bhaag jaga aayi
Jeet Gayee
Jeet Gayee
Jeet Gayee
Jeet Gayee
Jeet Gayee
jeet gayee
main ae ae ae
prem ki baazi
jeet gayee
jeet gayee
jeet gayee

dil kahta thha
meri kismat mein kabhi khushi nahin hai
kismat ne chhala
muskuraayi
aur khilkhilaa kar hans padi
har raat ke baad ujaala
aur har dukh ke baad sukh ka aana zaroori hai
muhabbat ne apna jaadoo chalaaya
roothha hua preetam
prem ka bhikhaari ban kar aaya
aur aashaaon ke phool
nichhaawar kar gaya
dil ke saaz mein
geet machalne lage
dil ka toota hua aaina
phir jud gaya
wo dil ka darpan tod gaye thhey

wo dil ka darpan tod gaye thhey
dil ka darpan tod gaye thhey
mujhko rota chhod gaye thhey
mujhko rota chhod gaye thhey
main dil ke tukde jodoongi
main dil ke tukde jodoongi
par saathh na unka chhodoongi
par saathh na unka chhodoongi
Jeet Gayee
Jeet Gayee
Jeet Gayee
Jeet Gayee
Jeet Gayee
Jeet Gayee
main ae ae ae
prem ki baazi
jeet gayee
jeet gayee
jeet gayee


This article is written by Arunkumar Deshmukh, 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 :

4773 Post No. : 16522 Movie Count :

4496

Today’s song is from a stunt film-Ji Haan aka Yes Please-1945. Made by Gautam Chitra, Bombay, it had a pair of Directors-Babubhai Mistri and Ramnik Bhatt. All songs were written by Pt. Indra and the music was composed by S N Tripathi. The cast was full of the usual members of stunt films… Master bhagwan, Agha, Shanta Patel, Meera, Gulab, Azeem, Anant Prabhu etc.etc.

The 8 songs of this film give us some idea about the film. Out of the 8 songs, 5 are Comedy songs. 5 songs are sung by Shanta patel, 2 are by Meera and 1 is a chorus song Shanta Patel or Meerawere really not singers by any standards. getting them to sing for the movie clearly indicated a measure to save on cost of the production. All these stunt films were made on a tight budget. Because of this, the investment was less and profits were more. As there was a fixed audience in almost every town for such films, the distributors did not mind to invest or buy the rights for various circuits.

Nowadays, one film costs around 5 to 10 crores to make it. If some A+ grade star is featured, then the cost can go up to 25 to 30 crores also. In this context, if I were to tell you that in the 40’s decade a stunt film was made within just one Lakh, would you believe it ? You ought to, because thats what was required, according to Master Bhagwan-the stunt film expert of those days. During the first decade i.e. the 30’s, the cost was about 40 to 50 thousand rupees only, inclusive of everything.

As the decade of the 50’s was a Gold mine for Mythological and Religious films (124 films in 10 years), the 40’s was a storehouse for stunt films. The Cast, Director and the Production House were fixed. Lyricist and the MD depended on availability at cheaper cost or those who wanted an opening to films. Sometimes in the 60’s and the 70’s, the C grade films were the last resort for even the one time well known MDs. Composers like Anil Biswas, C. Ramchandra, Chitragupta and few others gave music to such films, for survival.

Names of stunt film actors is an interesting matter. Some common and regular names one found in Action/Stunt films are, Nadia, Boman Irani, Sayani,Bilimoria bros, Cooper sisters, Zohra Khatun, Ameena Khatun, Khatun Bai, Prakash, Adjania, Noorjehan (sr.), Moosa Pehelwan, Vasantrao Pehelwan, Baburao Pehelwan, Marutirao Pehelwan, Azim bhai, Basheer, Ali, Bachha, Chandra Rao,Harishchandra Rao, Shankar Rao,Master Bhagwan, Mirajkar, Jamshed ji, John Cavas, Lalita Pawar, Navin chandra…and many such names.

Kamran, Afghan Sandow,Habib, Ismail,, Dalpat, Dilawar, Leela Pawar, Leela Gupte, Shanta Patel, Usha Shukla, Madhuri, Dhondu, Shaikh, Nazi, Nishi, etc were a guarantee of 2-3 hours of exciting times. Forget the music or a coherent sensible story. Fighting, Fencing, Riding and a mix of Comedy and Dance was an assured entertainment.

In addition to all this, actors with odd and weird names were to be always found in stunt film casts. Have you ever heard actors with names like Bajarbattu, Phool Kumari, Maruti pehelwan, Batata, Mitthoo Miyaan, Fatty Prasad, Boken Chattu, Minu the Mystic, Manchi Tuthi, Gareeb Raja, Kurbaan Jaoon, Pandit Dukhi, Vilayatu, Loveji Lavangiya, Adam Sandow, Sandow Safar, Dunlop, Chic Chak and a very strange name CHEMIST ! This name is found in 5-6 films.

In the cast you will find a name Meera. This is aname for ‘ Same Name Confusion.’ At the same time, in the same period, there were 2 actresses named Meera. The Meera who acted in this C grade stunt film lasted a longer time. Meera’s real name was Muriel Alexander. She was born on 10-11-1919. She was from a respectable family. her father was Superintendent-local Audit in AG’s office. Brother E. Alexander was an All India level cricketer. She passed her Inter Science exam from Benaras Hindu University. It was through one Mr. Seal, who was a manager in Adarsh Chitra, she got her first break in film Dolti Naiya-34 and Shah E Iran-34 but film Dhuwandhar-1935 was released first.. This was the Debut film of Leela Chitnis also. It is not known if she sang any song in that film,as no records are available. My guess is that,besides acting,she must have sung a few songs in that film.

Her name later appears as an actress and singer in the film Bhabhi-38,in which she sang 3 solo songs. from 1935 to 1938,she must have sung many songs,but singers names are not mentioned. Thus many singers’ credit must have been lost in those years.Same case was with Amirbai Karnataki also. After Bhabhi,her name appears in Nirmala-38 and vachan-38 in which she sang 1 solo and 3 duets. She acted and sang songs in films of Ranjit, Prakash and Minerva Movietone.

She was married to Mr. R.N.Singh, Revenue Minister of Charkhari state.

As per information available, Meera acted in Shah E Iran-34,Dolti Naiya-34, Dhuandhar-35, Bhabhi-38, Vachan-38, Adhoori Kahani-39, Tatar ka chor-40, Paak Daman-40, Chingari-40, Darshan-41, Armaan-42, Meri Duniya-42, Mauj-43, Dr. Kumar-44, Krishna bhakta Bodana-44, Ji haan-45, Sham Savera-46, Ye hai Duniya-48, Sansar-51, Ilzam-54 and Hanuman Janma-54. She only sang in Nirmala-38 and Ulti Ganga-42. She sang 17 songs in 7 films.

Then there is also an actress named Gulab in the film cast. The First actress from Kashmir to work as a Heroine in Hindi films was GULAB. Her real name was Saraswati Devi. She was born on 10-6-1908 at Jammu. She joined Krishna Film Company in 1924. Her first silent film ‘Krishna kumar’ came in 1925. She worked in 60 silent films. Her last silent film was ‘Dagabaz Dushman’-32, made by East India Film co.Bombay.

Her first Talkie film was Suryakumari-33, made by Vishnu Cinetone. It was directed by Dhirubhai Desai. She sang one song ‘more preetam jab ghar aaye’ composed by Kikubhai Yagnik. Then came Baburao Patel’s ‘Bala Joban’-34, Sewa Sadan-34 and Nai Duniya-34 ( Debut film of Rajkumari and Jayant). In this film Gulab sang 2 songs.

Gulab was very beautiful and quite popular in the film industry. Some of her films were Bambai ki sethani-35, Challenge-37, Bharosa-40, Pyas-41, Ek Raat-42, Station master-42, Gaali-44, Rattan-44, Mann ki jeet-44, Mirza Sahibaan-47, Lahore-49, Badi Behan-49, stage-51, Post Box 999-58, Chhabili-60 etc etc. She acted in 160 films. Her last film seems to be Haqeeqat-64. She also sang 22 songs in 11 films.

Today’s song is also a comedy song. With this song, the film Ji Haan-1945 makes its Debut in the Blog.


Song- Haaye mora sainya to sattebaaz hai (Jee Haan)(1945) Singer- Meera, Lyricist- Pt. Indra, MD- S N Tripathi

Lyrics

Haaye mora sainya to
ho mora sainya to
sattebaaz hai
Haaye mora sainya to
sattebaaz hai
chhakke panje ka
ghar mein hi raaj hai
chhakke panje ka
ghar mein hi raaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai

ghar mein na tel na chaawal na genhu
ghar mein na tel na chaawal na genhu
aaj khatre mein handiya ki laaj hai
haay khatre mein handiya ki laaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai
chhakke panje ka
ghar mein hi raaj hai
chhakke panje ka
ghar mein hi raaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai

sainyya to motor mein pam pam kare hai
sainyya to motor mein pam pam kare hai
haan pam pam kare hai
haan pam pam kare hai
aur ghar mein
aur ghar mein choohon ki aawaaz hai
haay ghar mein choohon ki aawaaz hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai
chhakke panje ka
ghar mein hi raaj hai
chhakke panje ka
ghar mein hi raaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai

mehndi lagaa kar main naihar se aayi
mehndi lagaa kar main naihar se aayi
haan naihar se aayi
haan naihar se aayi
aur aaj
mere gobar bhare haathh aaj hain
mere gobar bhare haathh aaj hain
Haaye mora sainya to
ho mora sainya to
sattebaaz hai
chhakke panje ka
ghar mein hi raaj hai
chhakke panje ka
ghar mein hi raaj hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai

sakhiyon to pahnen
sona aur chaandi
sakhiyon to pahnen
sona aur chaandi
haan sona aur chaandi
haan sona aur chaandi
aur yahaan
yahaan peetel ke hi
saare saaz hai
haay peetel ke hi
saare saaz hai
Haaye mora sainya to
ho mora sainya to
sattebaaz hai


This article is written by Arunkumar Deshmukh, 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 :

4754 Post No. : 16493 Movie Count :

4481

Today’s song is from an unknown film Maaf Kijiyega-1946. HFGK mentions ” Social Film” as its Genre, but none of the factors of this film support this claim. The director was Nari Ghadiyali – who was a specialist for action/stunt films. MD was K.Narayan rao, famous only for stunt films. The cast of the film also consisted of regular actors for stunt films, like Prakash(real name Hashmat ullah khan), Shanta Patel (a regular in Master Bhagwan’s stunt films), Dalpat (popular as Dalpat Kaka), Bibi, Chandrika etc etc. The songs were written by an unknown lyricst- Mustapha and were sung by ordinary singers-not any famous one. I wonder how such a combination can be suitable for a ” Social’ film ?

This Blog started in 2008 and I joined it as a commentor sometime in 2010. I don’t remember exactly when. Nowadays, whenever I have free time and nothing else to do, I visit the early pages of the Blog and see the songs and more importantly – the comments. In those early years and till about 2018 or so, there used to be a lot of comments by readers. I found that readers were from various other countries, but surprisingly, their knowledge about old films, songs and its artistes was quite noteworthy.

As the years passed by, the foreign readers’ number dwindled slowly, but readers from India increased in the comment section. One logical reason was that the readers from other countries were probably from the older generation, settled abroad. Hence as the time passed on slowly their activities must have got reduced. Some of the younger commentors from other countries, too, stopped their comments. They are, however, active on FaceBook. People like Lalitha ji, memsaab ji, Pamir Harvey, Santosh oza, Shekhar Gupta etc. stopped commenting. One name remains with the Blog consistently from Day-1 till today (albeit now occasionally) and that is Raja Swaminathan ji – whether he is in India or in Holland.

I encountered some funny incidents involving comments on the Blog. I remember one. In those days, except the Admins perhaps, no one else knew who ” Peevesie’s Mom” was in reality.
I was also active on FaceBook. One day a lady visitor to my Fb page – Nalini Krishnan – asked me on Fb, ” are you the same Arunkumar Deshmukh, who comments on atulsongaday?”
She was shocked to read my reply, ” yes, Peevesie’s Mom ji”. Possibly shocked, she asked me how I knew her name. It was actually very easy. Before replying her, I visited her Fb page and I found that she is Vaidehi’s mother. After reading a few more posts , it was easy to make 2 + 2 !

Another incident was comments by one ” IDL Man”. From his comments, I knew he was from Australia. There was another reader called ” BOODHEMIYAN “. He was from Dubai. One day ‘ IDL Man’ posted the following comment, on 12-6-2011….

1 | I.D.L.Man
June 12, 2011 at 2:22 pm

0 0 Rate This
Atul Bhai,

WHY YOUR BLOG IS THE BEST IN THE WORLD

I am also a deewana of old film music like you all.Having lot of spare time now,I surf the Internet.I realised that there are many Indian and Foregn persons equally interested/obsessed with old film charms.Many of them run their own blogs on old films/music.I decided to find out and visit every blog on the Internet.
I visited exactly 102 such blogs run by Indian and foreigners.Surprisingly,foreigners were more consistent than Indians.
i found that almost 85 % blogs are left unattended,halfway or no posting for the last few years.One more interesting point is many ladies are also running such blogs,of course under Pseudonyms.They are more consistent than men and get a good following too !
After a lot of screening,I shortlisted 7 blogs: 4 in wordpress and 3 independents.Two blogs are run by ladies,one each Indian and foreigner.
Finally,I came to a conclusion that your blog ATULSONGADAY WORDPRESS.COM is THE BEST,because:

1)You are a very honest person ,without any airs, when you present songs
2)your deep love of music and hard work is consistent and it shows.
3)you are very systematic and you think of your readers while making songs available to them in an easy way.
4)your earnestness and humble knowledge(without a show off) is appreciated and liked by your readers(apparent from the responses)
5)you are not biased or partial in selecting or writing about songs
6)your goodwill has attracted like minded supporters who help you by providing information on films, songs, singers, composers etc. Notable among them, as I found in last 6 months are–
a) Mr.Sudhir Kapoor-writes very good and simple articles, full of information about songs and personalities.
b) Mr,Nahm-always provides you with correct lyrics, titbits and useful information, besides suggesting songs.
3) Mr. Arunkumar Deshmkuh-I have no words for him. He seems to know all the old movies, anecdotes and details. His information is unique(Not on net anywhere).May be, as he knows so many languages, he might be getting it from books/articles in various languages. He is a storehouse of information.
4)Mr. Prakash chandra- very good suggestions of songs
5)Lalitha ji / Raja ji – They are not only your admirers but also supporters. Raja ji’s support is important as he himself is a blogger plus many more things.

Note; The second place is shared by MEMSAABSTORY AND DUSTEDOFF.

Atul Bhai,
please accept my congratulations and good wishes for the future.

-I.D.L.Man

Atul ji, myself and Sudhir ji replied to him in normal way, but ‘Boodhemiyan” wrote thus….

5 | Boodhemiyan
June 14, 2011 at 5:47 pm

0 0 Rate This
IDL Man Bhai,

Wah, wah ! Kya baat hai !! Mashallah !!!

kya khoob kahi toone
hamare dil ki baat
Atul jaisa Sangeet Premi
sadaa rahe sab ke saath !

To which the ‘ IDL Man’ replied this way….

6 | IDL Man
June 15, 2011 at 7:41 pm

0 0 Rate This
Boodhemiyan Bhai,
Humne to bayan ki hai
jo haqeeqat hai,
hum kya karen
gar kisi ko gila hai

Gulab to Gulab hota hai
chahe use kuchch bhi kahe
hum subki duwayen hai
Blog-e-Atul salaamat rahe.

-IDL Man

In another an year or so, both these readers stopped commenting and disappeared for ever. I contacted the Grandson of actor/singer Parshuram, when he commented from New Zealand, on one of my posts. Similarly, actress Latika’s daughter from London commented and I got in touch with her.

There were days when lot of comments used to be made by the readers. In the last 2-3 years, the comments from the readers have dropped down considerably and noticeably. Difficult to know the reason.

However, since about a month or so I find that once again comments from new readers have increased Hope it keeps growing. Comments play an important role in a Blog. It gives readers’ reactions, additional information, encourages the authors of the post and generally works as a motivation.

Today’s song is sung by Kaushalya. Kaushalya was born at Lucknow in 1929. She was the daughter of the famous dancer Lachhoo Maharaj and actress Daya Devi. Being brought up in the house of dancer and actor, Kaushalya picked up Dance, Music and acting very early. She appeared as a child artiste in films from 1936, when she was just 7 year old. She worked in 11 films as a child artiste. After film Devbala-38, she did roles in Bhole bhale and Uski Tamanna-both in 1939, made by Sagar Movietone. She even sang in both films.

Then came films like Darshan and Ghar ki laaj, both 1941, and Baraat, Bharat milap, Station master and Swapna, all 42. The work poured on her till 1946, when she got married to a boy from Calcutta, when she had gone there for doing films. After marriage she found it difficult to work in films, but continued for some more films, till her last film Ek Do Teen-1953.

In all Kaushalya acted in 27 films and sang more than 100 songs in about 35 films, in her short career time. As a Heroine she had worked with Prithviraj Kapoor, Ulhas, Kumar, Ishwarlal etc.

With this song, film Maaf Kijiyega -1946 makes its Debut on this Blog.


Song- Joban roop bahaar Rasiya Kar lo chup ke pyaar (Maaf Keejiyegaa)(1946) Singer- Kaushalya, Lyricist-Mustapha Usman, MD- K Narayan Rao

Lyrics

Joban roop bahaar
Rasiya Kar lo chup ke pyaar
Rasiya Kar lo chup ke pyaar

din nahin ye phir se aaye
ankhiyaan hon jab chaar
Rasiya kar lo
haan kar lo
haan kar lo
chup ke pyaar
chupke chupke pyaar
rasiya karlo chupke pyaar
pyaar
chupke chupke pyaar

preet jawaani hai matwaali
matwaali ho
matwaali ho
preet jawaani hai matwaali
chhalak rahi joban ki pyaali
deewaanon ki mehfil mein hai joban ki pukaar
ankhiyaan hon jab chaar
kar lo chupke pyaar
chupke chupke pyaar
rasiya karlo chupke pyaar
pyaar
chupke chupke pyaar

duniya hai dilwaalon ki
ye mehfil hai matwaalon ki
dil ka sauda kar ke jaaye
ankhiyan ke do dwaar
ankhiyaan hon jab chaar
kar lo chupke pyaar
chupke chupke pyaar
rasiya karlo chupke pyaar
pyaar
chupke chupke pyaar


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 :

4748 Post No. : 16480

Hullo Atuldom

Mangte Chungneijang Mary Kom (born 24 November 1982) is an Indian amateur boxer, politician, and incumbent Member of Parliament, Rajya Sabha. She is the only female to win the World Amateur Boxing Championship six times, the only female boxer to have won a medal in each one of the first seven World Championships, and the only boxer (male or female) to win eight World Championship medals. Nicknamed Magnificent Mary, she is the only Indian female boxer to have qualified for the 2012 Summer Olympics, competing in the flyweight (51 kg) category and winning a bronze medal.

She had also been ranked as the world’s No. 1 female light-flyweight by the International Boxing Association (amateur) (AIBA). She became the first Indian female boxer to win a gold medal in the Asian Games in 2014 at Incheon, South Korea and is the first Indian female boxer to win gold at the 2018 Commonwealth Games. She is also the only boxer to become Asian Amateur Boxing Champion for a record six times. She was awarded the Padma Vibhushan, India’s second highest civilian award, in 2020. She is also a recipient of the Rajiv Gandhi Khel Ratna award in 2009 and Arjuna award in 2003.

Born as the eldest child, in Manipur, to parents who were tenant farmers, Mary Kom had her schooling at various schools of the Churachandpur district of Manipur. She was participated in all kinds of athletic events specially javelin throw and 400 metres running. She was among the youngsters who were inspired by Dingko Singh, 1998 Bangkok Asian Games Gold medal winner in Boxing and a fellow Manipuri. She switched from athletics to Boxing but kept it a secret from her father who was an ex-wrestler. The family got to know of her involvement in Boxing when her photo appeared in a newspaper when she won the state championship in 2000. Mary Kom is married to footballer Karung Onkholer (Onler) and has three sons including twins. She resumed her training and went back to her winning ways after the birth of her first two children.
(All the above information I have extracted from Wikipedia)

There was a biographical film on her life in 2014 where Priyanka Chopra enacted the role of Mary Kom. The movie had many lesser known actors playing her husband, coach, family etc. Only Shishir Sharma, who played the National Level coach, was the other known face. Even the music composers- Shashi Suman and Shivamm Pathak- were new along with the lyricists Sandip Ssingh and Prashant Ingole. The movie was directed by Omung Kumar and produced jointly by Sanjay Leela Bhansali and Viacom18 Motion Pictures. The movie was decent and showed incidents in a cinematic way. So I would suggest that anyone who sees the movie should not complain that details shown is not as it happened in Mary Kom’s life.

How did I land on this movie? Well I was thinking up a post on Priyanka Chopra for her birthday as she turns a year older on 18th July. I was going through her filmography and found that she had sung a few songs in her career which began in 2002 in a Tamil film and 2003 in the Sunny Deol- Preity Zinta starrer ‘Hero: Love Story of a Spy’.

She was Miss World 2000. She has done a whole of gamut of characters including a negative shaded Sonia Kapoor in ‘Aitraaz’ in 2004 for which she got a lot of critical acclaim and nominations/ awards as Best supporting actress and Best performance in a Negative Role. Priyanka has also won the National award for her performance in ‘Fashion’ (2008). If I may add she also managed to find a footing on American Television in the series ‘Quantico’ in 2015.

The song with today’s post is the one she has sung in her own voice. I haven’t seen ‘Mary Kom’ completely so I don’t know if the video accompanying the song is how it happens in the movie or whether the video uploaded on YouTube is a cleverly stitched affair.

Happy Birthday Piggy Chops (a nickname she got during the shoot of BluffMaster! in 2005)

(may not be from original soundtrack)

Audio

Song-Teri main balaayen loon (Mary Kom)(2014) Singer-Priyanka Chopra, Lyrics-Sandeep Singh, MD-Shivam Pathak

Lyrics

teri main balaayein loon
tujhe main duaayein doon
tujhko main
khushiyon ke saaye doon oon
khwaabon ko sajaaye tu
aankhon mein basaaye tu
tujhko main
doon sab jo chhaahe tu u
saari raat ye pehra kare
keh doon chaand taaron ko o
chaaoro chaaoro
ichha paari chaaoro
chaaoro chaaoro
ichha paari chaaoro

jaag jaaye na tu
jaagoon raaton mein
jhoole jhoola tu
mere haathon mein
teri choomoon aankhein main
baithh sirhaane
saari raat ye pehra karein
keh doon chaand taaron ko
chaaoro chaaoro
ichha paari chaaoro
chaaoro chaaoro
ichha paari chaaoro
mmmm hmmm
aaaa ahaaa
haa aaa
mmmm hmmm
mmmm hmmm
aaaa ahaaa
haa aa


This article is written by Arunkumar Deshmukh, 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 :

4737 Post No. : 16459 Movie Count :

4471

Today’s song is from an unknown film-Lottery-1949. The title of the film is very apt to remind us how success in the film line is often nothing but winning a lottery in your name ! What led to the success of a film was one thing that no one could fathom so far. In my opinion excellent acting, solid story, superb music and a balanced combination of comedy and other emotions are generally behind the success of a film. When one analyses hit films, then at least 2 or 3 factors as I mentioned earlier would be found in them.

1949 was the best year in the Golden Era of HFM. There were so many films offering evergreen, out of this world songs, that the audience did not know which film to see and which song to listen to. The sale of records set new records in 1949. 157 films were made in 1949. Barring the figure of 181 films in 1947 ( we know the reasons), 1949 produced the maximum films from 1931 to 1984 – a period of 50++ years. What’s more, almost every alternate film gave superb songs. Nearly every Music Director of Hindi films was present in 1949, with his films.

This was also a transition period, when older composers were giving way to newer ones. Additionally, the competition between Naushad and C Ramchandra for the Number One position was at its peak. Though C Ramchandra is my favourite composer, it was Naushad all the way during the period from 1947 to 1949, and he was was the undisputed Numero Uno as far as quality and number of hit films were concerned.

In this period Naushad’s strike rate of Hit films was more than that of C Ramchandra. Naushad had 8 Hits from his 9 films in the period 1947 to 1949. For the same period, C Ramchandra had only 4 Hits in his 18 films.

The year 1949 had absolute heavenly showers of Musical Films. Some of such films were Andaz, Badi Behan, Barsaat, Bazaar, Dulari, Jeet, Apna Desh, Chandni Raat, Chaar Din, Sunehre Din, Shayar, Dillagi, Ek thi ladki, Kaneez, Laadli, Lahore, Mahal, Namoona, Patanga etc etc. The year 1949 also witnessed the introduction of A and U Censor certificates, the establishment of Films Division, the start of Navketan productions of Anand brothers and few other landmarks in the Hindi film industry.

The Film Lottery-49 had none of these factors. I do not know the film’s story. The film was made in Calcutta by Bengal National studios, owned by S.D.Narang- the producer. The Director was one G. Singh who had earlier directed one more film – Barsat ki ek raat-1948. Similarly the Music Director- Harbaksh Singh had only 3 films to his credit. Film Ek Aurat-48, Lottery-49 and Nai Bhabhi-50. All films were made in Calcutta only and by S.D.Narang’s banner. After Narang shifted his base to Bombay, possibly, his team was left behind only.

The cast of the film was Kaushalya, Sunder, Ameena khatun, K.Nanda, Cuckoo etc. There were two lyricists – B.M.Sharma (6 songs) and Charandas (3 songs). Not many of the younger generation readers would know that the comedian Sunder, who they saw in several films of 50 to 70 period, was in fact a Hero and a singer in his hey days !

For a long time,I was searching for information on comedian Sunder. I got hold of a 2 page detailed article on Sunder, but it was in Punjabi- which I could not read or use. I found a small paragraph on Sunder in Sanjit Narvekar ji’s book ” Eena Meena Deeka”. Lastly, I requested Harish Raghuwanshi ji for help. Despite his failing health, he promptly sent me articles in Hindi, English and Gujarati, on Sunder. He is such a helpful person. May God give him a healthy life.

Sunder Singh aka Sunder was born in Sialkot, Punjab on 10th August 1916. His father was working in Madon Theatres, Calcutta. Sunder also started working there. Initially, for a long period,he did Girl’s roles. Once his work was seen by H.S.Rawail (Director in later life). He was quite impressed. Later Rawail started working with R.N.Vaidya as his assistant in direction.Meanwhile Sunder started working in Talkie films. His first film,where he was credited, was ” Na honewali baat”-38. Before that, Rawail and Vaidya were preparing to make the film Banke Sipahi-37.Rawail recommended Sunder and Vaidya gave him an uncredited small role in that film.

Sunder and Rawail became good friends and started staying in one flat in Calcutta. After a few films here, they both went to Lahore and Sunder got the Hero’s role in the film ” Shukriya”-44. There were 4 Heroines in the film- Ramola, Rooplekha, Manorama and Raksha. Sunder’s role in this film was that of a young man from a village and Ramola was from a City. Sunder’s one song from this film-‘ Nayanon ke teer chala gayee ek shehar ki laundiya’ became very popular all over India, However the song was banned in Punjab due to its lyrics. After this they both came back to Calcutta.

His next film was Albeli-45, in which too there were 4 Heroines- Ramola, Rooplekha, Manorama and Usha. In the 40’s , Sunder acted in many films like Arabian Nights, Baap, Shabri, Chandrashekhar, Ek aurat, Grihalaxmi, Lottery, Samapti, Jhoothi kasme, Savyasachi, Do baaten, Shadi ke baad, Bawra, Khiladi, Nai Bhabhi etc. In Calcutta, Sunder got married to a girl from his community. Rawail left for Bombay. After a few months, Sunder also returned to Bombay.

Rawail was very happy to get him back and gave him roles in almost all of his films. Not only Rawail, but also J.Om Prakash, Mohan Kumar, Lekhraj Bhakri, Manoj kumar etc gave him roles in all their films and he became a busy actor. He was at one time, in great demand. He was quite popular due to his nature. In the decade of 50’s he did 88 films, which increased in the 60s and 70s. In the 80s however films came haltingly.

From singing Hero, he became a Junior artiste( extra), in presence of the new crop of actors. The role of comedians was on decline, as Heroes like Amitabh and others did comedy scenes themselves. His health started troubling him. His last film was probably Bahurani-89. He became ill for a long time and finally died on 5-3-1992. Sunder acted in 436 films. He was a good singer and sang his own songs in early cinemas. In all, Sunder sang 40 songs in 25 films. ( Thanks to Harish Raghuwanshi ji for material for adaptation.)

The Heroine of the film – Kaushalya too is not very well known. She was born at Lucknow in 1929. She was the daughter of the famous dancer Lachhoo Maharaj and actress Daya Devi. Being brought up in the house of dancer and actor, Kaushalya picked up Dance, Music and acting very early. She appeared as a child artiste in films from 1936, when she was just 7 year old. She worked in 11 films as a child artiste. After film Devbala-38, she did roles in Bhole bhale and Uski Tamanna-both in 1939, made by Sagar Movietone. She even sang in both films.

Then came films like Darshan and Ghar ki laaj, both 1941, and Baraat, Bharat milap, Station master and Swapna, all 42. The work poured on her till 1946, when she got married to a boy from Calcutta, when she had gone there for doing films. After marriage she found it difficult to work in films, but continued for some more films, till her last film Ek Do Teen-1953.

In all Kaushalya acted in 27 films and sang more than 100 songs in about 35 films, in her short career time. As a Heroine she had worked with Prithviraj Kapoor, Ulhas, Kumar, Ishwarlal etc.

Today’s song is sung by Kaushalya and Jagmohan Sursagar. With this song film Lottery-49 makes its Debut in this Blog. This rare song was provided by Abhay Jain ji (USA) and was uploaded kindly for me, by our own Sadanand Kamath ji. I thank both.


Song- Morey dil ki nagariya mein aaya hai chor raaja (Lottery)(1949) Singers- Kaushalya, Jagmohan Sursagar, Lyricist- Charandas, MD- Harbaksh Singh
Both

Lyrics

Morey dil ki nagariya mein aaya hai chor raaja
jaldi policewaa bulaaye le
ho raaja
jaldi policewaa bulaaye le
gori mukhda dikhaao
aji ghoonghat hataao zara
nainon se naina milaay le
ho gori
nainon se naina milaay le

mori dhhadke hai chhatiyaa
aur phhadke hai ankhiyaa
o jee choli mein jiyara
dhhak dhhak hoye hai
mori dhhadke hai chhatiyaa
aur phhadke hai ankhiyaa
o jee choli mein jiyara
dhhak dhhak hoye hai
o tohe Bambai le jaaun
bori bandar dikhaaun
jahaan raat din engine ki chhat chhat hoye hai
jahaan raat din engine ki chhat chhat hoye hai

mori bainyya na pakad
mohe jaana apne ghar
kaise boloon main
laaj mohe aaye hai
haaye Raam
nainon se naina milaay le
more dil ki nagariya mein aaya hai chor raaja
jaldi policewaa bulaaye le
ho gori
nainon se naina milaay le
ho o
ho o
nadiya kinaare gori
mori atariyaa
bhari(?) pahariya mein aana na bhoolnaa

ho o
ho o
aaungi raaja
na bhoolooongi vaada(?)
aasha ki dori se jhooloongi jhoolna
aana chupke se raani
more dil ki kahaani
koi aake na dil ko churaay le

o raaja
jaldi policewaa bulaaye le
more dil ki
nagariya mein aaya hai

chor raaja
jaldi policewaa bulaaye le
ho gori
nainon se naina milaay le


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 16600 song posts by now.

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

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(© 2008 - 2021) 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

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Movies with all their songs covered =1280
Total Number of movies covered=4520

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