Archive for the ‘“Advice” song’ Category
Na ronaa na ronaa
Posted on: May 13, 2022
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.
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Blog Day : |
5047 | Post No. : | 16959 |
Today’s song is from the film Door Chalen-1946.
Since the time Talkie films arrived in India in the form of Aalam Ara-1931, the enthusiastic film industry, with a pushover from the silent era to the Talkie era, was busy in discovering itself. It was improving in every field as the years passed by. In the first 5-6 years the industry was desperately trying to be free from the clutches of stage music, drama style acting and contents of the films made.
By 1937-38 all these 3 ghosts from the past had been thrown off. Music directors like Anil Biswas, R.C.Boral, Saraswati Devi, Shankar rao Vyas, K C Dey, Pankaj Mullick etc successfully brought a turnaround change in film music from stage -type boring singing to folk tunes and independent experiments with instruments, tuning and the singers. With actors like Motilal, Ashok kumar, Shahu Modak, Kumar etc. the acting became natural and free from drama-type overacting. New directors like Shantaram,Debki Bose, Mehboob etc. tried new themes in films. Prabhat and New Theatres made films on actual events or famous novels and dramas, thus making films vibrant and interesting.
By 1942 or so, many enterprising filmmakers and directors,hitherto tied up with the existing studios, broke free to start their own studios and film production companies. Shantaram, Mehboob,S. Mukherjee, Kardar, Homi Wadia and few more dynamic film makers began a new chapter in the film industry. With talented filmmakers, competing with each other to make better films, they were improving the quality of films in terms of content, music and the presentation substantially.
By 1946 to 1950 old towers shook hard to crumble. The studio system almost disappeared. Film industry could now boast of people highly educated, talented and hard working. Even artistes with International experience and success like Dewan Sharar, Shakuntala Paranjpye, actor Ranjan, Balraj Sahni etc contributed to Indian films. The old horse of Calcutta-New Theatres broke down and actors, directors and Music specialists from Bengal made a Bee-Line to Bombay, thus making it the strongest ever film centre.
1946 was also an year of consolidation, in a sense that due to the iminent Partition of India on the basis of Religion, agreed upon by Gandhi-Nehru combine, made Muslim artistes and film makers plan to pack their bage and move over to the new Utopia across the border. Their vacancies were to be filled up by the waiting second line of actors,directors and MDs. The3 film industry was to have a complete new look within 1-2 years and the beginning was from 1946. Thus the year was very important.
The year 1946 was an year which saw many changes in the film industry. The II world war had just ended. Rationing and control on many items had created Black marketing. This made many people Millionaires. The extra income started getting invested in Film making. The increased cost of Raw Films made filmmaking 7 to 8 times costlier. A film which was made in about 1 Lakh rupees in 1940, needed 8 Lakhs now. Studio system was waning and artiste rates increased in Lakhs instead of thousands.
In 1945, only74 films were made. This number increased to 153 films in 1946. Further, in 1947, the film industry produced a record number of films – 181, but of course that was due to Partition. The quality of films was sacrificed at the cost of the quantity of films made in 1946. However, some quality films were made in 1946, indicating the changing face of filmmaking.
Film Dharati ke Lal-46 was made by IPTA people and it became the first film to be exhibited in Russia. Neecha Nagar-46 won the Grand Prix award in French Film Festival. Film Dr. Kotnis ki amar kahani-46 was dubbed in English as ‘ The journey of Dr. Kotnis’. It was shown in the USA and then in Venice Film Festival. Two musical films- Anmol Ghadi and Shahjahan were made in 1946.
Year 1946 also saw the Debut of several stars and artistes. In fact one can call 1946 as the ” Debut year” of Hindi film industry. See this….
Nirupa Roy debuted in film Amar Raaj-46
Geeta Bali debuted with a dance in film Badnaami-46
Geeta Roy sang her first film song in film Bhakta Prahlad-46
Balraj Sahni debuted in film Insaaf-46. It was a small role,though.
K A Abbas-Director, Pt.Ravi Shankar-MD, Balraj Sahni as Hero and Damayanti Sahni as Heroine made their Debut in film Dharati Ke Lal-46
Meena kapoor sang her first Hindi film song in film Eight Days-46
Sudhir Phadke debuted as MD in film Gokul-46
P L Santoshi as Director, Dev Anand, Rehman, Rehana and Kamla Kotnis debuted as actors in film Hum Ek Hai-46
Chitragupta did his first film as MD in Lady Robin Hood-46
Ram Ganguly became MD with film Maharana Pratap-46
Abhi Bhattacharya debuted in Hindi film Milan-46
Chetan Anand as Director, Uma Anand and Kamini kaushal as actresses debuted in film Neecha Nagar-46
Hansraj Behl debuted as MD with film Pujari-46
Madhubala(as Baby Mumtaz) sang her first song in film Pujari-46
Majrooh Sultanpuri wrote his first Hindi film song in film Shahjahan-46
S D Burman as MD and Kishore Kumar as an actor debuted with film Shikari-46
So, you will find the year 1946 was truly an year of change. The winds of Partition were already blowing and the second line of supplementary artistes was ready to replace the Migrators, after the Partition.
Film Door Chalen-46 was made by Durga Pictures. Director was Phani Mujumdar, MD was K C Dey and all songs were written by Sajjan Purohit(the actor Sajjan). The cast was Naseem Jr., Kamal Kapoor, Balraj Sahni, Damayanti Sahni, Agha, David, K C Dey etc.HFGK sometimes blindly gave the data. The lead actress is written as just Naseem. Since in those days Naseem Bano (mother of Saira Bano) was famous, everybody thought that she was the heroine of this film. Her Filmography includes Door Chalen-46 and Jeewan Swapna-46. The reality is, there was another actress Naseem junior and she had acted in these films.
Naseem Jr. or Miss Naseem Jr. or Naseem Lodhi was the younger sister of actress Shameem. She was born in Lahore on 8-2-1930. Her father had a shop and he was a General merchant. She was educated in Islamia Girls school, Bombay where she was staying with her actress sister Shameem. After Matriculation, she too wanted to become an actress. While in school she did many dramas. At the age of 13, she did an uncredited small role in the film Salma-43.
Her first major film was Jwar Bhata-44- also the first film of Dilip kumar and Mrudula. Her second film was Manorama-44. She acted in few more films Sanyasi-45, Zeenat-45, Door Chalen-46, Amar Raj-46, Jeewan Sapna-46 and Mera Geet-46.
She had a hot temperament and could not get along with co-stars and the Directors. Soon the offers diminished. Not having any income, she stayed with her sister Shamim. However, she fell ill and soon died on 17-11-1946.
She did only a few films, but it was enough to cause confusion. Her films Jeewan Swapna-46 and Door chalen-46 are generally credited to Naseem Sr.’s filmography.
Similarly, only Kamal is written in the Cast in HFGK. One can not make out if this Kamal is a male or female. In reality he was Kamal Kapoor, making his Debut in the film line as a hero. His snake-like eyes and fair skin made him look more like a KGB or Nazi baddie. Prithviraj Kapoor’s cousin, Kamal Kapoor, acted in over 600 films, spanning across three languages. He started off as a hero but with little success. From the Sixties onwards, Kapoor switched to playing a minor villain. His notable work includes Don, Gora aur Kaala, and, of course, Mard, where he played the evil General Dyer.
Born on 22th February 1920 in Lahore, Kamal Kapoor completed his education in Lahore. He started his career in 1944, with Prithvi Raj Kapoor, working in his theatre. Kamal Kapoor’s debut film was the 1946 release, ‘Door Chalein’. This movie, produced under the banner of Durga Pictures was directed by Phani Majumdar and the music composer was K.C.Dey while Kamal Kapoor and Naseem were the leading pair. Kamal Kapoor played Raj Kapoor’s father in ‘Aag’ (1948) which was also Raj Kapoor’s debut film as producer-director. Later he got numerous offers to play similar roles which he flatly refused to do.
Kamal Kapoor’s career as a villain started with the film “Johar Mehmood In Goa” which was released in 1965. This movie proved to be a big hit thus putting an end to the bad times for Kamal Kapoor. Soon he was flooded with work and was offered to play different characters in films like “Johar In Bombay”, “Johar Mehmood In Hongkong”, “Jab Jab Phool Khile”, “Raja Aur Rank”, “Dastak”, “Pakeezah”, “Paapi”, “Chor Machaye Shor”, “Five Rifles”, “Do Jasoos”, “Deewar”, “Khel Khel Me”, “Mard” and “Toofan”.
He once again got a chance to play Raj Kapoor’s father in the 1967 release “Diwana”. In his career spanned over five decades he acted in over 200 films in Hindi, Punjabi and Gujarati languages. He played different kinds of roles from a gangster to the police officer. He played the role of Don’s right-hand man Narang in Don (1978). This blue-eyed actor always had a powerful presence on screen. He worked in 152 films – from Door Chalen-46 to Aakhri Sanghursh-97( last film).
Kamal Kapoor died on 2nd August, 2010.
Today’s song is a duet of Meena Kapoor and K C Dey. It is the 3rd song from this film on this Blog.
Song- Na rona na rona (Door Chalein)(1946) Singers-K C Dey, Meena Kapoor, Lyrics-Sajjan, MD-K C Dey
Lyrics
No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona
hai ek aankh phir kya kahiye
hai ek paaon phir kya kahiye
hai ek aankh phir kya kahiye
hai ek paaon phir kya kahiye
gar padha nahin to sonaa hai
pagli phir kaisa rona hai
gar padha nahin to sonaa hai
pagli phir kaisa rona hai
dulha mila salona
dulha mila salona
No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona
hamne dhoondha
hamne dhoondha le chiraag
ye laakhon mein hai laal
puny kiye thhe kisi janam mein
ho gayi aaj nihaal
phir kaisa rona-dhona
phir kaisa rona-dhona
No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona
na rona
gar kaala hai darr jaaungi
gar bahra hai mar jaaungi
gar kaala hai darr jaaungi
gar bahra hai mar jaaungi
gar padha nahin main doob gayi
gar padha nahin main doob gayi
gar baazi se main oob gayi
bas nahin chaahiye ??
bas nahin chaahiye ??
samjhona
samjhona
samjho na mujhe khilauna
No rona
na rona
na rona meri raani
na rona
na dheeraj apna khona
na dheeraj apna khona
na rona
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5034 | Post No. : | 16943 |
Today’s song is from the ‘Golden Years’ of ‘Hindi Film Music’. It is from the movie ‘Garibi-1949’.
I had come across this song more than seven years back and I had shared it as well however this song remains to be posted till now.
This song is sung by Zohrabai Ambalewali.
Regulars on the blog must be aware that I have also shared many Zohrabai Ambalewali songs as I like them very much. I had been listening to her many songs during 2013-2014 when I used to browse and listen to her songs regularly.
Today’s movie ‘Garibi’ was directed by Ramchandra Thakur. It had Geeta Bali, Jayraj, Nirupa Roy, P. Kailash, Usha Kiran, Banke Bihari, Ramesh Thakur, M.K. Hasan, Bhoopat Rai, Tarabai, Jayram, Jawahar Kaul and others.
Here is a brief about this movie as mentioned by our Respected Arunkumar ji in his comments on one of the song-posts of this movie
GARIBI (1949), a Ranjit movietone film had music by its contracted composer B C Rani and lyricists were Rajendra Krishna, Shevan Rizvi, B.R. Sharma and M G Adeeb.
I don’t know whether Chandulal Shah ever knew on what storylines their movies were being produced on the assembly line, because not only all 4 set-sections of Ranjit studios were always shooting some films but sometimes they used to hire the neighboring Sharda studios also.
This was one movie which eulogized the virtues of poverty (Garibi) as compared to Riches (Amiri). Geeta Bali, hailing from a poor family loves and gets married to rich Jairaj. She finds it difficult to adjust to the rich ways of her sasural, particularly Saas-Sasur (Tarabai-Bhupat Rai),while her poor mother(Nirupa Roy) and Father(P. Kailash) get poorer but they have very high ideals and come to the rescue of their rich relatives when there is a problem with their daughter(Usha Kiran),who is in trouble with her husband(Jawahar Kaul).
Having learnt that only Money cannot give happiness, the rich family respects the poor and poverty. This was a very unconvincing storyline and badly handled too. The only saving grace was its superb music.
This movie has eights songs as mentioned in HFGK Vol-II (1941-1950).
Music for this movie was composed by Bulo C. Rani. Four lyricists contributed the eight songs in this movie and they are Rajinder Krishan (three songs), Shewan Rizvi (two songs), B.R. Sharma (two songs) and M.G. Adeeb (one song).
Here is the list of songs of this movie :-
| SNo | Song Title | Singer/s | Lyricist | Posted On |
|---|---|---|---|---|
| 01 | Dard dil hi mein chhipaa le, muskurana seekh le | Geeta Roy | Rajinder Krishan | |
| 02 | Kisi se hamne ye poochha, muhabbat kisko kehte hain | Mohd Rafi | Rajinder Krishan | 02.11.2017 |
| 03 | Mastana nigaahon ke deewaane hazaaron hai | Shamshad Begum | Shewan Rizvi | |
| 04 | Haay ye maine kya kiya jo tumhe thukraa diya | Shamshad Begum | Rajinder Krishan | |
| 05 | Ik din ik armaan bhara dil, ulfat se do chaar huaa | Mohd Rafi | B.R. Sharma | 28.10.2011 |
| 06 | Sun mujhse ki … do roz ka jeena hai | Zohrabai Ambalewali | B.R. Sharma | |
| 07 | Dukhon mein jo muskuraa rahe thhe | Geeta Roy | Shewan Rizvi | |
| 08 | Ae saamne aane waale bataa, kyon chaand mera mujhse hai khafaa | Shamshad Begum, Mohd Rafi | M.G. Adeeb | 21.10.2011 |
From the above table we can see that three songs from this movie have been posted on the blog. The first song of this movie was posted on 21.10.2011 and the second song followed a week later on 28.10.2011. However, after that this movie was forgotten and the third song of this movie appeared on the blog after a gap of almost six years.
Now, today, we are going to discuss the fourth song from this movie after a gap of another four and half years.
Today’s song is written by B.R. Sharma and it is sung by Zohrabai Ambalewali. This is a nice philosophical/ motivational song and I like it very much.
Music is composed by Bulo C. Rani.
Let us now listen to today’s song …
Song-Do roz ka jeena hai jee jee ke jiye jaa (Gareebi)(1949) Singer-Zohrabai Ambalewaali, Lyrics-Butaram Sharma, MD-Bulo C Rani
Lyrics
Sun mujhse ae ae ae ae
Ki duniya ki khushi ee
tere ae ae liye ae ae hai
Ye duniya hasee ee ee ee een
Ban ke ae ae ae
Basi ee ee ee ee ee ee
Tere ae liye ae hai
Tere hi liye ae aati hai
Ae ae ae ae ae
Gulshan mein ae ae bahaarein
Khilte huye ae ae ae
Phoolon mein hansi ee
Tere liye ae ae hai
Do roz ka jeena hai
Jee jee ke jiye ja
Do roz ka jeena hai
Jee jee ke jiye jaa
Ummeedon ka sabar(?) hai
Bhar bhar ke piye ja
Ummeedon ka sabar(?) hai
Bhar bhar ke piye jaa
Bhool jaa aa aa
Bhool jaa
Bhool jaa
bhool ja afsaana
Is duniya faani ka
Armaanon ki lehron pe
Sun geet jawaani ka
In maujon mein tu kho ja
Aur mauj kiye ja
Jiye jaa
Jiye jaa
Do roz ka jeena hai
Jee jee ke jiye jaa
Do roz ka jeena hai
Jee jee ke jiye jaa
Ye ishq tamaasha hai
Aur husn tamaashaayi
Hai donon hi deewaane
Aur donon hi saudaayi
Tu donon ki masti ko
Pehlu mein liye jaa
Jiye jaa
Jiye jaa
Do roz ka jeena hai
Jee jee ke jiye jaa
Do roz ka jeena hai
Do roz ka jeena hai
Jee jee ke jiye jaa aa aa aa
jiye ja
Jiye ja
Do roz ka jeena hai
Jee jee ke jiye jaa
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.
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Blog Day : |
4966 | Post No. : | 16837 |
Om Prakash Chibber- better known as Om Prakash- was an actor who was seen mainly in character roles, in movies of the late 1950s till the very end of his career i.e. till 1994, “Bhai No 1” that released in 2000 came two years after his passing. He was only 78 at the time of his death.
But telling Om Prakash was a character actor is wrong, just because I saw him first as Sharmila Tagore’s ‘jijaji’ in the hilarious, Hrishikesh Mukherjee directed “Chupke Chupke” in 1975 (I am sure this is a movie I first watched on Doordarshan). He was adorable in this song. Similarly I saw him as Ramlal – father to Mehmood, Kalpana and Rajasree- in “Pyar Kiye Jaa” (again on DD). He was amazing through that film and this scene from “Pyar kiye jaa” (1966) was a standout. There are hundreds of such scenes that I can list out here as an example of what an outstanding actor this artiste was.
He began his career as a radio broadcaster in All India Radio in 1937. I have seen a biographical video somewhere on YouTube which talks of his journey from radio to films and how Dalsukh Pancholi gave him his first break in films in the 1944 release “Daasi” after which he was a regular in Hindi films. Here I should apologize for my ignorance, as to whether Om Prakashji has ever played a hero in any of his films. I do know that his was the central character in many movies where a Sanjay Khan or a Navin Nischol (just to give 2 examples) were the romantic lead as in “Das Lakh” or “Buddha Mil Gaya” . Can anyone forget the characters he played in “Namak Halal”, “Sharaabi”, “Zanjeer”, “Loafer”, “Howrah Bridge”, ‘Tere Ghar Ke Saamne”, “Azaad”, and and and hundreds of others.
He may have had songs filmed on him in the initial years of his career but the following songs have stayed in my mind
| Song | Movie (Year) | Date of post in the blog |
|---|---|---|
| Iint ki dukki paan ka ikka | Howrah Bridge (1958) | 5 February 2009 |
| Oy buddho lambo lambo | Buddha Mil Gaya (1971) | 3 march 2009 |
| Aayo kahaan se ghanshyam | Buddha Mil Gaya (1971) | 12 may 2009 |
| Teri patli kamar teri baali umar | Dus Laakh (1966) | 31 October 2012 |
| Ajab teri kaareegari re kartaar | Dus Laakh (1966) | 7 September 2013 |
| Suno re saadho ye sansaaram ultam paltam ho gaya | Saas Bhi Kabhi Bahu Thhi (1970) | 21 February 2018 |
Meri patni mujhe sataati hai is a song that I discovered today.
He has had Manna Dey, Mohd. Rafi, Mahendra Kapoor etc giving playback for him. Today we see him singing in Mahendra Kapoor’s voice, a song written by Aziz Kashmiri and tuned by Shankar Jaikishan.
“International Crook” (1974) was a movie produced and directed by Pachhi who also played the role of Jamal Pasha in that movie. I have read in some post, in our blog, that Pachhi was Om Prakash’s brother, and when (by chance) I saw the movie recently I was 100% sure (for sometime at least) that Omji was playing a double role. Then it occurred to me that this person had a huge paunch and hence cannot be Om Prakashji.
“International Crook” had six songs of which the blog has this song which was Avinashji’s contribution on the occasion of Dharmendra’s 85th birthday. Today’s song is to recall Om Prakashji, it is 24 years since he left this mortal world.
Song-Pehra do hoshiyaari se bhai jaagte rehna (International Crook)(1974) Singer-Mahendra Kapoor, Lyrics-Aziz Kashmiri, MD-Shankar Jaikishan
Lyrics
Pehra do hoshiyaari se bhai jaagte rehna
bachna chorbaazaari se bhai jaagte rehna
Pehra do hoshiyaari se bhai jaagte rehna
bachna chorbaazaari se bhai jaagte rehna
o shreeman
o mister
tu jaldi bane manister
o shreeman
o mister
tu jaldi bane manister
Pehra do hoshiyaari se bhai jaagte rehna
bachna chorbaazaari se bhai jaagte rehna
o shreeman
o mister
tu jaldi bane manister
o shreeman
o mister
tu jaldi bane manister
bachna chorbaazaari se bhai jaagte rehna
badhti dekhi aazaad se
saath saath mehangaai
arre sabko milkar rote dekha
kya dhobi kya naai
o mat ro mere laala
nahin to main bhi ro doonga
aur is darr ke maare maine
aur is darr ke maare maine
shaadi nahin karaai
shaadi nahin karaai
o Pehra do hoshiyaari se bhai jaagte rehna
bachna chorbaazaari se bhai jaagte rehna
o shreeman
o mister
tu jaldi bane manister
o shreeman
o mister
tu jaldi bane manister
Pehra do hoshiyaari se bhai jaagte rehna
teri aankhen band neend se
aur dushman hoshiyaar
jaag nahin to le doobegi
dushman ki lalkaar
o praaji jaago
wo lut jaayega desh wo jiske
lut jaayega desh wo jiske
so jaayen pehredaar
so jaayen pehredaar
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.
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Blog Day : |
4954 | Post No. : | 16820 |
Today’s song is from the film Stage-1951.
The film was made by Jeevan Pictures, Bombay. The producer was G D Chandana and the film was directed by one Vijay Mhatre, who was basically a successful Cinematographer. He got an opportunity of directing a film but could not do much to make the film a Hit, despite having a popular lead pair of Dev Anand and Ramola (Khajanchi-41 fame). This was due to a very weakened run of the mill story of the film. He ended his directorial career with only this film and went back to his comfort zone of remaining a successful Cinematographer.
There were two Music Directors who composed 12 songs of the film. However, HFGK credits only 9 songs with MD’s name. The remaining 3 songs are left ‘ Ram Bharose’. Luckily there was only one Lyricist-Sarashar Sailani, so it is understood that all the songs were written by him only.
Sarashar Sailani was born on 12-3-1925 in Lahore. He was not much educated (not a graduate), but was a school teacher, used to participate in Mushairas. The owner of Jeevan Pictures,Lahore, was Motiram Jain and he was a lover of Shayari and poetry. Motiram liked his shayari. When Motiram started his First film Arsi-47, he invited Sailani to write story, song and dialogues for this film. Arsi-1947 was his first film as a Lyricist. Some songs became popular and Sailani jumped into the film line.
Lachhiram called him for his next film Mohini-47 and Shyamsunder called him for Ek Roz-47. Along with director Daud Chaand, Sailani also shifted to Bombay. However, after the Partition, Daud returned to Lahore but Sailani remained in India. He wrote lyrics. generally he got only low budget films, but he worked with some quality composers like Pt. Amarnath, Husnlal-Bhagatram, Roshan, Chitragupta, Jaidev, A R Qureshi, Hansraj Behl etc.
In all, he wrote 150 songs in 32 films. From 1960 onwards, after the film ‘ Bade ghar ki bahu’, he stopped songwriting and took up only story, dialogue writing, in which he did many good films. some of such films were Bewafa,Baaz,Barsat ki raat,Unpadh,Aayi milan ki bela,Aapki parchhaiyan,Ganga ki laharen, Majboor, Aaye din bahaar ke, Aman, Devar, Gunahon ka devta, kanyadaan,Aya saawan jhoom ke, Anjana etc.etc. His last film as a dialogue writer was Maa aur Mamta-70. He died on 10-4-1969 at Bombay.
One of the Music Directors was Sardar Malik for this film. Sardar Malik today is a lesser known composer compared to other giants of the film industry, but he has created some golden melodies. Born on 13-1- 1925, Sardar Malik had learnt classical music from Ustad Alauddin Khan. He also learned a variety of dancing skills from Pt.Uday Shankar. Some other stars like Guru Dutt and Mohan Sehgal too were part of the troop under Pt. Uday Shankar, same time.
Sardar Malik got his break as a Music Director in a movie called ‘Renuka’ which was released in 1947. Sardar Malik also sang 4 songs in this movie – 2 solo songs and also 2 duets with Zohrabai. But the movie was not a big success and he remained unrecognized. In the same year, he also composed music for a movie ‘Rain Basera’, but that movie too was not successful. In 1949, only one movie was released of Sardar Malik and that was ‘Raaz’. The movie had some wonderful numbers from Rafi, Amirbai and Binapani Mukherjee.
In 1951, Sardar Malik shared the credits with Husnlal Bhagatram and composed a few songs for a movie ‘Stage’, which had lovely numbers sung by Asha Bhosle like ‘Dil Machalne Laga’. Asha Bhosle had excellent control in her voice in the early 50s and her association with Sardar Malik was very special in this era when Lata and Geeta Dutt were at the top.
His next movie was ‘Laila Majnu’ which was a huge success. Sardar Malik composed only 3 songs for this movie ‘Baharon Ki Duniya Pukare’, ‘Tere Dar Pe Aaya Hoon’ and ‘Dekh Li Ae Ishq’. All the other songs were composed by Ghulam Mohammed but the songs showed his versatility and he gained recognition in the film industry. Thokar (1953) established Sardar Malik as a successful composer. Songs like ‘Ae Gham-e-Dil Kya Karoon’ by Talat and Asha Bhosle and ‘Hawa Ghungunayee Fiza Muskayee’ are evergreen numbers.
‘Aulad’ (1954) showed Sardar Malik’s overall class through his magical compositions. This movie had some great numbers like ‘Duniya Tasveer Ha’i (Talat Mahmood) and ‘Tum Salamat Raho Hazar Baras’ (Asha). The same year saw the release of ‘Chor Bazar’ (1954), which had some of the best songs rendered by Lata Mangeshkar. She sang 3 beautiful songs in this movie ‘Chalta Rahe Yeh Karvan’, ‘Huyi Yeh Humse Ye Nadani’ and ‘Dar Dar Ki Thokare Hain’. In the mid-50’s Sardar Malik composed music for a few movies like Ab-e-Hayat-55, Taxi-555-58, Chamak Chandni-57 and Maa Ke Aansoo-59. All these movies had some nice songs. If we observe the decade of the 50s, Asha Bhosle, Talat Mahmood and Rafi sang some of the best songs of Sardar Malik.
The decade of 60’s saw the release of ‘Saranga’ (1960), which can be considered as one of the best movies of Indian Cinema. The title song of the movie sung by Mukesh and the sad version of the same sung by Rafi is still as popular as it was 60 yrs ago. Many veteran music composers consider this movie as the best movie composed by Sardar Malik ever. The same year saw the release of ‘Mera Ghar Mere Bachche’ which contained some great songs sung by Mukesh, my favorite song being the duet of Mukesh with Suman Kalyanpur ‘Baharon Se Poochho’.
Sardar Malik remained active in the first half of the 1960s and composed some outstanding music for second rung movies like Madan Manjari, Bachpan, Pick Pocket, Naag Mohini, Jantar Mantar, Maharani Padmini, Roop Sundari and Main Hoon Jadugar. It was destiny that most of the films he composed for were not box-office successes, but he never compromised on the quality of his music. His career appears to come to an abrupt halt in the mid-60s. The last movie of Sardar Malik was Gynaaniji which was released in 1977. This movie had songs sung by Rafi, Asha, Jaspal Singh and Jagat Singh Jagga. After this he gave music to one film in which all his family was working- Nigahain-1983. He even wrote a few songs for this film.
Sardar Malik gave music to 25 films, composing 199 songs. He sang 8 songs in 2 films-Renuka-47 and Raaz-49.
Sardar Malik had huge knowledge on all forms of Indian Music. He always depended on light background orchestration in many of his songs. He made the use of accordion and flute in many of his songs. As he was classically trained, he had excellent knowledge on various ragas too. Married to noted lyricist Hasrat Jaipuri’s sister, Kausar Jahan (Bilqis), Sardar Malik had three sons – Annu, Abbu and Dabbu Malik. Thanks to his father’s blessings, Annu Malik met with a lot of success in the 1990s and 2000s.
Sardar Malik passed away on January 27th 2006, but the legacy he has left behind will always remain with us.
Today’s song is sung by Master Sonik and Lata mangeshkar. Hindi films had so far, to my knowledge,3 artistes who were blind and into film music. The first was K C Dey, a singer and a music director. The second was Manohal Lal Sonik- again a singer and a music director and the third one was Ravindra Jain who was a Lyricist, singer and a Music Director. Their natural deficiency did not come in the way of their music careers and the industry too gave them the recognition for their talents.
Master Sonik aka Manohar lal Sonik was born on 26-11-1926 in Sialkot, Punjab.By his third year, he lost his vision completely. Undaunted, he learnt music-first from the Music school of Lahore and then from Lucknow. For sometime, he was assistant to pt. Amarnath Batish.
After Partition he joined Delhi A.I.R. Later, he sang 8 songs in 7 Hindi films,namely Chaar Din-49, Stage-51,Kashmir-51, Khaibar-54, Mast Qalandar-55, Inquilab-56 and then after 20 years he sang in film Umar qaid-75 also. He gave music to film Ishwar Bhakti-51 along with Giridhar and then film Mamta-52, with Hansraj Behl.
Meanwhile, his nephew Omprakash Sonik, who was a singer in Delhi A.I.R., proposed working as a team of composers, calling themselves as ” SONIK-OMI “. They got their first film ” Dil ne phir yaad kiya”-66. The songs became popular. They continued to give music till Anadi Dada-93, when Master Sonik died on 9-7-1993. As a team, music was given to another 5 films by Omi alone till the film- Yeh hai basti Badmashon ki-1999. As a team, they gave music to 104 films composing 536 songs.
Today’s song is from the film Stage-51. There was a time between say, 1940 to 1970 when many film stories were woven around the Hero or Heroine being either a part of or an aspirant to be a part of a drama company or a musical group ( some examples are Albela, Hum sab chor hain, Teesri Manzil etc). This gave the producers ample scope and opportunities to include song and dance items in the film without any problem. Stage-51 was also one such movie having a murder mystery of a singer dancer. The film story was….
Prof.Rajan(Raj Mehra) is sad because his family life is spoiled due to the sharp and acidic tongue of his wife(Kuldeep Kaur).His daughter Sudha(Ramola) is with him on this issue.One day he discovers that his college love Kamini(Gulab) is in town as Neelam the stage dancer.He goes to meet her.Both share their grief but Rajan can not help her.In due course, Rajan’s wife learns about Neelam,there is a fight and Rajan is injured by accident.He goes to meet Neelam-who is murdered and police arrest Rajan with blood stained clothes.
Sudha, who is enjoying her boy friend Anand’s(Dev Anand) Birthday party, learns about it. She is determined to find out the real culprit. With help from Anand, his friend Chunnu(Sunder) and some clues, they reach Poona. Sudha joins as Dancer in the previous stage company of Neelam. They get the proof that the Owner of the theatre(Mubarak)is the culprit.
After some chase,suspense and a mock fight(it is funny to see Dev Anand fighting 7-8 gundas at a time),the murderer is caught by the police, Rajan released,Sudha-Anand married and Rajan’s wife reformed.
Let us now listen to the funny song which gives advice on how to be careful in Bombay.
Song- Bach ke chalna meri sarkaar ki ye Bombay hai (Stage)(1951) Singers- Master Sonik , Lata Mangeshkar, Lyricist-Sarshar Sailani, MD- Sardar Malik
Both
Lyrics
sach kahaa kisi ne
bache hamesha
bachke mod ko
hamesha bachke mod ko chaliye
ho bachke
bachke chalna
bachke chalna meri sarkaar
ke ye Bombay hai
ke ye Bombay hai
taxi waalon se hoshiyaar
ke ye Bombay hai
ke ye Bombay hai
hamne is shahar ke andaaz niraale dekhe
hamne is shahar ke andaaz niraale dekhe
har kadam par yahaan dil lootne waale dekhe ae
har kadam par yahaan dil lootne waale dekhe
lut na jaana sare baazaar
ke ye Bombay hai
ke ye Bombay hai
bachke chalna meri sarkaar
ke ye Bombay hai
ke ye Bombay hai
ghar se hum aaye thhe
business koi karne ke liye ae ae
ghar se hum aaye thhe
business koi karne ke liye
ab hain bechain kisi shokh pe marne ke liye ae ae
ab hain bechain kisi shokh pe marne ke liye
bik na jaaye kahin ghar baar
ke ye Bombay hai
ke ye Bombay hai
bachke chalna meri sarkaar
ke ye Bombay hai
ke ye Bombay hai
hamko rah rah ke hansi aati hai in ladkon par
hamko rah rah ke hansi aati hai in ladkon par
phirte hain ishq ladaane ke liye sadkon par r
phirte hain ishq ladaane ke liye sadkon par
aise ladkon se khabardar
ke ye Bombay hai
ke ye Bombay hai
bachke chalna meri sarkaar
ke ye Bombay hai
ke ye Bombay hai
Bombaayyyy
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Blog Day : |
4909 | Post No. : | 16722 |
“Ghoonghat”(1960) was produced by S S Wasan and directed by Ramanand Sagar for Gemini Studios, Madras. This movie had Bharat Bhushan, Pradeep Kumar, Bina Rai, Asha Parekh, Leela Chitnis, Rajendranath, Rehman, Agha, Minu Mumtaz etc.
The movie had ten songs in it. Nine songs have been covered in the past. Here are their details :-
| Blog post number | Song | Date of post | Singer(s) |
|---|---|---|---|
| 1271 | Laage na mora jiyaa | 13 May 2009 | Lata |
| 1278 | Mori chham chham baaje paayaliyaa | 14 May 2009 | Lata |
| 1871 | Kyaa kyaa nazaare dikhaatin hain ankhiyaan | 6 September 2009 | Asha Bhonsle, Mahendra Kapoor |
| 2929 | Do nain mile do phool khile | 8 September 2010 | Mahendra Kapoor, Asha Bhonsle |
| 2958 | Haay re insaan ki majbooriyaan | 13 September 2010 | Rafi |
| 5688 | Ye zindagi ka mausam aur ye samaa suhaana | 24 March 2012 | Asha Bhonsle, Rafi |
| 15874 | Meri pat raakho Giridhaari | 8 September 2020 | Lata |
| 15885 | Dil na kahin lagaana zaalim hai ye zamaanaa | 13 September 2020 | Asha Bhonsle |
| 16710 | Jaa ree sakhi saj dhaj ke | 21 December 2021 | Asha Bhonsle |
Here is the tenth and final song from “Ghoonghat”(1960) to appear in the blog. This song is sung by Asha Bhonsle. Shakeel Badayuni is the lyricist. Music is composed by Ravi.
The song is picturised on Minoo Mumtaz and Bina Rai, with Minoo Mumtaz giving Bina Rai (playing bride) important advice on how to deal with her would be husband.
Shakeel Badayuni is the lyricist. Music is composed by Ravi.
With this song, the title song of the movie, all the songs of “Ghoonghat”(1960) have been covered. “Ghoonghat”(1960) thus joins the list of movies that have been YIPPEED in the blog.
Song-Gori ghoonghat mein mukhda chhupaao na (Ghoonghat)(1960) Singer-Asha Bhonsle, Lyrics-Shakeel Badayuni, MD-Ravi
Lyrics
gori ghoonghat mein mukhda chhupaao na
ye to naina ladaane ki raat hai
gori ghoonghat mein mukhda chhupaao na
ye to naina ladaane ki raat hai
hamen gusse se
haan hamen gusse se aankhen dikhaao na
ye to hansne hansaane ki raat hai
aaj tu kaahe ko sharmaati hai
ye ghadi roz nahin aati hai
aane waale hain piya milne ko
phool hain dil ke tere khilne ko
tujhko rasiya ki nazar lootegi lootegi
aaj nainon ki sharam tootegi
kaahe tere ye nain
tera dil hai bechain
sakhi hamse yoon daaman chhudaao na
ye to milne milaane ki raat hai
gori ghoonghat mein
ai ai o
gori ghoonghat mein
mukhda chupaao na
ye to naina ladaane ki raat hai
aaj ki raat zara chup rahna
dil ki baaten na balam se kahna
wo agar chheden to bal kha jaana
unki baaton mein na tu aa jaana
mard ki zaat ko tu kya jaane
kya jaane
bade chaalaak hain ye deewaane
kabhi painyya padenge kabhi vinti karenge
un se kahna ke jaao sataao na
arre ye to nakhre dikhaane ki raat hai
gori ghoonghat mein haaye daiyya
gori ghoonghat mein mukhda chupaao na
ye to naina ladaane ki raat hai
hamen gusse se aankhen dikhaao na
ye to hansne hansaane ki raat hai
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Blog Day : |
4880 | Post No. : | 16676 |
“Devtaa”(1956) was produced by K S Narayanan and directed by Patanna for Narayanan and Company, Bombay. This “kaalpnik” movie had Anjali Devi, Vyjyanti Mala, Ganesh, Kumari Kamla, Bipin Gupta, Krishna Kumari, Agha Indira, Nambiar, Roop Kumar, Kamal Krishn etc in it.
The movie had eight songs in it. Four songs have been covered in the past.
Here is the fifth song from “Devtaa”(1956) to appear in the blog. This song is sung by Manna Dey. Rajinder Krishan is the lyricist. Music is composed by C Ramchandra.
The song is picturised as a background song. The picturisation shows a princess getting married to an ugly and deformed man and as befits an Ideal Bhartiya Nari, she is supposed to follow in the footsteps of her husband wherever he goes. That is the message that this song conveys in the background.
I am unable to identify the actors in the picturisation. I request our knowledgeale readers to throw light on the picturisation of the song.
Song-Udhar Chali jaa Jaanki jidhar chale tere Raam(Devtaa)(1956) Singer-Manna Dey, Lyrics-Rajinder Krishan, MD-C Ramchandra
Lyrics
mud kar bhi na dekh suhaagan
mahlon ki ye shaan
is duniya mein ab tera bas
pati hi hai bhagwaan
udhar chali ja jaanki
jidhar chale tere raam
chhod na apna raasta
le himmat se kaam
jaanki le himmat se kaam
udhar chali ja jaanki
jidhar chale tere raam
chhod na apna raasta
le himmat se kaam
jaanki le himmat se kaam
bhaarat ki santaan hai tu
saawitri ka roop
bhaarat ki santaan hai tu
saawitri ka roop
sita ban kar sahti jaana
ban ban ki tu dhoop
hanste hanste ladti ja
tu jeewan ka sangraam
chhod na apna raasta
le himmat se kaam
jaanki le himmat se kaam
pativrata tere tej ke aage
sooraj bhi sharmaaye
pativrata tere tej ke aage
sooraj bhi sharmaaye
tere ek ishaare se ye baadal jal barsaaye
tere ek ishaare se ye baadal jal barsaaye
tere jaisi satiyon se hi bhaarat ka hai naam
chhod na apna raasta
le himmat se kaam
jaanki le himmat se kaam
pati kahe to phool chhod kar
kaante gale laga le ae ae
pati kahe to phool chhod kar
kaante gale laga le
preetam ke charnon mein apna
tu sansaar basa le
preetam ke charnon mein apna
tu sansaar basa le
kutiya mein bhi tujhe milega
mahlon ka aaraam
chhod na apna raasta
le himmat se kaam
jaanki le himmat se kaam
udhar chali ja jaanki
jidhar chale tere raam
chhod na apna raasta
le himmat se kaam
jaanki le himmat se kaam
Hai aaj kal ki fikar hi kya
Posted on: November 26, 2021
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.
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Blog Day : |
4879 | Post No. : | 16674 |
Do not dwell in the past, do not dream of the future, concentrate the mind on the present moment – Lord Buddha
Thinking about the past events in the life and planning for the future is one of the common activities of human beings most of the time. This, at times, can become a stressful activity during which negative thoughts can creep in the mind. In this process, we tend to lose focus on the current activities. We try to neatly plan for the future based on the past experiences. But not all the parameters of the future plan run on the basis of what was determined at the time of planning. The reason is that there are many uncertainties on the way to attaining the goal. I will give the example of planning my Himalayan treks to elucidate the tyranny of uncertainties.
I have always made a well-charted plan for each of my Himalayan treks. But the uncertainty starts when the train or the flight which we have booked gets delayed by a few hours jeopardizing the connecting travels to the base town/village from where the trek is to start. The second uncertainty is through natural calamities. A landslide or a flooded water stream cutting across the road can block the vehicle movements for a considerable time. The third element of the uncertainty is the weather. A rain/snow storm during the trek can force one to stay inside the tent or in a shelter on the way for a considerably long time. Lastly, the last-minute health issues of a trekker can force him the abandon the trek mid-way. Ultimately, one is not sure whether the trekker’s goal to reach his destination would be achievable or not.
Because of these perceived uncertainties, for the next trek, we plan more meticulously than what is necessary. Things work out smoothly and at the end of the trek, though we are happy to complete the trek in time without hic-cups, we feel cheated by the nature. We are left with extra days which means additional expenses. In short, there is no fixed solution in the planning for the future.
Because of the futility of the past memories and the uncertainty of the future, a philosophical thought has emerged which is known as ‘live in the moment’. This philosophy reminds us that our presence is in the present only. We cannot live in the past as that timeframe is over. We cannot plan for the future as there are many uncertainties. When we think of our past, the thought process influences our future goals. There is no guarantee that our past experiences would lead to achieving the future goals successfully.
Perhaps, it was in this context, Lord Buddha advised his followers to forget about the past, not to dream about the future and devote full time for present moment. In other words, there is no need for Mungerilal ke haseen sapne as there is no guarantee – kal ho na ho. So, enjoy the present moment on which the human beings have some control. Just go with the flow of life as beautifully visualised by Sahir Ludhianv in the song, main zindagi ka saath nibhaata chala gaya.
There may be many among us who are following ‘living for the moment’ philosophy, albeit unknowingly. After reading about this philosophy, I have realised that I have unwittingly followed this philosophy covering the important social and financial events in my life. I had flown with then current situation as needed without bothering about the future – especially in regard to my education, employment, buying a residential house, financial planning for the future etc. I had not made any financial planning for my future as at that time, I felt that my provident fund balance and the gratuity amount would take care of my future financial requirements. As I see it today, I was not completely right about this thinking as interest earned on this amount would not have taken care of a good standard of living in my post-retired life. Fortunately, when my job became pensionable in 1997, it helped me to maintain a good standard of living after retirement.
Let me add a caveat to the ‘live in the moment’ philosophy. Each one of us follow a different life style. Some will thrive with their life to flow with the needs as and when arise without planning for the future. Some may like to have a perspective plan for their future life, may be with some flexibilities. There is also the third possibility – a sort of mix of both where one partially plans and also partially swims with the flow.
I found a rare song from the film ‘Dukh Sukh’ (1942) which depicts, more or less, the ‘live in the moment’ philosophy, probably for a drunkard in a tavern. The song is ‘hai aaj kal ki fiqar hi kyaa, majhe se pee aur majhe se khaa’ which is rendered by Rajkumari Dubey. The words are of Wali Sahab which are set to music by Khemchand Prakash.
Audio Clip:
Song-Hai aaj kal ki fikar hi kya (Dukh Sukh)(1942) Singer-Rajkumari, Lyrics-Wahi Sahab, MD-Khemchand Prakash
Lyrics
hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa
hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa
ye aaj tere haath hai
ye aaj tere haath hai
kal ki kal ke saath hai
kal ki kal ke saath hai
kal kaa din jo aayega
kal kaa din jo aayega
to kal ko dekha jaayega
to kal ko dekha jaayega
hai kal ki tujhko fiqar hi kyaa
maze se pee aur maze se khaa
hai kal ki tujhko fiqar hi kyaa
maze se pee aur maze se khaa
shabaab phir na aayega
ye abr phir na chhaayega
shabaab phir na aayega
ye abr phir na chhaayega
ye chaar din hain pyaar ke ae
ye chaar din hain pyaar ke ae
maz utha tu bahaar ke
maze utha tu bahaar ke
bahaar ke tu maze uthha
maze se pee aur maze se khaa
bahaar ke tu maze uthha
maze se pee aur maze se khaa
hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa
Ye Zaalim Nigaahon Ki Ghaat
Posted on: November 14, 2021
- In: "Advice" song | Asha Bhonsle solo | Asha Bhonsle songs | Club song | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Happy song | joie de vivre | Lyrics contributed by readers | Post by Sadanand Kamath | Songs of 1950s (1951 to 1960) | Songs of 1958 | Yearwise breakup of songs
- 1 Comment
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.
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Blog Day : |
4867 | Post No. : | 16659 |
Today, November 14, 2021 is the 4th Remembrance Day of Shyama (real name – Khurshid Akhtar) who enthralled the Hindi film buffs with her blinks and smiles in her Hindi films of 1950s. There was a spontaneity and energy in her performances reflecting, what I guess, her joie de vivre nature.
My earliest memory of watching Shyama was in ‘Aar Paar’ (1954) on its repeat release sometime in 1974 as a part of Guru Dutt’s Film Perspectives. I became familiar with her face when some of the songs picturised on her from the films like my all-time favourite, ‘Aar Paar’ (1954), ‘Bhai Bhai’ (1956), ‘Bhaabhi’ (1957), ‘Sharda’ (1957), ‘Mr Qartoon MA’ (1959), ‘Barsaat Ki Raat’ (1960) and many more, used to be telecast on Mumbai Doordarshan’s ‘Chhaaya Geet’ programme. Some of her songs have remained in the limelight even today. I can never get tired of watching those songs pictuirsed on Shyama.
Shyama (07 Jun, 1935 – 14 Nov, 2017) was born in Lahore but her family had shifted to Mumbai in early 1940s. She did her schooling in Anjuman-E-Islam High School in South Mumbai. Shyama’s foray into her first Hindi film, ‘Zeenat’ (1945) was an accidental one. When she was on a visit to watch the film’s shooting along with her school friends, the film’s director, Shaukat Hussain Rizvi invited her to be the part of the chorus singers for the picturization of the qawwali song, “Aahen Na Bhari Shiqwe Na Kiye”. At that time, she was 9. Thereafter, she did small roles as a child actor and side roles as a teenager in around 35 films. At a young age, she had become the bread-earner for her large family. Her screen name, Shyama was given by Prakash Pictures’ Vijay Bhatt when working in his film, ‘Nai Maa’ (1946) as a child artist.
Everything was not roses on the way to reach the stardom for Shyama. She had to struggle very hard to get roles during the early stage of her life when she was growing from her childhood to a teenager. Her struggling days got over when she bagged her first lead role in Filmistan’s ‘Shrimati ji’ (1952) with Nasir Khan. Thereafter, there was no dearth of work for her in the films.
During her filmy career of over 4 decades, Shyama worked in around 175 films. Some of her notable films are ‘Hum Log’ (1951), ‘Sazaa’ (1951), ‘Dil-E-Naadan’ (1953), ‘Shart’ (1954), ‘Aar Paar’ (1954), ‘Musaafirkhaana’ (1955), ‘Chhoo Mantar’ (1956), ‘Bhai Bhai’ (1956), ‘Shaarda’ (1957), ‘Bhaabhi’ (1957), ‘Johnny Walker’ (1957), ‘Mr. Qartoon MA’ (1958), ‘Laala Rukh’ (1958), ‘Chhoti Bahen’ (1959), ‘Barsaat Ki Raat’ (1960), ‘Zabak’ (1961), ‘Bahurani’ (1963). From 1960’s onwards, Shayma switched over to character roles. She was active till the end of 1970s. However, after the death of her husband in 1979, she virtually took retirement from the films. Shyama faced the camera for the last time in ‘Hathyaar’ (1989).
I was going through her filmography from 1952 when she started getting lead actor’s roles to 1960 when her career was in the waning stage as a lead actor. It is amazing to note that during 1952-60, she worked in as many as 84 films making an average of nearly 10 films per year. I do not recall any other actress of her time achieved this distinction. The main reason for her large number films was that she accepted both the lead as well as supporting actor’s roles. Her films covered a variety of genres with a large assortments of lead actors like Motilal, Ashok Kumar, Premnath, Shammi Kapoor, Bharat Bhushan, Karan Diwan, Guru Dutt, Balraj Sahni, Sunil Dutt, Kishore Kumar, Johnny Walker, Ranjan, Mahipal, Talat Mehmood etc.
Shyama faced her worst financial and emotional turmoil in 1953 when she decided to marry director and cinematographer Fali Mistry. They fell in love on the sets of ‘Sazaa’ (1951). The marriage was opposed by her father and her brothers. She had revealed her agony in her article in the Urdu film magazine ‘Shama’, published in November 1954, the English translation of which is available in Yasir Abbasi’s book ‘Yeh Un Dinon Ki Baat Hai’ (2018).
According to Shyama, apparently the problem for her large family was that having got used to living lavishly on her earnings, they feared that her marriage with Fali Mistry would strip them off comforts and luxuries. When she decided to go ahead with the marriage, she was forced to leave her own house without her money and jewelry as her father and brothers confiscated all her assets including the bank balances. She and her supporting mother had to stay with the family of producer-director M Sadiq for a month before she could buy her own house by arranging money. It took another six months for Shyama and Fali Mistry to get married. But the marriage was not revealed in public for a long time for fear of film producers avoiding her to sign the new films.
Shyama spent her financially secured retired life, socializing with her close friends like Nanda, Shakeela, Waheeda Rehman, Jabeen Jaleel etc. Just about 5 years before her death, she got a paralysis attack making her movements restricted. However, she majorly recovered from the paralysis. She breathed her last on November 14, 2017 due to lung infections, leaving behind her two sons and a daughter. Her elder son, Faroukh Mistry is a Cinematographer in Hindi feature films and has directed many documentary and advertising films. The second son, Rohinton Mistry is settled in London as a businessman. Both her elder son and her daughter, Shirin were with her while she breathed her last.
As a tribute to Shyama on the occasion of her 4th Remembrance Day, I have chosen a song pictuirsed on her in the film ‘Khota Paisa’ (1958). This film was among four films in which Shyama acted opposite Johnny Walker in lead role. The other three films in this combination were ‘Chhoo Mantar’ (1956), ‘Johnny Walker’ (1957) and ‘Mr Qartoon MA (1958). Incidentally, all these three films had OP Nayyar as the music director.
‘Khota Paisa’ (1958) had 7 songs of which 5 songs have been covered on the Blog. All the songs were written by Rajinder Krishan which were set to music by Madan Mohan. I am presenting the 6th song, “Ye Zaalim Nighaaon Ki Ghaat” which is sung by Asha Bhosle. It is a club song during which NA Ansari, the menacing pipe smoking villain, is present along with his henchmen.
It is interesting to note that in the record version there is some changes in wordings of the song as under:
| Film Sound Track Version | Record Version |
| Mukhda ye zaalim NIGHAAON ki GHAAT badi tikhi badi NATKHATI |
Mukhda ye zaalim MOHABBAT ki CHAAT badi tikhi badi CHATPATI |
| Antara-2 GAA le ZARA jahaan mein NAGMA to aashiqi kaajo NAYE pyaar ki RAT RATI |
Antara-2 LE le MAZA jahaan mein DAM BHAR LO aashiqi kaajo NA THHI pyaar ki PHATPATI |
| Antara-3 KATNE bhi de khushi se ye BAHAAR ke zamaane |
Antara-3 LOOTNE bhi de khushi se ye PYAAR ke zamaane |
Other features of this song is that Asha Bhosle seems to imitate the style of Geeta Dutt and Madan Mohan’s musical composition of the song closely resembles that of OP Nayyar.
Video
Audio
Song – Ye Zaalim Nigaahon Ki Ghaat (Khota Paisa) (1958) Singer – Asha Bhosle, Lyrics – Rajinder Krishan, MD – Madan Mohan
Lyrics
ye zaalim nighaaon ki ghaat
badi teekhi badi natkhati
apne apne muqaddar ki baat
kiske hisse mein kitni bati
ye zaalim nighaaon ki ghaat
badi teekhi badi natkhati
jo nazar na milaayi
na jigar pe chot khaayi
us dil kaa faayda kya
jo kisi pe aa na jaaye
hai wo zindagi bhi koi zindagi
jo mohobbat kiye bin kati
ye zaalim nighaaon ki ghaat
badi teekhi badi natkhati
jo huwa na kisi ka
dushman hai zindagi ka
gaa le zara jahaan mein
nagma to aashiqi ka
tu jiya bhi to kya
do ghadi ke liye
jo na ye pyaar ki rat rati
ye zaalim nigaahon ki ghaat
badi teekhi badi natkhati
ye dil kaun jaane
lut jaaye kis bahaane
katne bhi de khushi se
hain bahaar ke zamaane
lut gaye dil kai
mit gaye dil kai
par mohobbat kabhi na ghati
ye zaalim nigaahon ki ghaat
badi teekhi badi natkhati
apne apne muqaddar ki baat
kiske hisse mein kitni bati
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी
अपने अपने मुकद्दर की बात
किसके हिस्से में कितनी बटी
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी
जो नज़र ना मिलाई
ना जिगर पे चोट खाई
उस दिल का फायदा क्या
जो किसी पे आ ना जाए
है वो ज़िंदगी भी कोई ज़िंदगी
जो मोहब्बत किए बिन कटी
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी
जो हुआ ना किसी का
दुश्मन है ज़िंदगी का
गा ले ज़रा जहां में
नग़मा तो आशिक़ी का
तू जिआ भी तो क्या दो घड़ी के लिए
जो ना ये प्यार की रट रटी
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी
ये दिल कौन जाने
लुट जाये किस बहाने
कटने भी दे खुशी से
हैं बहार के जमाने
लुट गए दिल कई
मिट गए दिल कई
पर मोहब्बत कभी ना घटी
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी
अपने अपने मुकद्दर की बात
किसके हिस्से में कितनी बटी
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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